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"content": "\u003cp>I didn’t plan on seeing this show. Sometimes you go looking for one thing and you find another. What’s that saying? When one door closes, another door opens. Cringe at this hackneyed utterance, but it just so happens to be the perfect analogy for \u003ca href=\"http://www.stevekahn-fineart.com/\" target=\"_blank\" rel=\"noopener\">Steve Kahn\u003c/a>’s sleek solo show at Casemore Kirkeby, \u003ci>\u003ca href=\"http://casemorekirkeby.com/exhibition/steve-kahn/\" target=\"_blank\" rel=\"noopener\">Mural Triptychs & Door/Window Constructions\u003c/a>\u003c/i> — and not just because his subject matter includes doors.\u003c/p>\n\u003cfigure id=\"attachment_11952134\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11952134\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_08.jpg\" alt=\"Installation view of 'Mural Triptychs & Door/Window Constructions.'\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_08.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_08-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_08-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_08-960x640.jpg 960w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Mural Triptychs & Door/Window Constructions.’ \u003ccite>(Courtesy of Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1970s Hollywood, Kahn made a bit of extra money by shooting photographs for a bondage magazine in run-down rent-by-the-day one-room apartments. That commercial work parlayed into photographs of a more artistic sort, and one day, when a hired model didn’t show up, Kahn photographed the empty room itself. (When one door closes…)\u003c/p>\n\u003cp>“The container became more interesting than the content it contained,” he says of the series, which he calls \u003ci>The Hollywood Suites\u003c/i>. These works, on view at Casemore Kirkeby for the first time in 35 years, are remarkably contemporary, in part because Kahn’s prints, with their luscious blacks and analog graininess, look fantastic (dare I say, sexy?), and in part because the psychological space of interiors is infinitely, timelessly rich. (Local practitioners \u003ca href=\"http://www.amymho.com/\" target=\"_blank\" rel=\"noopener\">Amy M. Ho\u003c/a> and \u003ca href=\"http://www.cybelelyle.com/\" target=\"_blank\" rel=\"noopener\">Cybele Lyle\u003c/a> consistently mine that field to excellent results.)\u003c/p>\n\u003cfigure id=\"attachment_11952137\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11952137\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_24.jpg\" alt=\"Installation view of Steve Kahn, 'Window #22' from 'The Hollywood Suites,' 1976.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_24.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_24-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_24-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_24-960x640.jpg 960w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Steve Kahn, ‘Window #22’ from ‘The Hollywood Suites,’ 1976. \u003ccite>(Courtesy of Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kahn’s vintage prints of doors, windows, corners, hallways and missing mirrors are devoid of almost any signs of life. The geometric edges of these dark-carpeted, dingy-walled spaces become segmented and scrambled as Kahn arranges Polaroids and gelatin silver prints in orientations that may or may not resemble the actual rooms he photographed.\u003c/p>\n\u003cp>The effect is claustrophobic and disconcerting. Did terrible things happen at the site of these high-contrast images? Or, to a lesser degree, do the Hollywood suites capture feelings of isolation and desperation? In \u003ci>Quadrant #1\u003c/i> (below), four Polaroids in a grid create a fictitious view into a carpeted, four-walled and totally enclosed space. It’s a room with no entry and no exit; the possibility of another door opening isn’t even an option here. Similarly, \u003ci>Triptych #10\u003c/i> shows a wall that appears real enough, but something about the scale is strange — the angles of the corners seem improbable.\u003c/p>\n\u003cfigure id=\"attachment_11952138\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11952138\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_30.jpg\" alt=\"Installation view of Steve Kahn, 'Quadrant #1,' 1976.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_30.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_30-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_30-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_30-960x640.jpg 960w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Steve Kahn, ‘Quadrant #1,’ 1976. \u003ccite>(Courtesy of Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By rephotographing his Polaroids with 35mm film, and in turn, rephotographing those gelatin silver prints with a large-format camera, Kahn created “generations” of his own images, scaling up output at each turn. And yet, each iteration retains some of the initial immediacy of the Polaroid. Kahn replaces the white edges of his Polaroids with thin strips of mat board or slight spaces between his aluminum-mounted prints.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The “mural triptychs” of the exhibition’s dryly factual title are the largest works in the show, smooth gelatin silver prints laid out three wide or stacked three wide. Kahn’s own experiments with presentation clearly flow from these triptychs to the \u003ci>Door/Window Constructions\u003c/i>. Abandoning even the formality of same-sized panels, these uneven triptychs evoke that other saying about closed doors and open windows, a variation on a theme. Some of Kahn’s windows don’t give you the views you might hope for, trapped as you are amidst his “no-exit” spaces. In \u003ci>Door/Window #3\u003c/i>, Kahn flanks a fictional double door with smoggy 1978 views of downtown Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_11952135\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11952135\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/hsbd_07.jpg\" alt=\"Steve Kahn, 'Bound Door #7' from 'The Hollywood Suites,' 1976.\" width=\"1024\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hsbd_07.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hsbd_07-400x305.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hsbd_07-788x600.jpg 788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hsbd_07-768x585.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hsbd_07-960x731.jpg 960w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Steve Kahn, ‘Bound Door #7’ from ‘The Hollywood Suites,’ 1976. \u003ccite>(Courtesy of Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s tucked into the back room of Casemore Kirkeby where you finally accept you’re forever indoors in Kahn’s images, but where you also realize you might not care. The real treats line up against the back room gallery’s gray walls: small gelatin silver prints of windows with ill-fitting curtains, the places where shaped mirrors used to hang, and Kahn’s “bound doors.” Part \u003ca href=\"http://www.jandlbooks.org/HS_strings.html\" target=\"_blank\" rel=\"noopener\">Harry Smith string figures\u003c/a> and part ridiculous bondage exercise, these images (and Kahn’s strategically scratched polaroids in \u003ci>Acting Out\u003c/i>) show the man behind the camera interested in not just the formal qualities of his work, but in the process and the play involved in making it.\u003c/p>\n\u003cp>Shut your own door behind you and step through the doors at 1275 Minnesota St. for an analogy-affirming art viewing experience.\u003c/p>\n\u003cfigure id=\"attachment_11952127\" class=\"wp-caption aligncenter\" style=\"max-width: 977px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11952127\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/acting_out.jpg\" alt=\"Steve Kahn, 'Acting Out,' 1976.\" width=\"977\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/acting_out.jpg 977w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/acting_out-400x419.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/acting_out-572x600.jpg 572w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/acting_out-768x805.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/acting_out-960x1006.jpg 960w\" sizes=\"(max-width: 977px) 100vw, 977px\">\u003cfigcaption class=\"wp-caption-text\">Steve Kahn, ‘Acting Out,’ 1976. \u003ccite>(Courtesy of Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Mural Triptychs & Door/Window Constructions\u003c/b> is on view at Casemore Kirkeby in San Francisco through Sept. 10. For more information, visit \u003ca href=\"http://casemorekirkeby.com/exhibition/steve-kahn/\" target=\"_blank\" rel=\"noopener\">casemorekirkeby.com\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "In photographing run-down, rent-by-the-day rooms in 1970s Hollywood, Steve Kahn created fictitious spaces that look as fresh as they are psychologically evocative. ",
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"title": "Open Your Eyes Behind Steve Kahn's Closed Doors at Casemore Kirkeby | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I didn’t plan on seeing this show. Sometimes you go looking for one thing and you find another. What’s that saying? When one door closes, another door opens. Cringe at this hackneyed utterance, but it just so happens to be the perfect analogy for \u003ca href=\"http://www.stevekahn-fineart.com/\" target=\"_blank\" rel=\"noopener\">Steve Kahn\u003c/a>’s sleek solo show at Casemore Kirkeby, \u003ci>\u003ca href=\"http://casemorekirkeby.com/exhibition/steve-kahn/\" target=\"_blank\" rel=\"noopener\">Mural Triptychs & Door/Window Constructions\u003c/a>\u003c/i> — and not just because his subject matter includes doors.\u003c/p>\n\u003cfigure id=\"attachment_11952134\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11952134\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_08.jpg\" alt=\"Installation view of 'Mural Triptychs & Door/Window Constructions.'\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_08.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_08-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_08-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_08-960x640.jpg 960w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Mural Triptychs & Door/Window Constructions.’ \u003ccite>(Courtesy of Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1970s Hollywood, Kahn made a bit of extra money by shooting photographs for a bondage magazine in run-down rent-by-the-day one-room apartments. That commercial work parlayed into photographs of a more artistic sort, and one day, when a hired model didn’t show up, Kahn photographed the empty room itself. (When one door closes…)\u003c/p>\n\u003cp>“The container became more interesting than the content it contained,” he says of the series, which he calls \u003ci>The Hollywood Suites\u003c/i>. These works, on view at Casemore Kirkeby for the first time in 35 years, are remarkably contemporary, in part because Kahn’s prints, with their luscious blacks and analog graininess, look fantastic (dare I say, sexy?), and in part because the psychological space of interiors is infinitely, timelessly rich. (Local practitioners \u003ca href=\"http://www.amymho.com/\" target=\"_blank\" rel=\"noopener\">Amy M. Ho\u003c/a> and \u003ca href=\"http://www.cybelelyle.com/\" target=\"_blank\" rel=\"noopener\">Cybele Lyle\u003c/a> consistently mine that field to excellent results.)\u003c/p>\n\u003cfigure id=\"attachment_11952137\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11952137\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_24.jpg\" alt=\"Installation view of Steve Kahn, 'Window #22' from 'The Hollywood Suites,' 1976.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_24.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_24-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_24-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_24-960x640.jpg 960w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Steve Kahn, ‘Window #22’ from ‘The Hollywood Suites,’ 1976. \u003ccite>(Courtesy of Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kahn’s vintage prints of doors, windows, corners, hallways and missing mirrors are devoid of almost any signs of life. The geometric edges of these dark-carpeted, dingy-walled spaces become segmented and scrambled as Kahn arranges Polaroids and gelatin silver prints in orientations that may or may not resemble the actual rooms he photographed.\u003c/p>\n\u003cp>The effect is claustrophobic and disconcerting. Did terrible things happen at the site of these high-contrast images? Or, to a lesser degree, do the Hollywood suites capture feelings of isolation and desperation? In \u003ci>Quadrant #1\u003c/i> (below), four Polaroids in a grid create a fictitious view into a carpeted, four-walled and totally enclosed space. It’s a room with no entry and no exit; the possibility of another door opening isn’t even an option here. Similarly, \u003ci>Triptych #10\u003c/i> shows a wall that appears real enough, but something about the scale is strange — the angles of the corners seem improbable.\u003c/p>\n\u003cfigure id=\"attachment_11952138\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11952138\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_30.jpg\" alt=\"Installation view of Steve Kahn, 'Quadrant #1,' 1976.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_30.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_30-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_30-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_30-960x640.jpg 960w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Steve Kahn, ‘Quadrant #1,’ 1976. \u003ccite>(Courtesy of Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By rephotographing his Polaroids with 35mm film, and in turn, rephotographing those gelatin silver prints with a large-format camera, Kahn created “generations” of his own images, scaling up output at each turn. And yet, each iteration retains some of the initial immediacy of the Polaroid. Kahn replaces the white edges of his Polaroids with thin strips of mat board or slight spaces between his aluminum-mounted prints.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The “mural triptychs” of the exhibition’s dryly factual title are the largest works in the show, smooth gelatin silver prints laid out three wide or stacked three wide. Kahn’s own experiments with presentation clearly flow from these triptychs to the \u003ci>Door/Window Constructions\u003c/i>. Abandoning even the formality of same-sized panels, these uneven triptychs evoke that other saying about closed doors and open windows, a variation on a theme. Some of Kahn’s windows don’t give you the views you might hope for, trapped as you are amidst his “no-exit” spaces. In \u003ci>Door/Window #3\u003c/i>, Kahn flanks a fictional double door with smoggy 1978 views of downtown Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_11952135\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11952135\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/hsbd_07.jpg\" alt=\"Steve Kahn, 'Bound Door #7' from 'The Hollywood Suites,' 1976.\" width=\"1024\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hsbd_07.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hsbd_07-400x305.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hsbd_07-788x600.jpg 788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hsbd_07-768x585.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hsbd_07-960x731.jpg 960w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Steve Kahn, ‘Bound Door #7’ from ‘The Hollywood Suites,’ 1976. \u003ccite>(Courtesy of Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s tucked into the back room of Casemore Kirkeby where you finally accept you’re forever indoors in Kahn’s images, but where you also realize you might not care. The real treats line up against the back room gallery’s gray walls: small gelatin silver prints of windows with ill-fitting curtains, the places where shaped mirrors used to hang, and Kahn’s “bound doors.” Part \u003ca href=\"http://www.jandlbooks.org/HS_strings.html\" target=\"_blank\" rel=\"noopener\">Harry Smith string figures\u003c/a> and part ridiculous bondage exercise, these images (and Kahn’s strategically scratched polaroids in \u003ci>Acting Out\u003c/i>) show the man behind the camera interested in not just the formal qualities of his work, but in the process and the play involved in making it.\u003c/p>\n\u003cp>Shut your own door behind you and step through the doors at 1275 Minnesota St. for an analogy-affirming art viewing experience.\u003c/p>\n\u003cfigure id=\"attachment_11952127\" class=\"wp-caption aligncenter\" style=\"max-width: 977px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11952127\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/acting_out.jpg\" alt=\"Steve Kahn, 'Acting Out,' 1976.\" width=\"977\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/acting_out.jpg 977w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/acting_out-400x419.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/acting_out-572x600.jpg 572w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/acting_out-768x805.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/acting_out-960x1006.jpg 960w\" sizes=\"(max-width: 977px) 100vw, 977px\">\u003cfigcaption class=\"wp-caption-text\">Steve Kahn, ‘Acting Out,’ 1976. \u003ccite>(Courtesy of Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Mural Triptychs & Door/Window Constructions\u003c/b> is on view at Casemore Kirkeby in San Francisco through Sept. 10. For more information, visit \u003ca href=\"http://casemorekirkeby.com/exhibition/steve-kahn/\" target=\"_blank\" rel=\"noopener\">casemorekirkeby.com\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Little-Known G.B. Shaw Play Has the Last Word on Love At First Sight",
"headTitle": "Little-Known G.B. Shaw Play Has the Last Word on Love At First Sight | KQED",
"content": "\u003cp>The principal beauty of George Bernard Shaw’s plays is that despite all the arguments, almost none of his characters makes sense. They all know it, and they don’t care, and they keep on arguing anyway, because it’s fun. And fun always leads to the good, albeit a good of much greater complexity than we might ever imagine.\u003c/p>\n\u003cp>That sense of the good guides us through the set of ridiculous circumstances of the rarely performed, \u003cem>You Never Can Tell\u003c/em>, currently playing at the Bruns Amphitheater in Orinda under the auspices of the \u003ca href=\"http://www.calshakes.org/\" target=\"_blank\" rel=\"noopener\">California Shakespeare Theater\u003c/a> in a production that oscillates between the admirable and the misguided. Under Lisa Peterson’s direction, the cast and crew certainly get right what is most necessary to the play — and that is love, at its most antagonistic, sharp, and battle ready.\u003c/p>\n\u003cfigure id=\"attachment_11954135\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11954135\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Younevercantell_2-e1471593373386-800x450.jpg\" alt=\"Love at first sight is tricky for Valentine (Matthew Baldiga) and Gloria (Sabina Zuniga Varela) in 'You Never Can Tell' at Cal Shakes.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_2-e1471593373386-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_2-e1471593373386-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_2-e1471593373386-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_2-e1471593373386-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_2-e1471593373386-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_2-e1471593373386-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Love at first sight is tricky for Valentine (Matthew Baldiga) and Gloria (Sabina Zuniga Varela) in ‘You Never Can Tell’ at Cal Shakes. \u003ccite>(Photo Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Valentine, a dentist, who cares little for his profession meets Gloria, the daughter of a famous feminist, it’s love at first sight. But neither party is ready to surrender either their ideals or their souls. And so the war is on. Matthew Baldiga and Sabina Zuniga Varela give the kind of performances Shaw’s plays demand. They are gracious, proud, foolish, biting, and always of this world. In Shaw, love is never enough; the world must come with it.\u003c/p>\n\u003cp>For Valentine, it means negotiating the complex and frivolous society of Gloria’s mother, Elizabeth Carter, a famous feminist who has somehow misplaced her husband for about 15 years. And for Gloria, it means accepting a man high of spirit, resolutely lazy, critical of her mother’s work, and, it goes without saying, no money. Love at first sight always seems a delight and so easy. But Shaw makes it hard and troublesome, a flash of insight that must be won again, and again, and again.\u003c/p>\n\u003cfigure id=\"attachment_11954140\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11954140\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Younevercantell_3-e1471594094273-800x451.jpg\" alt=\"Walter, the headwaiter, (Danny Scheie) reminds Finch McComas (Anthony Fusco) that you never can tell in 'You Never Can Tell' at Cal Shakes.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_3-e1471594094273-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_3-e1471594094273-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_3-e1471594094273-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_3-e1471594094273-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_3-e1471594094273-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_3-e1471594094273-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Walter, the headwaiter, (Danny Scheie) reminds Finch McComas (Anthony Fusco) that you never can tell in ‘You Never Can Tell’ at Cal Shakes. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A master of coincidence and the seemingly unnecessary, Shaw mirrors Valentine and Gloria’s travails with a subplot revolving around the headwaiter at a hotel restaurant named Walter, in a brilliant comic turn by Danny Scheie. He, too, will have to work to accept the good. Watching it happen is like seeing calculus come to life — the proof is as elegant as it is true.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I wish all the performances were as good and modulated as Baldiga, Varela, and Scheie’s, though Liam Vincent and Anthony Fusco are also quite fine. Peterson doesn’t quite seem to trust the play and so the opening scenes feel too manic and forced, instead of just unfolding before us. That requires patience, of both artists and audiences. It’s a quality Shaw demands in his plays, as well as in love, and it is a virtue that our culture is losing fast.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>You Never Can Tell\u003c/em> plays through Sunday, Sep. 4 at the Bruns Memorial Amphitheater in Orinda. For tickets and information please click \u003ca href=\"http://www.calshakes.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"excerpt": "California Shakespeare Theater's production of 'You Never Can Tell' oscillates between the admirable and the misguided in exploring the politics of love",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The principal beauty of George Bernard Shaw’s plays is that despite all the arguments, almost none of his characters makes sense. They all know it, and they don’t care, and they keep on arguing anyway, because it’s fun. And fun always leads to the good, albeit a good of much greater complexity than we might ever imagine.\u003c/p>\n\u003cp>That sense of the good guides us through the set of ridiculous circumstances of the rarely performed, \u003cem>You Never Can Tell\u003c/em>, currently playing at the Bruns Amphitheater in Orinda under the auspices of the \u003ca href=\"http://www.calshakes.org/\" target=\"_blank\" rel=\"noopener\">California Shakespeare Theater\u003c/a> in a production that oscillates between the admirable and the misguided. Under Lisa Peterson’s direction, the cast and crew certainly get right what is most necessary to the play — and that is love, at its most antagonistic, sharp, and battle ready.\u003c/p>\n\u003cfigure id=\"attachment_11954135\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11954135\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Younevercantell_2-e1471593373386-800x450.jpg\" alt=\"Love at first sight is tricky for Valentine (Matthew Baldiga) and Gloria (Sabina Zuniga Varela) in 'You Never Can Tell' at Cal Shakes.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_2-e1471593373386-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_2-e1471593373386-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_2-e1471593373386-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_2-e1471593373386-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_2-e1471593373386-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_2-e1471593373386-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Love at first sight is tricky for Valentine (Matthew Baldiga) and Gloria (Sabina Zuniga Varela) in ‘You Never Can Tell’ at Cal Shakes. \u003ccite>(Photo Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Valentine, a dentist, who cares little for his profession meets Gloria, the daughter of a famous feminist, it’s love at first sight. But neither party is ready to surrender either their ideals or their souls. And so the war is on. Matthew Baldiga and Sabina Zuniga Varela give the kind of performances Shaw’s plays demand. They are gracious, proud, foolish, biting, and always of this world. In Shaw, love is never enough; the world must come with it.\u003c/p>\n\u003cp>For Valentine, it means negotiating the complex and frivolous society of Gloria’s mother, Elizabeth Carter, a famous feminist who has somehow misplaced her husband for about 15 years. And for Gloria, it means accepting a man high of spirit, resolutely lazy, critical of her mother’s work, and, it goes without saying, no money. Love at first sight always seems a delight and so easy. But Shaw makes it hard and troublesome, a flash of insight that must be won again, and again, and again.\u003c/p>\n\u003cfigure id=\"attachment_11954140\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11954140\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Younevercantell_3-e1471594094273-800x451.jpg\" alt=\"Walter, the headwaiter, (Danny Scheie) reminds Finch McComas (Anthony Fusco) that you never can tell in 'You Never Can Tell' at Cal Shakes.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_3-e1471594094273-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_3-e1471594094273-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_3-e1471594094273-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_3-e1471594094273-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_3-e1471594094273-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_3-e1471594094273-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Walter, the headwaiter, (Danny Scheie) reminds Finch McComas (Anthony Fusco) that you never can tell in ‘You Never Can Tell’ at Cal Shakes. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A master of coincidence and the seemingly unnecessary, Shaw mirrors Valentine and Gloria’s travails with a subplot revolving around the headwaiter at a hotel restaurant named Walter, in a brilliant comic turn by Danny Scheie. He, too, will have to work to accept the good. Watching it happen is like seeing calculus come to life — the proof is as elegant as it is true.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I wish all the performances were as good and modulated as Baldiga, Varela, and Scheie’s, though Liam Vincent and Anthony Fusco are also quite fine. Peterson doesn’t quite seem to trust the play and so the opening scenes feel too manic and forced, instead of just unfolding before us. That requires patience, of both artists and audiences. It’s a quality Shaw demands in his plays, as well as in love, and it is a virtue that our culture is losing fast.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>You Never Can Tell\u003c/em> plays through Sunday, Sep. 4 at the Bruns Memorial Amphitheater in Orinda. For tickets and information please click \u003ca href=\"http://www.calshakes.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dreamlike 'Kubo And The Two Strings' Offers A Gorgeous, Richly Textured Adventure",
"headTitle": "Dreamlike ‘Kubo And The Two Strings’ Offers A Gorgeous, Richly Textured Adventure | KQED",
"content": "\u003cp>With dark bangs draped over an eyepatch, a stack of colorful origami paper, and a two-stringed, lute-like instrument called a \u003cem>shamisen\u003c/em> strapped to his back, young Kubo heads into a seaside village to put on a street performance for spare change. As he rocks the \u003cem>shamisen\u003c/em> like the Joe Satriani of ancient Japan, the origami paper dances to life around him, folding into sharply edged characters and objects, and occasionally bursting into ribbons of confetti. He tells the legend of a great samurai warrior named Hanzo and the evil force that takes many forms in an effort to take him down. Kubo holds the villagers rapt, but inevitably disappoints them. He doesn’t know how the story ends. It will be his quest to find out.\u003c/p>\n\u003cp>“If you must blink, do it now” are the first words spoken in \u003cem>Kubo and the Two Strings\u003c/em>, a line that doubles as a primer and a brag about the abstract wonders to come. The film is asking the audience to accept every off-the-wall premise that it’s given, up to and including a \u003cem>shamisen\u003c/em> that can part a tidal wave or making origami figures dance like the runaway mops in Disney’s “The Sorcerer’s Apprentice.” There’s a strong internal logic to the dense mythology it creates, but first the barriers between life and death, reality and fantasy, and past and present must come down. In the magical world of \u003cem>Kubo\u003c/em>, these walls are transformed into pathways.\u003c/p>\n\u003cp>https://youtu.be/p4-6qJzeb3A\u003c/p>\n\u003cp>The fourth and, to date, best film from Laika, the Portland-based animation house responsible for \u003cem>Coraline\u003c/em>, \u003cem>ParaNorman\u003c/em>, and \u003cem>The Boxtrolls\u003c/em>, \u003cem>Kubo and the Two Strings\u003c/em> has more in common with the serene eccentricities of Japanese animator Hayao Miyazaki (\u003cem>My Neighbor Totoro\u003c/em>, \u003cem>Spirited Away\u003c/em>) than American brands like Disney/Pixar, Blue Sky Studios, or Illumination Entertainment. Though the tactility and dimension of its 3D stop-motion process sets Laika apart, \u003cem>Kubo\u003c/em> has a specific faith that younger viewers will readily accept a world that has nothing in common with their own, save for the yearning of a child to complete his story and understand who he is.\u003c/p>\n\u003cp>Simply stated, the film is about Kubo’s quest to locate three items that will help protect him from the wrathful Moon King: the Sword Unbreakable, the Armor Impenetrable, and the Helmet Invulnerable. And it’s important to hold onto that basic goal, because the particulars of his adventure resist tidy description. Living in a rock cave with his sick mother, Kubo (voiced by Art Parkinson) discovers a terrible vendetta against them from his evil aunts, who appear like black-shroud ghosts in a Japanese horror picture, and the Moon King (Ralph Fiennes), his grandfather, who plucked out his eye as an infant and wants to claim the other one, too. (Another expectation of younger viewers: They’ll be able to withstand a little darkness.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As Kubo is catapulted to a frosty, unfamiliar landscape, he gets some guidance on his journey from Monkey (Charlize Theron), an ally who materializes from a wooden totem his mother gave him, and a goofy human-insect hybrid named Beetle (Matthew McConaughey). They are pursued by supernatural threats that can appear in many different forms and their destination is so obscure that only Kubo’s dreams hint at where to go—and even then, it’s not a place that could be found by any compass or map.\u003c/p>\n\u003cp>In the topography of the imagination, there are no discernible trails leading from one location to the next. The greatness of \u003cem>Kubo and the Two Strings\u003c/em> is convincing the audience to understand that immediately and intuit their way through a narrative that must be experienced to be understood. Director Travis Knight and his animators make Kubo’s street performance a model for the film itself, which constructs an entire world out of origami paper—sharp-angled yet colorful and delicate, capable of folding into many different shapes and objects while subject to dramatic change, like being crumpled and thrown into the wastebasket.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With \u003cem>Kubo\u003c/em>, Laika adds more texture to the dark beauty that’s been the house style since \u003cem>Coraline\u003c/em>, but it’s more emotionally expansive, too. There’s plenty of wry humor and samurai action to lighten the mood and a young hero who learns that decency, as much as courage and tenacity, can save the world. The film empowers children (and adults) to share in that idealism and dream along with it.\u003c/p>\n\n",
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"excerpt": "The latest animated film from Laika Studios owes more to the emotional impressionism of Japanese anime master Hayao Miyazaki than the comparatively rigid and familiar story structure of Disney/Pixar.",
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"title": "Dreamlike 'Kubo And The Two Strings' Offers A Gorgeous, Richly Textured Adventure | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With dark bangs draped over an eyepatch, a stack of colorful origami paper, and a two-stringed, lute-like instrument called a \u003cem>shamisen\u003c/em> strapped to his back, young Kubo heads into a seaside village to put on a street performance for spare change. As he rocks the \u003cem>shamisen\u003c/em> like the Joe Satriani of ancient Japan, the origami paper dances to life around him, folding into sharply edged characters and objects, and occasionally bursting into ribbons of confetti. He tells the legend of a great samurai warrior named Hanzo and the evil force that takes many forms in an effort to take him down. Kubo holds the villagers rapt, but inevitably disappoints them. He doesn’t know how the story ends. It will be his quest to find out.\u003c/p>\n\u003cp>“If you must blink, do it now” are the first words spoken in \u003cem>Kubo and the Two Strings\u003c/em>, a line that doubles as a primer and a brag about the abstract wonders to come. The film is asking the audience to accept every off-the-wall premise that it’s given, up to and including a \u003cem>shamisen\u003c/em> that can part a tidal wave or making origami figures dance like the runaway mops in Disney’s “The Sorcerer’s Apprentice.” There’s a strong internal logic to the dense mythology it creates, but first the barriers between life and death, reality and fantasy, and past and present must come down. In the magical world of \u003cem>Kubo\u003c/em>, these walls are transformed into pathways.\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/p4-6qJzeb3A'\n title='//www.youtube.com/embed/p4-6qJzeb3A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The fourth and, to date, best film from Laika, the Portland-based animation house responsible for \u003cem>Coraline\u003c/em>, \u003cem>ParaNorman\u003c/em>, and \u003cem>The Boxtrolls\u003c/em>, \u003cem>Kubo and the Two Strings\u003c/em> has more in common with the serene eccentricities of Japanese animator Hayao Miyazaki (\u003cem>My Neighbor Totoro\u003c/em>, \u003cem>Spirited Away\u003c/em>) than American brands like Disney/Pixar, Blue Sky Studios, or Illumination Entertainment. Though the tactility and dimension of its 3D stop-motion process sets Laika apart, \u003cem>Kubo\u003c/em> has a specific faith that younger viewers will readily accept a world that has nothing in common with their own, save for the yearning of a child to complete his story and understand who he is.\u003c/p>\n\u003cp>Simply stated, the film is about Kubo’s quest to locate three items that will help protect him from the wrathful Moon King: the Sword Unbreakable, the Armor Impenetrable, and the Helmet Invulnerable. And it’s important to hold onto that basic goal, because the particulars of his adventure resist tidy description. Living in a rock cave with his sick mother, Kubo (voiced by Art Parkinson) discovers a terrible vendetta against them from his evil aunts, who appear like black-shroud ghosts in a Japanese horror picture, and the Moon King (Ralph Fiennes), his grandfather, who plucked out his eye as an infant and wants to claim the other one, too. (Another expectation of younger viewers: They’ll be able to withstand a little darkness.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Kubo is catapulted to a frosty, unfamiliar landscape, he gets some guidance on his journey from Monkey (Charlize Theron), an ally who materializes from a wooden totem his mother gave him, and a goofy human-insect hybrid named Beetle (Matthew McConaughey). They are pursued by supernatural threats that can appear in many different forms and their destination is so obscure that only Kubo’s dreams hint at where to go—and even then, it’s not a place that could be found by any compass or map.\u003c/p>\n\u003cp>In the topography of the imagination, there are no discernible trails leading from one location to the next. The greatness of \u003cem>Kubo and the Two Strings\u003c/em> is convincing the audience to understand that immediately and intuit their way through a narrative that must be experienced to be understood. Director Travis Knight and his animators make Kubo’s street performance a model for the film itself, which constructs an entire world out of origami paper—sharp-angled yet colorful and delicate, capable of folding into many different shapes and objects while subject to dramatic change, like being crumpled and thrown into the wastebasket.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With \u003cem>Kubo\u003c/em>, Laika adds more texture to the dark beauty that’s been the house style since \u003cem>Coraline\u003c/em>, but it’s more emotionally expansive, too. There’s plenty of wry humor and samurai action to lighten the mood and a young hero who learns that decency, as much as courage and tenacity, can save the world. The film empowers children (and adults) to share in that idealism and dream along with it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Carole King and Stripper Nomi Sing for Their Lives in 'Beautiful' & 'Showgirls!'",
"headTitle": "Carole King and Stripper Nomi Sing for Their Lives in ‘Beautiful’ & ‘Showgirls!’ | KQED",
"content": "\u003cp>In style and intent, the Carole King musical \u003cem>Beautiful\u003c/em>, returning to San Francisco after a successful Broadway run, and Mediumface’s production of \u003cem>Showgirls! The Musical\u003c/em>, a trashy parody of the trashy 1980s cult classic, \u003cem>Showgirls, \u003c/em>live in different lands. And yet they share a belief in performance — that the will to sing in the face of our foolishness, no matter how stinging our failures, is the surest path to joy and the only way to salvation.\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>Carol King’s career: dramatic, or just beautiful?\u003c/strong>\u003c/p>\n\u003cp>In a sly bit of meta-theatrics, \u003cem>Beautiful \u003c/em>begins with King introducing herself at a 1971 Carnegie Hall concert fresh off the success of her Grammy-winning, chart topping solo album, \u003cem>Tapestry\u003c/em>. In true biopic fashion, Douglas McGrath’s book will bring us back around to that triumphant moment.\u003c/p>\n\u003cfigure id=\"attachment_11946568\" class=\"wp-caption aligncenter\" style=\"max-width: 606px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11946568\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Beautiful1-e1471427223989.jpg\" alt=\"Carole King (Abby Mueller) talks to the audience before her 1971 Carnegie Hall concert in 'Beautiful' at the Orpheum Theatre.\" width=\"606\" height=\"342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful1-e1471427223989.jpg 606w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful1-e1471427223989-400x226.jpg 400w\" sizes=\"(max-width: 606px) 100vw, 606px\">\u003cfigcaption class=\"wp-caption-text\">Carole King (Abby Mueller) talks to the audience before her 1971 Carnegie Hall concert in ‘Beautiful’ at the Orpheum Theatre. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first act follows the young King, full of uncertain ambition, selling her first song to Don Kirshner; meeting her soon-to-be husband and songwriting partner, Gerry Goffin; their initial success; an unplanned pregnancy; marriage; his cheating; and the beginning of their long slide towards divorce. It’s a standard show biz narrative, and yet somehow, at moments, \u003cem>Beautiful\u003c/em> transcends the genre in rather exciting ways.\u003c/p>\n\u003cp>And it’s all in the music and how McGrath gives us access to the art of songwriting and singing through his storytelling. Often a number will begin with King at the piano, sketching out a tune, and you can hear her gifts — the fine sense of timing and the shifty melodies that somehow effortlessly hold together. Then Goffin enters with a phrase or verse and they’ll sing together and you can hear the words float into place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So you aren’t just listening for the hit, as happens in most jukebox musicals, but also feeling your way through the music with King and Goffin. It’s a charming and enticing effect, and when it ends with slick recreations of the acts they wrote for — The Drifters, The Shirelles, Little Eva (who was their baby sitter) — the music and the musical soar.\u003c/p>\n\u003cfigure id=\"attachment_11946570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11946570\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-800x450.jpg\" alt=\"The Drifters (Josh A. Dawson, Paris Nix, Jay McKenzie, and Noah Ricketts) belt out "Some King of Wonderful" in 'Beautiful' at the Orpheum Theatre.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Drifters (Josh A. Dawson, Paris Nix, Jay McKenzie, and Noah Ricketts) belt out “Some King of Wonderful” in ‘Beautiful’ at the Orpheum Theatre. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We feel the twin poles of what it takes to create a hit song — the pedestrian nature of its birth and its electric triumph in performance. And for a moment you think that \u003cem>Beautiful\u003c/em> might find a daring bridge between the two, that anything could happen in the vortex of all these dissimilar and explosive talents working together. But McGrath hints at rather than plunges into the fury that lies beneath these pop hits.\u003c/p>\n\u003cp>Nothing is made of King and Goffin’s ability to write for and sell the first wave of African-American pop acts. Nor the subversive charm the duo brought to the white, manufactured boy band, The Monkees. What’s disappointing is how much of this material is right in front of McGrath, from Goffin’s affair with an African-American singer (called Janelle Woods in the show, but possibly one of the Chiffons) to King and Goffin’s retreat to the suburbs.\u003c/p>\n\u003cp>What should be rough and painful is glossed over. By the time King is singing her own songs — working on \u003cem>Tapestry\u003c/em> in the studio with Lou Alder and performing in front of huge crowds — the drama feels spent and preordained, the singing straining for effect. It should have been otherwise.\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>\u003cem>Showgirls! The Musical \u003c/em>resolves Paul Verhoven’s schlocky movie in musical form\u003c/strong>\u003c/p>\n\u003cp>Paul Verhoven’s \u003cem>Showgirls\u003c/em>, a strip show take on \u003cem>All About Eve\u003c/em>, is one of the greatest so-bad-it’s-good movies of all time. It’s a deliberate piece of sleaze so over-the-top that it somehow achieves moments of subtlety, pain, and insight. One might argue that Verhoven anticipated the derision and parodies that would inevitably follow, and that Bob and Tobly McSmith’s musical theater send-up is exactly what he imagined would happen. The excesses of \u003cem>Showgirls\u003c/em> could only be resolved in a musical.\u003c/p>\n\u003cp>So in many ways the script — sometimes witty, always raunchy, and ridiculously provisional to the proceedings — is an afterthought. It could have been better or worse, and it still would have had nothing to do with what’s disturbing and fascinating about the production. \u003cem>Showgirls! The Musical\u003c/em> is all about the performers and how far they’re willing to embrace trash, just as Elizabeth Berkley and Gina Gershon did in the original. The answer at the Victoria Theatre is: pretty far.\u003c/p>\n\u003cfigure id=\"attachment_11946583\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11946583\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Showgirls_edited.jpg\" alt=\"Nomi Malone (April Kidwell) takes her ambitions out on her stripper's pole in 'Showgirls! The Musical' at the Victoria Theatre.\" width=\"750\" height=\"423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Showgirls_edited.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Showgirls_edited-400x226.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Nomi Malone (April Kidwell) takes her ambitions out on her stripper’s pole in ‘Showgirls! The Musical’ at the Victoria Theatre. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>April Kidwell, as Nomi, the drifter-prostitute dreaming of Las Vegas showgirl stardom, gives the most committed and startling comic performance I’ve seen so far this year. Like the best of Will Ferrell’s early film work, Kidwell uses her naked body to shock us into recognizing our common humanity. The character might come off as wooden, shallow, and foolish, but the failures of Nomi’s body to obey her ambitions tell a more complex and mournful tale.\u003c/p>\n\u003cp>Watch Nomi attempt to master a stripper’s pole, have sex in a pool, or perform a topless soft shoe shuffle in the middle of a striptease. Suddenly, under Kidwell’s striking comic bumbling, you see how human a fool can be. And so when Nomi sings, no matter how risible the material — “Dancing Ain’t Fucking,” “Dead Hooker,” “We’re Fucking Underwater” to name just a few of the musical’s imaginatively-titled numbers — we listen with care and understanding. How wonderful that Nomi should find the strength, during and after every degradation, to burst into song.\u003c/p>\n\u003cp>\u003cem>Showgirls! The Musical\u003c/em> is not great art and might even be bad art, but somehow it does what great art so beautifully accomplishes — it forces you to care for someone you’d otherwise laugh at.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Beautiful\u003c/em> plays through Sunday, Sep. 18 at the Orpheum Theatre in San Francisco. For tickets and information please click \u003ca href=\"https://www.shnsf.com\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Showgirls! The Musical\u003c/em> plays through Saturday, Aug. 27 at the Victoria Theatre in San Francisco. For tickets and information please click \u003ca href=\"http://www.showgirlsthemusical.com\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In style and intent, the Carole King musical \u003cem>Beautiful\u003c/em>, returning to San Francisco after a successful Broadway run, and Mediumface’s production of \u003cem>Showgirls! The Musical\u003c/em>, a trashy parody of the trashy 1980s cult classic, \u003cem>Showgirls, \u003c/em>live in different lands. And yet they share a belief in performance — that the will to sing in the face of our foolishness, no matter how stinging our failures, is the surest path to joy and the only way to salvation.\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>Carol King’s career: dramatic, or just beautiful?\u003c/strong>\u003c/p>\n\u003cp>In a sly bit of meta-theatrics, \u003cem>Beautiful \u003c/em>begins with King introducing herself at a 1971 Carnegie Hall concert fresh off the success of her Grammy-winning, chart topping solo album, \u003cem>Tapestry\u003c/em>. In true biopic fashion, Douglas McGrath’s book will bring us back around to that triumphant moment.\u003c/p>\n\u003cfigure id=\"attachment_11946568\" class=\"wp-caption aligncenter\" style=\"max-width: 606px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11946568\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Beautiful1-e1471427223989.jpg\" alt=\"Carole King (Abby Mueller) talks to the audience before her 1971 Carnegie Hall concert in 'Beautiful' at the Orpheum Theatre.\" width=\"606\" height=\"342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful1-e1471427223989.jpg 606w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful1-e1471427223989-400x226.jpg 400w\" sizes=\"(max-width: 606px) 100vw, 606px\">\u003cfigcaption class=\"wp-caption-text\">Carole King (Abby Mueller) talks to the audience before her 1971 Carnegie Hall concert in ‘Beautiful’ at the Orpheum Theatre. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first act follows the young King, full of uncertain ambition, selling her first song to Don Kirshner; meeting her soon-to-be husband and songwriting partner, Gerry Goffin; their initial success; an unplanned pregnancy; marriage; his cheating; and the beginning of their long slide towards divorce. It’s a standard show biz narrative, and yet somehow, at moments, \u003cem>Beautiful\u003c/em> transcends the genre in rather exciting ways.\u003c/p>\n\u003cp>And it’s all in the music and how McGrath gives us access to the art of songwriting and singing through his storytelling. Often a number will begin with King at the piano, sketching out a tune, and you can hear her gifts — the fine sense of timing and the shifty melodies that somehow effortlessly hold together. Then Goffin enters with a phrase or verse and they’ll sing together and you can hear the words float into place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So you aren’t just listening for the hit, as happens in most jukebox musicals, but also feeling your way through the music with King and Goffin. It’s a charming and enticing effect, and when it ends with slick recreations of the acts they wrote for — The Drifters, The Shirelles, Little Eva (who was their baby sitter) — the music and the musical soar.\u003c/p>\n\u003cfigure id=\"attachment_11946570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11946570\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-800x450.jpg\" alt=\"The Drifters (Josh A. Dawson, Paris Nix, Jay McKenzie, and Noah Ricketts) belt out "Some King of Wonderful" in 'Beautiful' at the Orpheum Theatre.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Drifters (Josh A. Dawson, Paris Nix, Jay McKenzie, and Noah Ricketts) belt out “Some King of Wonderful” in ‘Beautiful’ at the Orpheum Theatre. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We feel the twin poles of what it takes to create a hit song — the pedestrian nature of its birth and its electric triumph in performance. And for a moment you think that \u003cem>Beautiful\u003c/em> might find a daring bridge between the two, that anything could happen in the vortex of all these dissimilar and explosive talents working together. But McGrath hints at rather than plunges into the fury that lies beneath these pop hits.\u003c/p>\n\u003cp>Nothing is made of King and Goffin’s ability to write for and sell the first wave of African-American pop acts. Nor the subversive charm the duo brought to the white, manufactured boy band, The Monkees. What’s disappointing is how much of this material is right in front of McGrath, from Goffin’s affair with an African-American singer (called Janelle Woods in the show, but possibly one of the Chiffons) to King and Goffin’s retreat to the suburbs.\u003c/p>\n\u003cp>What should be rough and painful is glossed over. By the time King is singing her own songs — working on \u003cem>Tapestry\u003c/em> in the studio with Lou Alder and performing in front of huge crowds — the drama feels spent and preordained, the singing straining for effect. It should have been otherwise.\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>\u003cem>Showgirls! The Musical \u003c/em>resolves Paul Verhoven’s schlocky movie in musical form\u003c/strong>\u003c/p>\n\u003cp>Paul Verhoven’s \u003cem>Showgirls\u003c/em>, a strip show take on \u003cem>All About Eve\u003c/em>, is one of the greatest so-bad-it’s-good movies of all time. It’s a deliberate piece of sleaze so over-the-top that it somehow achieves moments of subtlety, pain, and insight. One might argue that Verhoven anticipated the derision and parodies that would inevitably follow, and that Bob and Tobly McSmith’s musical theater send-up is exactly what he imagined would happen. The excesses of \u003cem>Showgirls\u003c/em> could only be resolved in a musical.\u003c/p>\n\u003cp>So in many ways the script — sometimes witty, always raunchy, and ridiculously provisional to the proceedings — is an afterthought. It could have been better or worse, and it still would have had nothing to do with what’s disturbing and fascinating about the production. \u003cem>Showgirls! The Musical\u003c/em> is all about the performers and how far they’re willing to embrace trash, just as Elizabeth Berkley and Gina Gershon did in the original. The answer at the Victoria Theatre is: pretty far.\u003c/p>\n\u003cfigure id=\"attachment_11946583\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11946583\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Showgirls_edited.jpg\" alt=\"Nomi Malone (April Kidwell) takes her ambitions out on her stripper's pole in 'Showgirls! The Musical' at the Victoria Theatre.\" width=\"750\" height=\"423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Showgirls_edited.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Showgirls_edited-400x226.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Nomi Malone (April Kidwell) takes her ambitions out on her stripper’s pole in ‘Showgirls! The Musical’ at the Victoria Theatre. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>April Kidwell, as Nomi, the drifter-prostitute dreaming of Las Vegas showgirl stardom, gives the most committed and startling comic performance I’ve seen so far this year. Like the best of Will Ferrell’s early film work, Kidwell uses her naked body to shock us into recognizing our common humanity. The character might come off as wooden, shallow, and foolish, but the failures of Nomi’s body to obey her ambitions tell a more complex and mournful tale.\u003c/p>\n\u003cp>Watch Nomi attempt to master a stripper’s pole, have sex in a pool, or perform a topless soft shoe shuffle in the middle of a striptease. Suddenly, under Kidwell’s striking comic bumbling, you see how human a fool can be. And so when Nomi sings, no matter how risible the material — “Dancing Ain’t Fucking,” “Dead Hooker,” “We’re Fucking Underwater” to name just a few of the musical’s imaginatively-titled numbers — we listen with care and understanding. How wonderful that Nomi should find the strength, during and after every degradation, to burst into song.\u003c/p>\n\u003cp>\u003cem>Showgirls! The Musical\u003c/em> is not great art and might even be bad art, but somehow it does what great art so beautifully accomplishes — it forces you to care for someone you’d otherwise laugh at.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Beautiful\u003c/em> plays through Sunday, Sep. 18 at the Orpheum Theatre in San Francisco. For tickets and information please click \u003ca href=\"https://www.shnsf.com\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Showgirls! The Musical\u003c/em> plays through Saturday, Aug. 27 at the Victoria Theatre in San Francisco. For tickets and information please click \u003ca href=\"http://www.showgirlsthemusical.com\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Why Some Moments in Life Feel Like a David Lynch Movie",
"headTitle": "Why Some Moments in Life Feel Like a David Lynch Movie | KQED",
"content": "\u003cp>Reading Dennis Lim’s excellent little book, \u003ci>David Lynch: The Man from Another Place\u003c/i>, I began to notice how much I cite Lynch’s films in the ordinary run of internal life. Last week it was an electrical box droning in the midst an otherwise serene day; a week earlier it was two couples sitting knee-to-knee on a covered patio swing in suburban New Hampshire. \u003c/p>\n\u003cfigure id=\"attachment_11947872\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/MFAPCover.jpg\" alt=\"Dennis Lim's 'The Man From Another Place.'\" width=\"427\" height=\"640\" class=\"size-full wp-image-11947872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MFAPCover.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MFAPCover-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Dennis Lim’s ‘The Man From Another Place.’ \u003ccite>(Courtesy of Houghton Mifflin Harcourt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It turns out there is a whole category of experience that is somehow clarified, or at least rendered more vivid, by being approached as if it is happening in a David Lynch movie. Lim frequently returns to the idea of Lynch’s films as environments or worlds for the viewer to inhabit and linger, but it’s deliciously unobvious whether we are absorbing the films or they us. \u003c/p>\n\u003cp>Every bit the primer, \u003ci>David Lynch: The Man from Another Place\u003c/i> serves as both an introduction to Lynch’s work and an inducement to return to the fold. Bay Area audiences can do just that when the critic visits the \u003ca href=\"http://bampfa.org/\" target=\"_blank\" rel=\"noopener\">UC Berkeley Art Museum and Pacific Film Archive\u003c/a> (BAMPFA) for a \u003ca href=\"http://bampfa.org/program/david-lynch-man-another-place\" target=\"_blank\" rel=\"noopener\">marathon weekend of screenings\u003c/a> spanning the full sweep of Lynch’s career. \u003c/p>\n\u003cp>Lim’s book briskly recounts the production history of all this work, as well as charting Lynch’s constellation of collaborators (a deep bow for sound designer Alan Splet), influences (how’s Ronald Reagan, Francis Bacon, and the Maharishi for an unlikely trio?), and affectations (buttoned up, fiending for sugar). As for the psychological tie between life and work, how much more needs to be said once you know that a young Lynch himself slept in \u003cem>\u003ca href=\"http://bampfa.org/event/eraserhead-1\" target=\"_blank\" rel=\"noopener\">Eraserhead\u003c/a>\u003c/em>’s (1976) bedroom set?\u003c/p>\n\u003cfigure id=\"attachment_11947870\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Eraserhead.jpg\" alt=\"'Eraserhead' screens at BAMPFA Saturday, Aug. 20 at 8:45pm.\" width=\"1200\" height=\"939\" class=\"size-full wp-image-11947870\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-400x313.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-767x600.jpg 767w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-1180x923.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-960x751.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Eraserhead’ screens at BAMPFA Saturday, Aug. 20 at 8:45pm. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lim peppers his descriptions of the films themselves with epigrammatic insights: “Sincerity can rip open a Lynch film as decisively as dread;” “All of [Lynch’s bad guys] wield knowledge they shouldn’t have as an instrument of fear;” “The very presence of mystery suggests realms of possibility, a transformative way of looking at the world.” Intelligent, honed criticism of this kind is always refreshing, but especially so when applied to this particular subject. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lim perceptively notes how journalists tend to follow Lynch’s own script — and specifically \u003cem>\u003ca href=\"http://bampfa.org/event/blue-velvet-2\" target=\"_blank\" rel=\"noopener\">Blue Velvet\u003c/a>\u003c/em>’s (1986) indelible opening — in searching out the seamy reality underlying Lynch’s bright exterior. The academic equivalent is to respond all too eagerly to the overabundant symbols and enigmas set like so many lures in Lynch’s work. By avoiding interpretive excess, Lim actually helps us to see Lynch’s singular position in film culture as a “populist experimental filmmaker, [who] has only grown freer and more radical with age.” \u003c/p>\n\u003cfigure id=\"attachment_11947871\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian.jpg\" alt=\"'A Shadow History of the Lynchian: Oddities and Marginalia' plays at BAMPFA Sunday, Aug. 21 at 4:30pm.\" width=\"900\" height=\"600\" class=\"size-full wp-image-11947871\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian-768x512.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">‘A Shadow History of the Lynchian: Oddities and Marginalia’ plays at BAMPFA Sunday, Aug. 21 at 4:30pm. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Lim mostly leaves cultural commentary to a minimum, he rightly pauses over \u003cem>Twin Peaks\u003c/em> to emphasize just how out of the ordinary it seemed in 1990. “The TV terrain of the 1980s was a smaller, safer place,” he recalls — which was precisely the attraction for Lynch. “People are in their own homes and nobody’s bothering them,” he told an interviewer at the time. “They’re well placed for entering into the dream.” \u003c/p>\n\u003cp>We learn that \u003cem>Twin Peaks\u003c/em> was the most recorded television show of its moment, a fact as revealing as it is anachronistic. Along with \u003cem>\u003ca href=\"http://bampfa.org/event/mulholland-drive-0\" target=\"_blank\" rel=\"noopener\">Mulholland Drive\u003c/a>\u003c/em> (2001), which also had its start in television, \u003cem>Twin Peaks\u003c/em> remains the most fully inhabitable of Lynch’s work. \u003c/p>\n\u003cfigure id=\"attachment_11948724\" class=\"wp-caption aligncenter\" style=\"max-width: 623px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lynch_Twin-Peaks_001.jpg\" alt=\"'Twin Peaks: Fire Walk with Me,' screens at BAMPFA on Sunday, Aug. 21 Sunday, August 21 7pm.\" width=\"623\" height=\"420\" class=\"size-full wp-image-11948724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lynch_Twin-Peaks_001.jpg 623w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lynch_Twin-Peaks_001-400x270.jpg 400w\" sizes=\"(max-width: 623px) 100vw, 623px\">\u003cfigcaption class=\"wp-caption-text\">‘Twin Peaks: Fire Walk with Me,’ screens at BAMPFA on Sunday, Aug. 21 Sunday, August 21\u003cbr>7pm. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The BAMPFA program includes a rare 35mm screening of \u003cem>\u003ca href=\"http://bampfa.org/event/twin-peaks-fire-walk-me\" target=\"_blank\" rel=\"noopener\">Twin Peaks: Fire Walk With Me\u003c/a>\u003c/em> (1992), the feature-length prequel that annulled any doubt that Lynch would be going his own way. “I happened to be in love with the world of Twin Peaks and the characters that exist there,” he told a press conference at the time. “I wanted to go back into the world before it started on the series and to see what was there, to actually see things that we had heard about.” It’s one of the more remarkable quotations in Lim’s book, suggesting not only that Lynch is comfortable working without a net — indeed, that he is perhaps only comfortable working this way — but that he might well find his own films as strange as the rest of us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Dennis Lim introduces each screening in the series \u003cb>David Lynch: The Man from Another Place\u003c/b> at the UC Berkeley Art Museum and Pacific Film Archive, Aug. 19-21. For tickets and more information visit \u003ca href=\"http://bampfa.org/program/david-lynch-man-another-place\" target=\"_blank\" rel=\"noopener\">bampfa.org\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Critic Dennis Lim, author of the excellent 'David Lynch: The Man from Another Place,' brings three days of wild at heart films to BAMPFA this weekend.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Reading Dennis Lim’s excellent little book, \u003ci>David Lynch: The Man from Another Place\u003c/i>, I began to notice how much I cite Lynch’s films in the ordinary run of internal life. Last week it was an electrical box droning in the midst an otherwise serene day; a week earlier it was two couples sitting knee-to-knee on a covered patio swing in suburban New Hampshire. \u003c/p>\n\u003cfigure id=\"attachment_11947872\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/MFAPCover.jpg\" alt=\"Dennis Lim's 'The Man From Another Place.'\" width=\"427\" height=\"640\" class=\"size-full wp-image-11947872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MFAPCover.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MFAPCover-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Dennis Lim’s ‘The Man From Another Place.’ \u003ccite>(Courtesy of Houghton Mifflin Harcourt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It turns out there is a whole category of experience that is somehow clarified, or at least rendered more vivid, by being approached as if it is happening in a David Lynch movie. Lim frequently returns to the idea of Lynch’s films as environments or worlds for the viewer to inhabit and linger, but it’s deliciously unobvious whether we are absorbing the films or they us. \u003c/p>\n\u003cp>Every bit the primer, \u003ci>David Lynch: The Man from Another Place\u003c/i> serves as both an introduction to Lynch’s work and an inducement to return to the fold. Bay Area audiences can do just that when the critic visits the \u003ca href=\"http://bampfa.org/\" target=\"_blank\" rel=\"noopener\">UC Berkeley Art Museum and Pacific Film Archive\u003c/a> (BAMPFA) for a \u003ca href=\"http://bampfa.org/program/david-lynch-man-another-place\" target=\"_blank\" rel=\"noopener\">marathon weekend of screenings\u003c/a> spanning the full sweep of Lynch’s career. \u003c/p>\n\u003cp>Lim’s book briskly recounts the production history of all this work, as well as charting Lynch’s constellation of collaborators (a deep bow for sound designer Alan Splet), influences (how’s Ronald Reagan, Francis Bacon, and the Maharishi for an unlikely trio?), and affectations (buttoned up, fiending for sugar). As for the psychological tie between life and work, how much more needs to be said once you know that a young Lynch himself slept in \u003cem>\u003ca href=\"http://bampfa.org/event/eraserhead-1\" target=\"_blank\" rel=\"noopener\">Eraserhead\u003c/a>\u003c/em>’s (1976) bedroom set?\u003c/p>\n\u003cfigure id=\"attachment_11947870\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Eraserhead.jpg\" alt=\"'Eraserhead' screens at BAMPFA Saturday, Aug. 20 at 8:45pm.\" width=\"1200\" height=\"939\" class=\"size-full wp-image-11947870\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-400x313.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-767x600.jpg 767w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-1180x923.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-960x751.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Eraserhead’ screens at BAMPFA Saturday, Aug. 20 at 8:45pm. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lim peppers his descriptions of the films themselves with epigrammatic insights: “Sincerity can rip open a Lynch film as decisively as dread;” “All of [Lynch’s bad guys] wield knowledge they shouldn’t have as an instrument of fear;” “The very presence of mystery suggests realms of possibility, a transformative way of looking at the world.” Intelligent, honed criticism of this kind is always refreshing, but especially so when applied to this particular subject. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lim perceptively notes how journalists tend to follow Lynch’s own script — and specifically \u003cem>\u003ca href=\"http://bampfa.org/event/blue-velvet-2\" target=\"_blank\" rel=\"noopener\">Blue Velvet\u003c/a>\u003c/em>’s (1986) indelible opening — in searching out the seamy reality underlying Lynch’s bright exterior. The academic equivalent is to respond all too eagerly to the overabundant symbols and enigmas set like so many lures in Lynch’s work. By avoiding interpretive excess, Lim actually helps us to see Lynch’s singular position in film culture as a “populist experimental filmmaker, [who] has only grown freer and more radical with age.” \u003c/p>\n\u003cfigure id=\"attachment_11947871\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian.jpg\" alt=\"'A Shadow History of the Lynchian: Oddities and Marginalia' plays at BAMPFA Sunday, Aug. 21 at 4:30pm.\" width=\"900\" height=\"600\" class=\"size-full wp-image-11947871\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian-768x512.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">‘A Shadow History of the Lynchian: Oddities and Marginalia’ plays at BAMPFA Sunday, Aug. 21 at 4:30pm. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Lim mostly leaves cultural commentary to a minimum, he rightly pauses over \u003cem>Twin Peaks\u003c/em> to emphasize just how out of the ordinary it seemed in 1990. “The TV terrain of the 1980s was a smaller, safer place,” he recalls — which was precisely the attraction for Lynch. “People are in their own homes and nobody’s bothering them,” he told an interviewer at the time. “They’re well placed for entering into the dream.” \u003c/p>\n\u003cp>We learn that \u003cem>Twin Peaks\u003c/em> was the most recorded television show of its moment, a fact as revealing as it is anachronistic. Along with \u003cem>\u003ca href=\"http://bampfa.org/event/mulholland-drive-0\" target=\"_blank\" rel=\"noopener\">Mulholland Drive\u003c/a>\u003c/em> (2001), which also had its start in television, \u003cem>Twin Peaks\u003c/em> remains the most fully inhabitable of Lynch’s work. \u003c/p>\n\u003cfigure id=\"attachment_11948724\" class=\"wp-caption aligncenter\" style=\"max-width: 623px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lynch_Twin-Peaks_001.jpg\" alt=\"'Twin Peaks: Fire Walk with Me,' screens at BAMPFA on Sunday, Aug. 21 Sunday, August 21 7pm.\" width=\"623\" height=\"420\" class=\"size-full wp-image-11948724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lynch_Twin-Peaks_001.jpg 623w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lynch_Twin-Peaks_001-400x270.jpg 400w\" sizes=\"(max-width: 623px) 100vw, 623px\">\u003cfigcaption class=\"wp-caption-text\">‘Twin Peaks: Fire Walk with Me,’ screens at BAMPFA on Sunday, Aug. 21 Sunday, August 21\u003cbr>7pm. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The BAMPFA program includes a rare 35mm screening of \u003cem>\u003ca href=\"http://bampfa.org/event/twin-peaks-fire-walk-me\" target=\"_blank\" rel=\"noopener\">Twin Peaks: Fire Walk With Me\u003c/a>\u003c/em> (1992), the feature-length prequel that annulled any doubt that Lynch would be going his own way. “I happened to be in love with the world of Twin Peaks and the characters that exist there,” he told a press conference at the time. “I wanted to go back into the world before it started on the series and to see what was there, to actually see things that we had heard about.” It’s one of the more remarkable quotations in Lim’s book, suggesting not only that Lynch is comfortable working without a net — indeed, that he is perhaps only comfortable working this way — but that he might well find his own films as strange as the rest of us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Dennis Lim introduces each screening in the series \u003cb>David Lynch: The Man from Another Place\u003c/b> at the UC Berkeley Art Museum and Pacific Film Archive, Aug. 19-21. For tickets and more information visit \u003ca href=\"http://bampfa.org/program/david-lynch-man-another-place\" target=\"_blank\" rel=\"noopener\">bampfa.org\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Overdue ‘Eva Hesse’ a Fitting Homage to Sculptor’s Brief, Brilliant Career",
"headTitle": "Overdue ‘Eva Hesse’ a Fitting Homage to Sculptor’s Brief, Brilliant Career | KQED",
"content": "\u003cp>Certain artists become famous not just for what they achieve, but for what the art historical consensus \u003cem>believes\u003c/em> they could have achieved had they not died young. Jean-Michel Basquiat, Francesca Woodman, Keith Haring, Felix Gonzalez-Torres — none reached the age befitting a mid-career retrospective, all left us with the tantalizing beginnings of potentially monumental art practices.\u003c/p>\n\u003cfigure id=\"attachment_11944806\" class=\"wp-caption alignright\" style=\"max-width: 432px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Poster640.jpg\" alt=\"Opening Friday, Aug. 19 in San Francisco and San Rafael.\" width=\"432\" height=\"640\" class=\"size-full wp-image-11944806\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Poster640.jpg 432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Poster640-400x593.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Poster640-405x600.jpg 405w\" sizes=\"(max-width: 432px) 100vw, 432px\">\u003cfigcaption class=\"wp-caption-text\">Opening Friday, Aug. 19 in San Francisco and San Rafael. \u003ccite>(Courtesy of Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sculptor Eva Hesse is a member of this “what might have been” club, a prodigious and adventurous maker who died in 1970 at the age of 34, just five years after bursting onto the New York art scene with her particular brand of “eccentric abstraction.” \u003c/p>\n\u003cp>Marcie Begleiter’s new documentary on Hesse (remarkably, the \u003cem>first\u003c/em> documentary about Hesse’s life and work), simply titled \u003ci>\u003ca href=\"http://www.evahessedoc.com/\" target=\"_blank\" rel=\"noopener\">Eva Hesse\u003c/a>\u003c/i>, dwells not so much on the imagined possibilities of a lengthy career, but on Hesse’s dedication to her art. Hesse’s work is beautiful and important, yes, but Begleiter’s lens focuses on her ability to transform emotional turmoil, personal tragedy and even her own uncertainty into art that was wholly her own. \u003c/p>\n\u003cp>Born into a Jewish family in Hamburg, Germany in 1936, Hesse and her older sister Helen were evacuated via \u003ca href=\"https://en.wikipedia.org/wiki/Kindertransport\" target=\"_blank\" rel=\"noopener\">Kindertransport\u003c/a> to the Netherlands in 1938, away from the Nazi regime. Reunited six months later, the Hesses immigrated to New York City in 1939. They were the only members of their extended family to escape the Holocaust. Learning this, Hesse’s mentally unstable mother took her own life when her youngest daughter was just ten years old.\u003c/p>\n\u003cfigure id=\"attachment_11944741\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/HesseAlbers1200.jpg\" alt=\"Eva Hesse and Josef Albers at Yale.\" width=\"1200\" height=\"949\" class=\"size-full wp-image-11944741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseAlbers1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseAlbers1200-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseAlbers1200-759x600.jpg 759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseAlbers1200-768x607.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseAlbers1200-1180x933.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseAlbers1200-960x759.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Eva Hesse and Josef Albers at Yale. \u003ccite>(Courtesy of Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Begleiter’s retelling, Hesse’s early trauma and sense of isolation fostered within the artist a single-minded focus on her career. After studies at Pratt, Cooper Union and under Josef Albers at Yale, Hesse was determined to “make it” as a painter in New York. “I’m almost too anxious for every moment and every future moment,” she wrote in her journals. “I will paint against every rule.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But painting was not her path. In 1964, Hesse and her then-husband Tom Doyle flew to Kettwig, Germany, for a year-long residency courtesy of a German textile factory owner. There, in the midst of a tumultuous marriage and haunted by the ghosts of her early childhood, Hesse began experimenting with three-dimensional work. She coiled rope on top of canvases, attached appendages to frames, and built up surfaces with texture and color.\u003c/p>\n\u003cp>Despite the playful and bold arrangements of these artworks — hovering partway between painting and sculpture — the documentary shows Hesse full of self-doubt in Germany.\u003c/p>\n\u003cfigure id=\"attachment_11944743\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/HesseGermany1200.jpg\" alt=\"Eva Hesse in Kettwig, Germany, 1964.\" width=\"1200\" height=\"880\" class=\"size-full wp-image-11944743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseGermany1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseGermany1200-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseGermany1200-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseGermany1200-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseGermany1200-1180x865.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseGermany1200-960x704.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Eva Hesse in Kettwig, Germany, 1964. \u003ccite>(Courtesy of Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one letter exchange between Hesse and her dear friend Sol LeWitt, the famous Minimalist patiently coaches Hesse through her studio frustrations. “Stop worrying about big deep things,” he writes. “You must practice being stupid, dumb, unthinking, empty. Then you’ll be able to do.”\u003c/p>\n\u003cp>Begleiter’s glimpse into this early uncertainty makes Hesse’s later confidence in the fine art world all the more impressive. Her life was full of simultaneous extremes. In 1966, her marriage ended in divorce, her father suddenly died and Lucy Lippard curated Hesse’s formal yet exuberant work into the group show \u003ci>Eccentric Abstraction\u003c/i> at New York’s Fischbach Gallery. \u003c/p>\n\u003cp>Assured of her own skill, she even managed to dismiss the rampant sexism of the 1960s art world. Hilton Kramer of \u003ci>The New York Times\u003c/i> labeled one of her \u003ci>Eccentric Abstraction\u003c/i> sculptures a mere mimic of Jackson Pollock’s drip paintings. Hesse refused to allow herself to be relegated to the background as a “female artist.” \u003c/p>\n\u003cfigure id=\"attachment_11944742\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/HesseEccentric1200.jpg\" alt=\"Eva Hesse in front of her work 'Metronomic Irregularity II,' in 'Eccentric Abstraction.'\" width=\"1200\" height=\"811\" class=\"size-full wp-image-11944742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseEccentric1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseEccentric1200-400x270.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseEccentric1200-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseEccentric1200-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseEccentric1200-1180x797.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseEccentric1200-960x649.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Eva Hesse in front of her work ‘Metronomic Irregularity II,’ in ‘Eccentric Abstraction.’ \u003ccite>(Courtesy of Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The best way to beat discrimination in art is by art,” Hesse wrote. “Excellence has no sex.”\u003c/p>\n\u003cp>As if to prove this point singlehandedly, she returned to Fischbach Gallery in 1968 for her first solo show, filled with strange material investigations and impressive, mesmerizing sculpture. “This is a first one-man show of uncommon interest,” wrote the very same \u003ci>New York Times\u003c/i> critic. In the documentary, Selma Blair (playing the voice of Eva Hesse) reads his adulatory review in its entirety. \u003c/p>\n\u003cp>In her short time as a showing artist, Hesse was part of a cadre of talented artist friends, many of whom lend their talking heads to the documentary. Lucy Lippard, Nancy Holt, Sylvia and Robert Mangold, Richard Serra, Carl Andre and Dan Graham all make appearances. Their contemporary successes — and vitality — make Hesse’s 1970 death all the more heart-wrenching.\u003c/p>\n\u003cfigure id=\"attachment_11944744\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/HesseHumor1200.jpg\" alt=\"Hesse's sense of absurdity shines as she "interacts" with her sculpture.\" width=\"1200\" height=\"809\" class=\"size-full wp-image-11944744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseHumor1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseHumor1200-400x270.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseHumor1200-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseHumor1200-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseHumor1200-1180x796.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseHumor1200-960x647.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hesse’s sense of absurdity shines as she “interacts” with her sculpture. \u003ccite>(Courtesy of Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Begleiter doesn’t spend much time dwelling on the issue of whether or not Hesse’s materials — epoxy, rubber, fiberglass, various polymers — hastened her demise, as many believe. (Hesse died from brain tumors.) The best analog for her brief career comes from Hesse herself, who cared little about the archival qualities of her own work. “Life doesn’t last, art doesn’t last, it doesn’t matter,” she wrote.\u003c/p>\n\u003cp>To her, making the work, and making as much of it as possible, was the best part of being an artist. She took LeWitt’s advice to heart, replacing “making it” with “doing it” and securing her rightful place in art history in the process.\u003c/p>\n\u003cp>https://youtu.be/aov6R8qmf10\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Eva Hesse’ opens Friday, Aug. 19 at the \u003ca href=\"http://www.roxie.com/\" target=\"_blank\" rel=\"noopener\">Roxie Theater\u003c/a> in San Francisco and the \u003ca href=\"http://rafaelfilm.cafilm.org/\" target=\"_blank\" rel=\"noopener\">Christopher B. Smith Rafael Film Center\u003c/a> in San Rafael.\u003c/i>\u003c/p>\n\n",
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"excerpt": "The first-ever documentary on the life and work of groundbreaking sculptor Eva Hesse provides welcome insight into a triumphant career tragically cut short.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Certain artists become famous not just for what they achieve, but for what the art historical consensus \u003cem>believes\u003c/em> they could have achieved had they not died young. Jean-Michel Basquiat, Francesca Woodman, Keith Haring, Felix Gonzalez-Torres — none reached the age befitting a mid-career retrospective, all left us with the tantalizing beginnings of potentially monumental art practices.\u003c/p>\n\u003cfigure id=\"attachment_11944806\" class=\"wp-caption alignright\" style=\"max-width: 432px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Poster640.jpg\" alt=\"Opening Friday, Aug. 19 in San Francisco and San Rafael.\" width=\"432\" height=\"640\" class=\"size-full wp-image-11944806\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Poster640.jpg 432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Poster640-400x593.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Poster640-405x600.jpg 405w\" sizes=\"(max-width: 432px) 100vw, 432px\">\u003cfigcaption class=\"wp-caption-text\">Opening Friday, Aug. 19 in San Francisco and San Rafael. \u003ccite>(Courtesy of Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sculptor Eva Hesse is a member of this “what might have been” club, a prodigious and adventurous maker who died in 1970 at the age of 34, just five years after bursting onto the New York art scene with her particular brand of “eccentric abstraction.” \u003c/p>\n\u003cp>Marcie Begleiter’s new documentary on Hesse (remarkably, the \u003cem>first\u003c/em> documentary about Hesse’s life and work), simply titled \u003ci>\u003ca href=\"http://www.evahessedoc.com/\" target=\"_blank\" rel=\"noopener\">Eva Hesse\u003c/a>\u003c/i>, dwells not so much on the imagined possibilities of a lengthy career, but on Hesse’s dedication to her art. Hesse’s work is beautiful and important, yes, but Begleiter’s lens focuses on her ability to transform emotional turmoil, personal tragedy and even her own uncertainty into art that was wholly her own. \u003c/p>\n\u003cp>Born into a Jewish family in Hamburg, Germany in 1936, Hesse and her older sister Helen were evacuated via \u003ca href=\"https://en.wikipedia.org/wiki/Kindertransport\" target=\"_blank\" rel=\"noopener\">Kindertransport\u003c/a> to the Netherlands in 1938, away from the Nazi regime. Reunited six months later, the Hesses immigrated to New York City in 1939. They were the only members of their extended family to escape the Holocaust. Learning this, Hesse’s mentally unstable mother took her own life when her youngest daughter was just ten years old.\u003c/p>\n\u003cfigure id=\"attachment_11944741\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/HesseAlbers1200.jpg\" alt=\"Eva Hesse and Josef Albers at Yale.\" width=\"1200\" height=\"949\" class=\"size-full wp-image-11944741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseAlbers1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseAlbers1200-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseAlbers1200-759x600.jpg 759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseAlbers1200-768x607.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseAlbers1200-1180x933.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseAlbers1200-960x759.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Eva Hesse and Josef Albers at Yale. \u003ccite>(Courtesy of Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Begleiter’s retelling, Hesse’s early trauma and sense of isolation fostered within the artist a single-minded focus on her career. After studies at Pratt, Cooper Union and under Josef Albers at Yale, Hesse was determined to “make it” as a painter in New York. “I’m almost too anxious for every moment and every future moment,” she wrote in her journals. “I will paint against every rule.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But painting was not her path. In 1964, Hesse and her then-husband Tom Doyle flew to Kettwig, Germany, for a year-long residency courtesy of a German textile factory owner. There, in the midst of a tumultuous marriage and haunted by the ghosts of her early childhood, Hesse began experimenting with three-dimensional work. She coiled rope on top of canvases, attached appendages to frames, and built up surfaces with texture and color.\u003c/p>\n\u003cp>Despite the playful and bold arrangements of these artworks — hovering partway between painting and sculpture — the documentary shows Hesse full of self-doubt in Germany.\u003c/p>\n\u003cfigure id=\"attachment_11944743\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/HesseGermany1200.jpg\" alt=\"Eva Hesse in Kettwig, Germany, 1964.\" width=\"1200\" height=\"880\" class=\"size-full wp-image-11944743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseGermany1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseGermany1200-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseGermany1200-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseGermany1200-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseGermany1200-1180x865.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseGermany1200-960x704.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Eva Hesse in Kettwig, Germany, 1964. \u003ccite>(Courtesy of Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one letter exchange between Hesse and her dear friend Sol LeWitt, the famous Minimalist patiently coaches Hesse through her studio frustrations. “Stop worrying about big deep things,” he writes. “You must practice being stupid, dumb, unthinking, empty. Then you’ll be able to do.”\u003c/p>\n\u003cp>Begleiter’s glimpse into this early uncertainty makes Hesse’s later confidence in the fine art world all the more impressive. Her life was full of simultaneous extremes. In 1966, her marriage ended in divorce, her father suddenly died and Lucy Lippard curated Hesse’s formal yet exuberant work into the group show \u003ci>Eccentric Abstraction\u003c/i> at New York’s Fischbach Gallery. \u003c/p>\n\u003cp>Assured of her own skill, she even managed to dismiss the rampant sexism of the 1960s art world. Hilton Kramer of \u003ci>The New York Times\u003c/i> labeled one of her \u003ci>Eccentric Abstraction\u003c/i> sculptures a mere mimic of Jackson Pollock’s drip paintings. Hesse refused to allow herself to be relegated to the background as a “female artist.” \u003c/p>\n\u003cfigure id=\"attachment_11944742\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/HesseEccentric1200.jpg\" alt=\"Eva Hesse in front of her work 'Metronomic Irregularity II,' in 'Eccentric Abstraction.'\" width=\"1200\" height=\"811\" class=\"size-full wp-image-11944742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseEccentric1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseEccentric1200-400x270.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseEccentric1200-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseEccentric1200-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseEccentric1200-1180x797.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseEccentric1200-960x649.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Eva Hesse in front of her work ‘Metronomic Irregularity II,’ in ‘Eccentric Abstraction.’ \u003ccite>(Courtesy of Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The best way to beat discrimination in art is by art,” Hesse wrote. “Excellence has no sex.”\u003c/p>\n\u003cp>As if to prove this point singlehandedly, she returned to Fischbach Gallery in 1968 for her first solo show, filled with strange material investigations and impressive, mesmerizing sculpture. “This is a first one-man show of uncommon interest,” wrote the very same \u003ci>New York Times\u003c/i> critic. In the documentary, Selma Blair (playing the voice of Eva Hesse) reads his adulatory review in its entirety. \u003c/p>\n\u003cp>In her short time as a showing artist, Hesse was part of a cadre of talented artist friends, many of whom lend their talking heads to the documentary. Lucy Lippard, Nancy Holt, Sylvia and Robert Mangold, Richard Serra, Carl Andre and Dan Graham all make appearances. Their contemporary successes — and vitality — make Hesse’s 1970 death all the more heart-wrenching.\u003c/p>\n\u003cfigure id=\"attachment_11944744\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/HesseHumor1200.jpg\" alt=\"Hesse's sense of absurdity shines as she "interacts" with her sculpture.\" width=\"1200\" height=\"809\" class=\"size-full wp-image-11944744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseHumor1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseHumor1200-400x270.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseHumor1200-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseHumor1200-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseHumor1200-1180x796.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseHumor1200-960x647.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hesse’s sense of absurdity shines as she “interacts” with her sculpture. \u003ccite>(Courtesy of Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Begleiter doesn’t spend much time dwelling on the issue of whether or not Hesse’s materials — epoxy, rubber, fiberglass, various polymers — hastened her demise, as many believe. (Hesse died from brain tumors.) The best analog for her brief career comes from Hesse herself, who cared little about the archival qualities of her own work. “Life doesn’t last, art doesn’t last, it doesn’t matter,” she wrote.\u003c/p>\n\u003cp>To her, making the work, and making as much of it as possible, was the best part of being an artist. She took LeWitt’s advice to heart, replacing “making it” with “doing it” and securing her rightful place in art history in the process.\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/aov6R8qmf10'\n title='//www.youtube.com/embed/aov6R8qmf10'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Eva Hesse’ opens Friday, Aug. 19 at the \u003ca href=\"http://www.roxie.com/\" target=\"_blank\" rel=\"noopener\">Roxie Theater\u003c/a> in San Francisco and the \u003ca href=\"http://rafaelfilm.cafilm.org/\" target=\"_blank\" rel=\"noopener\">Christopher B. Smith Rafael Film Center\u003c/a> in San Rafael.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In 'Harmony,' Women Are Mysteries, Men Are Open Books",
"headTitle": "In ‘Harmony,’ Women Are Mysteries, Men Are Open Books | KQED",
"content": "\u003cp>Carolyn Parkhurst’s fourth novel, \u003cem>Harmony\u003c/em>, is told entirely from female perspectives. Alexandra Hammond and her two daughters each get their own chapters to develop the story: Alexandra fills in the past, while prosaic 11-year-old Iris narrates the present. And Tilly, a mercurial 13-year-old on the autistic spectrum, invents wild futures where the Hammonds have become the subjects of wild theorizing and lost lore. But the strange and fascinating thing about \u003cem>Harmony\u003c/em> is how it uses its female points of view to turn the male characters into evocative mysteries. The entire book revolves around the question of what’s going on in the head of one man, children’s counselor Scott Bean. And while Alexandra’s husband Josh is less important to the plot, he’s just as much of an enigma.\u003c/p>\n\u003cp>\u003cem>Harmony\u003c/em> takes its name from a run-down wilderness camp Scott has established for families struggling with children on the spectrum. Alexandra has become dependent on Scott as a parenting consultant, an oasis of calm in a world that’s largely indifferent to her struggles with Tilly. Alexandra worries that Josh is a better parent than she is — certainly he seems to relate to the girls better, and deal with them more casually and comfortably, though it’s hard to entirely interpret his jocular but tense behavior. Scott, on the other hand, seems to understand Alexandra’s secret struggles, and doesn’t judge her for the way she’s withdrawn into mindless distractions. When school after school rejects Tilly, Scott is there to help, and his methods work so well that Alexandra pushes the family to “simplify” by shedding most of their belongings and moving to Camp Harmony to help run the place.\u003c/p>\n\u003cfigure id=\"attachment_11933330\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg-1085x1180.jpg\" alt=\"Carolyn Parkhurst.\" width=\"640\" height=\"696\" class=\"size-large wp-image-11933330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg-1085x1180.jpg 1085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg-400x435.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg-551x600.jpg 551w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg-768x836.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg-1180x1284.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg-960x1045.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Carolyn Parkhurst. \u003ccite>(Pamela Dorman Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Iris’ chapters capture just as much discontent, but in a blunter, less sophisticated voice. She’s jealous of her sister, who gets more attention and causes more trouble. She’s worried about the primitive, computer-free camp, where she’s put to work and surrounded by strangers. And while she loves Tilly with the fierce, mercurial love of a little sister, she’s also exasperated by her disruptions and obliviousness. Iris hasn’t fallen within Scott’s sway, but she’s just as dependent on him to address Tilly’s problems. And only she sees some behavior that she accepts as normal, but that will raise alarms for adult readers.\u003c/p>\n\u003cp>\u003cem>Harmony \u003c/em>is a frustratingly short book that skips past the chance to fully develop some of the plot hooks it teases, like Josh and Alexandra’s growing estrangement, or Scott’s mysterious past. Parkhurst’s past novels have all been unusually structured, high-concept stories: \u003cem>The Dogs Of Babel\u003c/em> deals with a linguist trying to learn more about his dead wife (another Alexandra) by teaching his dog to talk; \u003cem>Lost And Found\u003c/em> follows competing couples on an \u003cem>Amazing Race\u003c/em>-like reality-TV show; and \u003cem>The Nobodies Album\u003c/em> features an aging author trying to rewrite her son’s troubled life by rewriting her own novels. All three books deal intimately with families struggling to communicate with and understand each other, often after a crisis that makes rapprochement an especially tall order.\u003c/p>\n\u003cp>\u003cem>Harmony\u003c/em> fits that pattern, but while Iris, Alexandra, and especially Tilly all have distinctive personal voices, Parkhurst doesn’t get into their characters with her usual depth. The book is a fleet page-turner, as the Hammonds careen toward obvious catastrophe of one kind or another. The question looms: Is Scott a kind genius, a dangerously unprepared amateur, or even a violent cult leader in the making? But the answers come with startling abruptness, cutting off a compelling, seductive narrative that could have sustained much more thorough exploration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/CoyGtw2WgAAoj_W-400x603.jpg\" alt=\"CoyGtw2WgAAoj_W\" width=\"400\" height=\"603\" class=\"aligncenter size-thumbnail wp-image-11933328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/CoyGtw2WgAAoj_W-400x603.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/CoyGtw2WgAAoj_W-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/CoyGtw2WgAAoj_W-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/CoyGtw2WgAAoj_W-782x1180.jpg 782w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/CoyGtw2WgAAoj_W.jpg 795w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Harmony\u003c/em>‘s strengths come in its observations about what it takes to parent an unpredictable, unusual child. Alexandra’s exhaustion over constant change, internal and external second-guessing, and the world’s judgment is understandable. But Parkhurst makes it particularly accessible as she teases out her protagonist’s desire to see Tilly fit in, while still preserving the curiosity and energy that makes her different. And the way Alexandra and Iris reflect each other’s fears is particularly touching and compelling. \u003cem>Harmony \u003c/em>deals with ugly family undercurrents of jealousy and resentment remarkably well, and finds sympathy for all its characters in their difficult and sometimes selfish opposition. And it’s unusual and refreshing in its approach to its central mystery. But it’s hard to let go of these characters just as they’re coming into focus. Their troubles, and their story potential, are both deeper than the fast-moving book around them.\u003c/p>\n\n",
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"excerpt": "Carolyn Parkhurst's new novel is told entirely from female perspectives; a mother and two troubled daughters. But the book really revolves around what's going on in the head of one man.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Carolyn Parkhurst’s fourth novel, \u003cem>Harmony\u003c/em>, is told entirely from female perspectives. Alexandra Hammond and her two daughters each get their own chapters to develop the story: Alexandra fills in the past, while prosaic 11-year-old Iris narrates the present. And Tilly, a mercurial 13-year-old on the autistic spectrum, invents wild futures where the Hammonds have become the subjects of wild theorizing and lost lore. But the strange and fascinating thing about \u003cem>Harmony\u003c/em> is how it uses its female points of view to turn the male characters into evocative mysteries. The entire book revolves around the question of what’s going on in the head of one man, children’s counselor Scott Bean. And while Alexandra’s husband Josh is less important to the plot, he’s just as much of an enigma.\u003c/p>\n\u003cp>\u003cem>Harmony\u003c/em> takes its name from a run-down wilderness camp Scott has established for families struggling with children on the spectrum. Alexandra has become dependent on Scott as a parenting consultant, an oasis of calm in a world that’s largely indifferent to her struggles with Tilly. Alexandra worries that Josh is a better parent than she is — certainly he seems to relate to the girls better, and deal with them more casually and comfortably, though it’s hard to entirely interpret his jocular but tense behavior. Scott, on the other hand, seems to understand Alexandra’s secret struggles, and doesn’t judge her for the way she’s withdrawn into mindless distractions. When school after school rejects Tilly, Scott is there to help, and his methods work so well that Alexandra pushes the family to “simplify” by shedding most of their belongings and moving to Camp Harmony to help run the place.\u003c/p>\n\u003cfigure id=\"attachment_11933330\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg-1085x1180.jpg\" alt=\"Carolyn Parkhurst.\" width=\"640\" height=\"696\" class=\"size-large wp-image-11933330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg-1085x1180.jpg 1085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg-400x435.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg-551x600.jpg 551w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg-768x836.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg-1180x1284.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg-960x1045.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Carolyn Parkhurst. \u003ccite>(Pamela Dorman Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Iris’ chapters capture just as much discontent, but in a blunter, less sophisticated voice. She’s jealous of her sister, who gets more attention and causes more trouble. She’s worried about the primitive, computer-free camp, where she’s put to work and surrounded by strangers. And while she loves Tilly with the fierce, mercurial love of a little sister, she’s also exasperated by her disruptions and obliviousness. Iris hasn’t fallen within Scott’s sway, but she’s just as dependent on him to address Tilly’s problems. And only she sees some behavior that she accepts as normal, but that will raise alarms for adult readers.\u003c/p>\n\u003cp>\u003cem>Harmony \u003c/em>is a frustratingly short book that skips past the chance to fully develop some of the plot hooks it teases, like Josh and Alexandra’s growing estrangement, or Scott’s mysterious past. Parkhurst’s past novels have all been unusually structured, high-concept stories: \u003cem>The Dogs Of Babel\u003c/em> deals with a linguist trying to learn more about his dead wife (another Alexandra) by teaching his dog to talk; \u003cem>Lost And Found\u003c/em> follows competing couples on an \u003cem>Amazing Race\u003c/em>-like reality-TV show; and \u003cem>The Nobodies Album\u003c/em> features an aging author trying to rewrite her son’s troubled life by rewriting her own novels. All three books deal intimately with families struggling to communicate with and understand each other, often after a crisis that makes rapprochement an especially tall order.\u003c/p>\n\u003cp>\u003cem>Harmony\u003c/em> fits that pattern, but while Iris, Alexandra, and especially Tilly all have distinctive personal voices, Parkhurst doesn’t get into their characters with her usual depth. The book is a fleet page-turner, as the Hammonds careen toward obvious catastrophe of one kind or another. The question looms: Is Scott a kind genius, a dangerously unprepared amateur, or even a violent cult leader in the making? But the answers come with startling abruptness, cutting off a compelling, seductive narrative that could have sustained much more thorough exploration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/CoyGtw2WgAAoj_W-400x603.jpg\" alt=\"CoyGtw2WgAAoj_W\" width=\"400\" height=\"603\" class=\"aligncenter size-thumbnail wp-image-11933328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/CoyGtw2WgAAoj_W-400x603.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/CoyGtw2WgAAoj_W-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/CoyGtw2WgAAoj_W-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/CoyGtw2WgAAoj_W-782x1180.jpg 782w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/CoyGtw2WgAAoj_W.jpg 795w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Harmony\u003c/em>‘s strengths come in its observations about what it takes to parent an unpredictable, unusual child. Alexandra’s exhaustion over constant change, internal and external second-guessing, and the world’s judgment is understandable. But Parkhurst makes it particularly accessible as she teases out her protagonist’s desire to see Tilly fit in, while still preserving the curiosity and energy that makes her different. And the way Alexandra and Iris reflect each other’s fears is particularly touching and compelling. \u003cem>Harmony \u003c/em>deals with ugly family undercurrents of jealousy and resentment remarkably well, and finds sympathy for all its characters in their difficult and sometimes selfish opposition. And it’s unusual and refreshing in its approach to its central mystery. But it’s hard to let go of these characters just as they’re coming into focus. Their troubles, and their story potential, are both deeper than the fast-moving book around them.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In 'Equity,' Wall Street's Glass Towers Have Glass Ceilings",
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"content": "\u003cp>The boys-club mentality of the finance industry has long extended into finance films, as well. From the razor-sharp original \u003cem>Wall Street\u003c/em> to the violent satire of \u003cem>American Psycho\u003c/em> to our current era of bank statements both serious (\u003cem>Margin Call\u003c/em>) and farcical (\u003cem>The Wolf of Wall Street\u003c/em>, \u003cem>The Big Short)\u003c/em>, movies about money tend also to be about the destructive nature of the male ego. Whenever penthouse-suite guys compete in these films to see who can swing the bigger pile of green, innocent people get hurt.\u003c/p>\n\u003cp>These movies haven’t featured many powerful women, though admittedly it would have been strange to spread the blame for financial malfeasance to a gender that largely hasn’t been in a position to commit any. Still, it’s hard to separate this from the fact that we don’t see many women anchor movies at all, because Hollywood is notoriously bad at telling their stories.\u003c/p>\n\u003cfigure id=\"attachment_11920629\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/2_1200.jpg\" alt=\"Anna Gunn as Naomi Bishop in 'Equity.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11920629\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anna Gunn as Naomi Bishop in ‘Equity.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meera Menon’s new drama \u003cem>Equity\u003c/em> combines these two causes to craft a rebuttal to both the traditional role of women onscreen, and to the role of bankers. It would rather discuss the former, but it can’t avoid the latter.\u003c/p>\n\u003cp>“I like money,” investment banker Naomi Bishop (Anna Gunn) tells an all-female crowd at a college alumni event early in the film, with the same no-nonsense clip Gunn perfected in her years as Skylar White on \u003cem>Breaking Bad\u003c/em>. This is intriguing for its implications: how far might she go to claim what she likes? But then she adds in a soothing tone, “Don’t let money be a dirty word,” a signal that she’s not willing to go very far, because she wants — and believes she is obligated — to pursue obscene wealth while keeping her hands clean.\u003c/p>\n\u003cp>If \u003cem>Equity\u003c/em> sees any contradiction in the idea of a benevolent Gordon Gekko, it never makes that apparent. Naomi’s persuasive talk even works on her old friend Samantha (Alysia Reiner, who also produces and has a “story by” credit). Now hunting crony capitalists and insider traders at the SEC, Samantha also hopes to make more than her government salary. She has taken an interest in Naomi’s firm even as Naomi, still nursing a recent IPO bust, strives to close a giant tech offering that she’s sure will finally confirm her business acumen and vault her to the upper ranks. Could it work? Cue a shot of one of Naomi’s subordinates reading Anne-Marie Slaughter’s \u003cem>Atlantic\u003c/em> article “Why Women Still Can’t Have It All” on her cell phone.\u003c/p>\n\u003cfigure id=\"attachment_11920630\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/12_1200.jpg\" alt=\"Still from 'Equity.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11920630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Equity.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Good on any film for attempting to wrestle with that zeitgeist-y thesis. But \u003cem>Equity’s\u003c/em> first half spends so much time establishing its hierarchy of needs that it dulls the edge of its cutthroat setting. In meeting after meeting, and even through closed-door romances, the tension is limp and the staging cookie-cutter. The film lives in the sleek offices and reflective high-rises of the Manhattan elite, but the camera regards them all with equal disinterest, failing to distinguish between the climbers, the schemers, and the kings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Things improve once we meet the startup in the crosshairs, a billion-dollar Internet security business called “Cachet” led by a hoodied tech bro (Samuel Roukin). Cachet bills itself as both a social network and privacy company, although we never see how it works — only its valuation. Naomi’s colleague and current squeeze (a nicely slimy James Purefoy) steals information about the planned IPO so he can do some insider trading. This is obviously a big no-no, although the film is effective at demonstrating how laughably easy it is to game the system from within. All you need is one name on a napkin and a total lack of moral character.\u003c/p>\n\u003cfigure id=\"attachment_11920628\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/1_1200.jpg\" alt=\"Anna Gunn as Naomi Bishop in 'Equity.'\" width=\"1200\" height=\"746\" class=\"size-full wp-image-11920628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-400x249.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-1180x734.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-960x597.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anna Gunn as Naomi Bishop in ‘Equity.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite this thread, \u003cem>Equity\u003c/em> might be the first Wall Street movie to refrain from making a judgment about Wall Street itself. The script, by Amy Fox, is steeped in the language and culture of the trading process: the deal-making that must happen on the eve of a big IPO and the way a mere rumor of trouble can quash the whole thing. But the rigged system at its center isn’t so much white-collar crime as white-collar sexism. Both Naomi and her second-in-command Erin (Sarah Megan Thomas, who, like Reiner, is also a producer with a “story by” credit) are stymied in their ambitions by any man who holds power, be it the boss who won’t promote a woman, the techie CEO who tries to sleep with Erin, or Purefoy’s selfish schemer. These winners also have something more important in common: to them, money \u003cem>is\u003c/em> a dirty word.\u003c/p>\n\u003cp>\u003cem>Equity\u003c/em> preaches its title within a fundamentally corrupt system. The teetering Jenga tower that sits on the desk of Naomi’s boss doesn’t care whose block is on top. It’s going to fall regardless.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/Xg2TSp5tJy4\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The boys-club mentality of the finance industry has long extended into finance films, as well. From the razor-sharp original \u003cem>Wall Street\u003c/em> to the violent satire of \u003cem>American Psycho\u003c/em> to our current era of bank statements both serious (\u003cem>Margin Call\u003c/em>) and farcical (\u003cem>The Wolf of Wall Street\u003c/em>, \u003cem>The Big Short)\u003c/em>, movies about money tend also to be about the destructive nature of the male ego. Whenever penthouse-suite guys compete in these films to see who can swing the bigger pile of green, innocent people get hurt.\u003c/p>\n\u003cp>These movies haven’t featured many powerful women, though admittedly it would have been strange to spread the blame for financial malfeasance to a gender that largely hasn’t been in a position to commit any. Still, it’s hard to separate this from the fact that we don’t see many women anchor movies at all, because Hollywood is notoriously bad at telling their stories.\u003c/p>\n\u003cfigure id=\"attachment_11920629\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/2_1200.jpg\" alt=\"Anna Gunn as Naomi Bishop in 'Equity.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11920629\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anna Gunn as Naomi Bishop in ‘Equity.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meera Menon’s new drama \u003cem>Equity\u003c/em> combines these two causes to craft a rebuttal to both the traditional role of women onscreen, and to the role of bankers. It would rather discuss the former, but it can’t avoid the latter.\u003c/p>\n\u003cp>“I like money,” investment banker Naomi Bishop (Anna Gunn) tells an all-female crowd at a college alumni event early in the film, with the same no-nonsense clip Gunn perfected in her years as Skylar White on \u003cem>Breaking Bad\u003c/em>. This is intriguing for its implications: how far might she go to claim what she likes? But then she adds in a soothing tone, “Don’t let money be a dirty word,” a signal that she’s not willing to go very far, because she wants — and believes she is obligated — to pursue obscene wealth while keeping her hands clean.\u003c/p>\n\u003cp>If \u003cem>Equity\u003c/em> sees any contradiction in the idea of a benevolent Gordon Gekko, it never makes that apparent. Naomi’s persuasive talk even works on her old friend Samantha (Alysia Reiner, who also produces and has a “story by” credit). Now hunting crony capitalists and insider traders at the SEC, Samantha also hopes to make more than her government salary. She has taken an interest in Naomi’s firm even as Naomi, still nursing a recent IPO bust, strives to close a giant tech offering that she’s sure will finally confirm her business acumen and vault her to the upper ranks. Could it work? Cue a shot of one of Naomi’s subordinates reading Anne-Marie Slaughter’s \u003cem>Atlantic\u003c/em> article “Why Women Still Can’t Have It All” on her cell phone.\u003c/p>\n\u003cfigure id=\"attachment_11920630\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/12_1200.jpg\" alt=\"Still from 'Equity.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11920630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Equity.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Good on any film for attempting to wrestle with that zeitgeist-y thesis. But \u003cem>Equity’s\u003c/em> first half spends so much time establishing its hierarchy of needs that it dulls the edge of its cutthroat setting. In meeting after meeting, and even through closed-door romances, the tension is limp and the staging cookie-cutter. The film lives in the sleek offices and reflective high-rises of the Manhattan elite, but the camera regards them all with equal disinterest, failing to distinguish between the climbers, the schemers, and the kings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Things improve once we meet the startup in the crosshairs, a billion-dollar Internet security business called “Cachet” led by a hoodied tech bro (Samuel Roukin). Cachet bills itself as both a social network and privacy company, although we never see how it works — only its valuation. Naomi’s colleague and current squeeze (a nicely slimy James Purefoy) steals information about the planned IPO so he can do some insider trading. This is obviously a big no-no, although the film is effective at demonstrating how laughably easy it is to game the system from within. All you need is one name on a napkin and a total lack of moral character.\u003c/p>\n\u003cfigure id=\"attachment_11920628\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/1_1200.jpg\" alt=\"Anna Gunn as Naomi Bishop in 'Equity.'\" width=\"1200\" height=\"746\" class=\"size-full wp-image-11920628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-400x249.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-1180x734.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-960x597.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anna Gunn as Naomi Bishop in ‘Equity.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite this thread, \u003cem>Equity\u003c/em> might be the first Wall Street movie to refrain from making a judgment about Wall Street itself. The script, by Amy Fox, is steeped in the language and culture of the trading process: the deal-making that must happen on the eve of a big IPO and the way a mere rumor of trouble can quash the whole thing. But the rigged system at its center isn’t so much white-collar crime as white-collar sexism. Both Naomi and her second-in-command Erin (Sarah Megan Thomas, who, like Reiner, is also a producer with a “story by” credit) are stymied in their ambitions by any man who holds power, be it the boss who won’t promote a woman, the techie CEO who tries to sleep with Erin, or Purefoy’s selfish schemer. These winners also have something more important in common: to them, money \u003cem>is\u003c/em> a dirty word.\u003c/p>\n\u003cp>\u003cem>Equity\u003c/em> preaches its title within a fundamentally corrupt system. The teetering Jenga tower that sits on the desk of Naomi’s boss doesn’t care whose block is on top. It’s going to fall regardless.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Xg2TSp5tJy4'\n title='//www.youtube.com/embed/Xg2TSp5tJy4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Sojourner Truth’s Photographic Shadow Stretches into the 21st Century",
"headTitle": "Sojourner Truth’s Photographic Shadow Stretches into the 21st Century | KQED",
"content": "\u003cp>In the course of her remarkable life, \u003ca href=\"http://www.pbs.org/thisfarbyfaith/people/sojourner_truth.html\">Sojourner Truth\u003c/a> (c. 1797 – 1883) sat for photographic portraits on at least 11 occasions. By itself, this fact is significant. As an illiterate former slave, Truth’s humanity and the humanity of all her fellow African Americans was barely acknowledged, let alone celebrated in an artistic form so esteemed as the portrait. \u003c/p>\n\u003cfigure id=\"attachment_11918541\" class=\"wp-caption alignright\" style=\"max-width: 387px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Truth640.jpg\" alt=\"Captioned carte de visite of Sojourner Truth, 1864\" width=\"387\" height=\"640\" class=\"size-full wp-image-11918541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Truth640.jpg 387w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Truth640-363x600.jpg 363w\" sizes=\"(max-width: 387px) 100vw, 387px\">\u003cfigcaption class=\"wp-caption-text\">Captioned carte de visite of Sojourner Truth, 1864 \u003ccite>(UC Berkeley Art Museum and Pacific Film Archive, gift of Darcy Grimaldo Grigsby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I sell the shadow to support the substance,” it reads beneath her portrait. Truth’s sale of her photographic shadow served causes no less significant than personal and collective emancipation.\u003c/p>\n\u003cp>At the UC Berkeley Art Museum and Pacific Film Archive (BAMPFA), the intimate exhibition \u003ca href=\"http://bampfa.org/program/sojourner-truth-photography-and-fight-against-slavery\" target=\"_blank\" rel=\"noopener\">Sojourner Truth, Photography, and the Fight Against Slavery\u003c/a> presents many of the portraits Truth commissioned. Surrounding those images are their context: the complex paper exchange that by turns “justified” the treatment of enslaved Americans and the Confederate cause, and also helped bolster political resistance to institutionalized human bondage.\u003c/p>\n\u003cp>Twenty-first century image saturation traces its roots directly to photography’s dissemination in the nineteenth century. Though many photographic forms were popular at the time, the \u003ca href=\"http://www.photographymuseum.com/histsw.htm\" target=\"_blank\" rel=\"noopener\">cartes de visite\u003c/a> — small cards fitted with miniature portraits — outstripped \u003ca href=\"http://www.daguerreobase.org/en/knowledge-base/what-is-a-daguerreotype\" target=\"_blank\" rel=\"noopener\">daguerreotypes\u003c/a> and \u003ca href=\"http://www.phototree.com/id_tin.htm\" target=\"_blank\" rel=\"noopener\">tintypes\u003c/a>. Cartes de visite shaped social exchanges — they were both collectible objects and an inexpensive means of establishing one’s identity. \u003c/p>\n\u003cfigure id=\"attachment_11918517\" class=\"wp-caption alignright\" style=\"max-width: 382px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Douglass640.jpg\" alt=\"Carte de visite of Frederick Douglass, c. 1879\" width=\"382\" height=\"640\" class=\"size-full wp-image-11918517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Douglass640.jpg 382w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Douglass640-358x600.jpg 358w\" sizes=\"(max-width: 382px) 100vw, 382px\">\u003cfigcaption class=\"wp-caption-text\">Carte de visite of Frederick Douglass, c. 1879 \u003ccite>(UC Berkeley Art Museum and Pacific Film Archive, gift of Darcy Grimaldo Grigsby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While only privileged white Americans could afford to commission painted oil portraits, photographic portraits were easy to produce and inexpensive to purchase. Truth marshaled her prescient understanding of this emerging communication and political tool to support abolitionist and feminist efforts, and to claim herself as more than a product of abject circumstances.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Displayed in groupings of three or four objects, the current BAMPFA exhibition comes courtesy of a gift from Darcy Grimaldo Grigsby, a UC Berkeley professor. The exhibition, and Grigsby’s companion publication \u003cem>\u003ca href=\"http://press.uchicago.edu/ucp/books/book/chicago/E/bo20298829.html\" target=\"_blank\" rel=\"noopener\">Enduring Truths: Sojourner’s Shadow and Substance\u003c/a>\u003c/em>, situate Truth’s portraits and their sale within a fresh critical context that includes Civil War-era legal tender, other photographic portraiture and, tellingly, composite cartes de visite featuring disgraced Confederate president \u003ca href=\"https://www.pinterest.com/pin/546061523544312737/\" target=\"_blank\" rel=\"noopener\">Jefferson Davis\u003c/a> dressed as a woman and Abraham Lincoln in blackface.\u003c/p>\n\u003cp>Other cartes de visite feature Civil War veteran and multiple amputee Benjamin Franklin, “redeemed slave child” Fannie Virginia Casseopia Lawrence, and a group of freed children posed as though in a classroom. Grigsby explains that easily-produced and copyrighted cartes de visite were used to raise funds on behalf of a variety of social welfare causes — as much as they were used for political satire. Paper products were produced and circulated throughout the fractured American territory in service of violently divergent ideological agendas.\u003c/p>\n\u003cfigure id=\"attachment_11918532\" class=\"wp-caption alignright\" style=\"max-width: 383px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Learning640.jpg\" alt=\"Captioned carte de visite (Learning is Wealth. Wilson, Charley, Rebecca & Rosa, Slaves from New Orleans), c. 1864\" width=\"383\" height=\"640\" class=\"size-full wp-image-11918532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Learning640.jpg 383w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Learning640-359x600.jpg 359w\" sizes=\"(max-width: 383px) 100vw, 383px\">\u003cfigcaption class=\"wp-caption-text\">Captioned carte de visite (Learning is Wealth. Wilson, Charley, Rebecca & Rosa, Slaves from New Orleans), c. 1864 \u003ccite>(UC Berkeley Art Museum and Pacific Film Archive, gift of Darcy Grimaldo Grigsby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Sojourner Truth, Photography, and the Fight Against Slavery\u003c/em> opens against the backdrop of a seemingly never-ending presidential election cycle. In its quiet gallery, the exhibition offers a moment to consider how images are politically instrumentalized, and to what ends. \u003c/p>\n\u003cp>Moreover, it creates space to consider more recent social justice movements — the Black Panther Party and their revolutionary \u003ca href=\"https://ceimlarchives4blackpanther.wordpress.com/\" target=\"_blank\" rel=\"noopener\">newspaper\u003c/a>, the potency of the Black Lives Matter hashtag, and in her beautifully subversive way, Kimberly Drew’s \u003ca href=\"http://museummammy.club/\" target=\"_blank\" rel=\"noopener\">Museum Mammy\u003c/a> Instagram feed — and how they may all be linked to a diminutive Black woman’s monumental shadow. Sojourner Truth’s shadow (and substance) stretch well into the 21st century.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cb>Sojourner Truth, Photography, and the Fight Against Slavery\u003c/b> is on view at the Berkeley Art Museum and Pacific Film Archive through Oct. 23. For tickets and more information, visit \u003ca href=\"http://bampfa.org/program/sojourner-truth-photography-and-fight-against-slavery\" target=\"_blank\" rel=\"noopener\">bampfa.org\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "Sojourner Truth’s Photographic Shadow Stretches into the 21st Century | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the course of her remarkable life, \u003ca href=\"http://www.pbs.org/thisfarbyfaith/people/sojourner_truth.html\">Sojourner Truth\u003c/a> (c. 1797 – 1883) sat for photographic portraits on at least 11 occasions. By itself, this fact is significant. As an illiterate former slave, Truth’s humanity and the humanity of all her fellow African Americans was barely acknowledged, let alone celebrated in an artistic form so esteemed as the portrait. \u003c/p>\n\u003cfigure id=\"attachment_11918541\" class=\"wp-caption alignright\" style=\"max-width: 387px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Truth640.jpg\" alt=\"Captioned carte de visite of Sojourner Truth, 1864\" width=\"387\" height=\"640\" class=\"size-full wp-image-11918541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Truth640.jpg 387w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Truth640-363x600.jpg 363w\" sizes=\"(max-width: 387px) 100vw, 387px\">\u003cfigcaption class=\"wp-caption-text\">Captioned carte de visite of Sojourner Truth, 1864 \u003ccite>(UC Berkeley Art Museum and Pacific Film Archive, gift of Darcy Grimaldo Grigsby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I sell the shadow to support the substance,” it reads beneath her portrait. Truth’s sale of her photographic shadow served causes no less significant than personal and collective emancipation.\u003c/p>\n\u003cp>At the UC Berkeley Art Museum and Pacific Film Archive (BAMPFA), the intimate exhibition \u003ca href=\"http://bampfa.org/program/sojourner-truth-photography-and-fight-against-slavery\" target=\"_blank\" rel=\"noopener\">Sojourner Truth, Photography, and the Fight Against Slavery\u003c/a> presents many of the portraits Truth commissioned. Surrounding those images are their context: the complex paper exchange that by turns “justified” the treatment of enslaved Americans and the Confederate cause, and also helped bolster political resistance to institutionalized human bondage.\u003c/p>\n\u003cp>Twenty-first century image saturation traces its roots directly to photography’s dissemination in the nineteenth century. Though many photographic forms were popular at the time, the \u003ca href=\"http://www.photographymuseum.com/histsw.htm\" target=\"_blank\" rel=\"noopener\">cartes de visite\u003c/a> — small cards fitted with miniature portraits — outstripped \u003ca href=\"http://www.daguerreobase.org/en/knowledge-base/what-is-a-daguerreotype\" target=\"_blank\" rel=\"noopener\">daguerreotypes\u003c/a> and \u003ca href=\"http://www.phototree.com/id_tin.htm\" target=\"_blank\" rel=\"noopener\">tintypes\u003c/a>. Cartes de visite shaped social exchanges — they were both collectible objects and an inexpensive means of establishing one’s identity. \u003c/p>\n\u003cfigure id=\"attachment_11918517\" class=\"wp-caption alignright\" style=\"max-width: 382px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Douglass640.jpg\" alt=\"Carte de visite of Frederick Douglass, c. 1879\" width=\"382\" height=\"640\" class=\"size-full wp-image-11918517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Douglass640.jpg 382w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Douglass640-358x600.jpg 358w\" sizes=\"(max-width: 382px) 100vw, 382px\">\u003cfigcaption class=\"wp-caption-text\">Carte de visite of Frederick Douglass, c. 1879 \u003ccite>(UC Berkeley Art Museum and Pacific Film Archive, gift of Darcy Grimaldo Grigsby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While only privileged white Americans could afford to commission painted oil portraits, photographic portraits were easy to produce and inexpensive to purchase. Truth marshaled her prescient understanding of this emerging communication and political tool to support abolitionist and feminist efforts, and to claim herself as more than a product of abject circumstances.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Displayed in groupings of three or four objects, the current BAMPFA exhibition comes courtesy of a gift from Darcy Grimaldo Grigsby, a UC Berkeley professor. The exhibition, and Grigsby’s companion publication \u003cem>\u003ca href=\"http://press.uchicago.edu/ucp/books/book/chicago/E/bo20298829.html\" target=\"_blank\" rel=\"noopener\">Enduring Truths: Sojourner’s Shadow and Substance\u003c/a>\u003c/em>, situate Truth’s portraits and their sale within a fresh critical context that includes Civil War-era legal tender, other photographic portraiture and, tellingly, composite cartes de visite featuring disgraced Confederate president \u003ca href=\"https://www.pinterest.com/pin/546061523544312737/\" target=\"_blank\" rel=\"noopener\">Jefferson Davis\u003c/a> dressed as a woman and Abraham Lincoln in blackface.\u003c/p>\n\u003cp>Other cartes de visite feature Civil War veteran and multiple amputee Benjamin Franklin, “redeemed slave child” Fannie Virginia Casseopia Lawrence, and a group of freed children posed as though in a classroom. Grigsby explains that easily-produced and copyrighted cartes de visite were used to raise funds on behalf of a variety of social welfare causes — as much as they were used for political satire. Paper products were produced and circulated throughout the fractured American territory in service of violently divergent ideological agendas.\u003c/p>\n\u003cfigure id=\"attachment_11918532\" class=\"wp-caption alignright\" style=\"max-width: 383px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Learning640.jpg\" alt=\"Captioned carte de visite (Learning is Wealth. Wilson, Charley, Rebecca & Rosa, Slaves from New Orleans), c. 1864\" width=\"383\" height=\"640\" class=\"size-full wp-image-11918532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Learning640.jpg 383w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Learning640-359x600.jpg 359w\" sizes=\"(max-width: 383px) 100vw, 383px\">\u003cfigcaption class=\"wp-caption-text\">Captioned carte de visite (Learning is Wealth. Wilson, Charley, Rebecca & Rosa, Slaves from New Orleans), c. 1864 \u003ccite>(UC Berkeley Art Museum and Pacific Film Archive, gift of Darcy Grimaldo Grigsby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Sojourner Truth, Photography, and the Fight Against Slavery\u003c/em> opens against the backdrop of a seemingly never-ending presidential election cycle. In its quiet gallery, the exhibition offers a moment to consider how images are politically instrumentalized, and to what ends. \u003c/p>\n\u003cp>Moreover, it creates space to consider more recent social justice movements — the Black Panther Party and their revolutionary \u003ca href=\"https://ceimlarchives4blackpanther.wordpress.com/\" target=\"_blank\" rel=\"noopener\">newspaper\u003c/a>, the potency of the Black Lives Matter hashtag, and in her beautifully subversive way, Kimberly Drew’s \u003ca href=\"http://museummammy.club/\" target=\"_blank\" rel=\"noopener\">Museum Mammy\u003c/a> Instagram feed — and how they may all be linked to a diminutive Black woman’s monumental shadow. Sojourner Truth’s shadow (and substance) stretch well into the 21st century.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cb>Sojourner Truth, Photography, and the Fight Against Slavery\u003c/b> is on view at the Berkeley Art Museum and Pacific Film Archive through Oct. 23. For tickets and more information, visit \u003ca href=\"http://bampfa.org/program/sojourner-truth-photography-and-fight-against-slavery\" target=\"_blank\" rel=\"noopener\">bampfa.org\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Outside Lands 2016: Sunday's Music Highlights and Photo Gallery",
"headTitle": "Outside Lands 2016: Sunday’s Music Highlights and Photo Gallery | KQED",
"content": "\u003cp>Sunday at Outside Lands always feels a little more subdued, with the majority of the 70,000-thick crowd tired and/or hungover from the previous two days’ worth of revelry. Much to the chagrin of the bleary-eyed, the sun chose to make an appearance on Sunday in the otherwise foggy and overcast Golden Gate Park. And it actually may have kept some away — while Major Lazer and Chance the Rapper drew huge crowds, audiences the rest of the day were graciously sparse.\u003c/p>\n\u003cp>See our roundups of Outside Lands from \u003ca href=\"https://ww2.kqed.org/arts/2016/08/06/outside-lands-2016-fridays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">Friday\u003c/a> and \u003ca href=\"http://ww2.kqed.org/arts/2016/08/07/outside-lands-2016-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">Saturday\u003c/a>, and read what sent the festival off in style on Sunday below.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo gallery.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11911976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Mupet-04-800x508.jpg\" alt=\"The Muppets' Dr. Teeth and the Electric Mayhem perform at the 2016 Outside Lands Festival in Golden Gate Park.\" width=\"800\" height=\"508\" class=\"size-medium wp-image-11911976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-400x254.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-1180x749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-960x610.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Muppets’ Dr. Teeth and the Electric Mayhem perform at the 2016 Outside Lands Festival in Golden Gate Park. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1. Dr. Teeth & the Electric Mayhem\u003c/h3>\n\u003cp>Like you, I am weary of the modern day’s \u003ca href=\"http://ww2.kqed.org/pop/2016/07/14/nintendo-to-produce-tiny-retro-nes-because-nostalgia-is-an-oil-well-that-never-runs-dry/\" target=\"_blank\" rel=\"noopener\">pervasive nostalgia economy\u003c/a>, but I can’t lie: there was nothing to hate on here. Announced as “the only stop on our world tour,” the hilarious 1970s band from \u003cem>The Muppet Show\u003c/em> (with the help of operators beneath a riser) played a 25-minute set that could have easily been some kind of crass tech marketing ploy. Instead, it felt as pure as the original television shows and movies, with Janice, Dr. Teeth, Animal and the gang joking about operating an “illegal bed and breakfast” in San Franciso’s Haight Street heyday and — after opening with their classic “Can You Picture That?” — playing songs by the Band and Edward Sharpe & the Magnetic Zeros.\u003c/p>\n\u003cp>Then, just when I thought it couldn’t get any nuttier, the Oakland Interfaith Gospel Choir strolled on stage for \u003ca href=\"https://twitter.com/gmeline/status/762406814851801088\" target=\"_blank\" rel=\"noopener\">a Joe Cocker-inspired version of “With a Little Help from my Friends,”\u003c/a> and the entire over-the-top ridiculous \u003cem>fun\u003c/em> of the whole thing blew through the entire crowd. For what was just a short one-time show, it had to have been a ton of work, and after the smoke settled, the crew of Muppet operators emerged from beneath the riser… to a \u003cem>huge\u003c/em> burst of screams and applause for being zany enough to pull this off. (Watch the whole set \u003ca href=\"https://ww2.kqed.org/pop/2016/08/07/heres-muppet-band-dr-teeth-and-the-electric-mayhem-performing-at-outside-lands/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> at KQED Pop.)\u003c/p>\n\u003cfigure id=\"attachment_11911965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Kehlani-01-800x551.jpg\" alt=\"Kehlani performs at the 2016 Outside Lands Festival in Golden Gate Park.\" width=\"800\" height=\"551\" class=\"size-medium wp-image-11911965\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-400x276.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-1180x813.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-960x662.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs at the 2016 Outside Lands Festival in Golden Gate Park. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Kehlani\u003c/h3>\n\u003cp>Making her first hometown appearance in eight months, Kehlani wasted no time talking about Oakland; growing up in the Town, singing on BART, and eventually going on a world tour. Throughout a gymnastic set heavy on her 2015 mixtape \u003cem>You Should Be Here\u003c/em>, the 21-year-old repeatedly doled out inspirational advice and messages of self-love while running through the audience and \u003ca href=\"https://twitter.com/gmeline/status/762432160556908549\" target=\"_blank\" rel=\"noopener\">getting close to her fans\u003c/a>. And while a much-anticipated guest spot by Chance the Rapper on “The Way” failed to materialize, Kehlani still brought it hard for her home turf. “There’s so much talent here in the Bay Area!” she said. “Don’t let anybody tell you that you can’t do what you want and make it! Go out there and get it all and bring it back to the Bay!”\u003c/p>\n\u003cfigure id=\"attachment_11911410\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-800x533.jpg\" alt=\"Chance The Rapper at OSL. (Wendy Goodfriend)\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11911410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chance The Rapper at OSL. (Wendy Goodfriend) \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Chance the Rapper\u003c/h3>\n\u003cp>In 2013, Chance the Rapper was exploding in every direction. That year, during a neutron blast of a show at the Regency Ballroom in San Francisco, I witnessed the guy run through tracks from his then-new mixtape \u003cem>Acid Rap\u003c/em> with a raw ferociousness, blending amphetamine jazz and rapid-fire rapping on a stage too crowded with talent to fathomably conceive. Since then, the stages have gotten bigger, the songs’ rough edges have been smoothed, and Chance the Rapper’s broad appeal is guaranteed: he’s positive, uplifting, melodic, and continues to be insanely skilled on the mic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That helps explain why Chance drew an even larger crowd on Sunday afternoon than Radiohead did the night before, in a set pulled almost exclusively from his latest album, \u003cem>Coloring Book\u003c/em>. His show-stopping \u003ca href=\"https://twitter.com/gmeline/status/762443273596080128\" target=\"_blank\" rel=\"noopener\">verse\u003c/a> from Kanye West’s “Ultralight Beam” killed, too, and the lines about God in that song as well as from \u003cem>Coloring Book\u003c/em> aren’t just talk: he explained that he nearly missed his set because he’d been volunteering for his grandma’s church organization earlier in the day. Doncha just want to pinch the guy’s cheeks?\u003c/p>\n\u003cfigure id=\"attachment_11911971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Miguel-04-800x537.jpg\" alt=\"Miguel performs at the 2016 Outside Lands Festival in Golden Gate Park.\" width=\"800\" height=\"537\" class=\"size-medium wp-image-11911971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-960x644.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel performs at the 2016 Outside Lands Festival in Golden Gate Park. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>4. Miguel\u003c/h3>\n\u003cp>After a one-two of “The Thrill” and “Ride that Wave,” Miguel weaved a thread that led from his father, born in Michocán, to his mother, “a beautiful black woman from Los Angeles,” on to the racial upheaval of late. “We’re living in such a crazy time, it feels like a paradigm shift,” he said. “All around the world, and at home, it feels like shit is slowly unraveling. And I ain’t gonna ruin the moment by pretending that I know the solution.” This led into a speech on the unifying power of music, the need for curiosity, and — hey, it’s a music festival — a rousing chorus of “Do You Like Drugs?” At his best, Miguel channels strains of Prince, Michael Jackson, and James Brown (those \u003cem>moves\u003c/em>), and he intertwined all three on Sunday.\u003c/p>\n\u003cfigure id=\"attachment_11912298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lionel-800x531.jpg\" alt=\"Lionel Richie performs at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"531\" class=\"size-medium wp-image-11912298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-960x638.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lionel Richie performs at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Photo via @LionelRichie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Lionel Richie\u003c/h3>\n\u003cp>I’m biased when it comes to Lionel Richie: I grew up on his music, and the fact that I knew almost every word of his headlining set is evidence that young brains are absorbent musical sponges. But I wasn’t the only one amazed at how lithe, energetic and powerful he appeared to be while fulfilling an early promise of “all the hits!” “Runnin’ With the Night,” “Say You, Say Me,” “Dancin’ on the Ceiling,” “Lady,” “Penny Lover,” and \u003ca href=\"https://twitter.com/gmeline/status/762504340359700481\" target=\"_blank\" rel=\"noopener\">on and on\u003c/a> until the inevitable closers “Hello” and “All Night Long” — the guy really gave his all, and the crowd gave it back. “I may need security!” he joked at one point, “This crowd is out of control!” I remember when, after a long career hiatus, Lionel Richie at last turned up to headline the Paramount Theater in Oakland several years ago; then all of a sudden he was a country singer, with a lifetime tribute at the Academy of Country Music Awards to boot. Glad he ditched the pedal steel and brought the soul on Sunday.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"11911976,11911972,11911967,11911624,11911609,11911605,11911589,11911411,11911410,11911407,11912298,11911977,11911970,11911968,11911975,11911965,11911969,11911621,11911615,11911613,11911608,11911612,11911594,11911529,11911979,11911974,11911971,11911973,11911966,11911597,11911409\"]\u003c/p>\n\n",
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"excerpt": "Sunday at Outside Lands is often calm, but sets by Kehlani, Chance the Rapper, Lionel Richie, the Muppets (yes, those Muppets) and more kept things lively in Golden Gate Park.",
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"description": "Sunday at Outside Lands is often calm, but sets by Kehlani, Chance the Rapper, Lionel Richie, the Muppets (yes, those Muppets) and more kept things lively in Golden Gate Park.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sunday at Outside Lands always feels a little more subdued, with the majority of the 70,000-thick crowd tired and/or hungover from the previous two days’ worth of revelry. Much to the chagrin of the bleary-eyed, the sun chose to make an appearance on Sunday in the otherwise foggy and overcast Golden Gate Park. And it actually may have kept some away — while Major Lazer and Chance the Rapper drew huge crowds, audiences the rest of the day were graciously sparse.\u003c/p>\n\u003cp>See our roundups of Outside Lands from \u003ca href=\"https://ww2.kqed.org/arts/2016/08/06/outside-lands-2016-fridays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">Friday\u003c/a> and \u003ca href=\"http://ww2.kqed.org/arts/2016/08/07/outside-lands-2016-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">Saturday\u003c/a>, and read what sent the festival off in style on Sunday below.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo gallery.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11911976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Mupet-04-800x508.jpg\" alt=\"The Muppets' Dr. Teeth and the Electric Mayhem perform at the 2016 Outside Lands Festival in Golden Gate Park.\" width=\"800\" height=\"508\" class=\"size-medium wp-image-11911976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-400x254.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-1180x749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-960x610.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Muppets’ Dr. Teeth and the Electric Mayhem perform at the 2016 Outside Lands Festival in Golden Gate Park. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1. Dr. Teeth & the Electric Mayhem\u003c/h3>\n\u003cp>Like you, I am weary of the modern day’s \u003ca href=\"http://ww2.kqed.org/pop/2016/07/14/nintendo-to-produce-tiny-retro-nes-because-nostalgia-is-an-oil-well-that-never-runs-dry/\" target=\"_blank\" rel=\"noopener\">pervasive nostalgia economy\u003c/a>, but I can’t lie: there was nothing to hate on here. Announced as “the only stop on our world tour,” the hilarious 1970s band from \u003cem>The Muppet Show\u003c/em> (with the help of operators beneath a riser) played a 25-minute set that could have easily been some kind of crass tech marketing ploy. Instead, it felt as pure as the original television shows and movies, with Janice, Dr. Teeth, Animal and the gang joking about operating an “illegal bed and breakfast” in San Franciso’s Haight Street heyday and — after opening with their classic “Can You Picture That?” — playing songs by the Band and Edward Sharpe & the Magnetic Zeros.\u003c/p>\n\u003cp>Then, just when I thought it couldn’t get any nuttier, the Oakland Interfaith Gospel Choir strolled on stage for \u003ca href=\"https://twitter.com/gmeline/status/762406814851801088\" target=\"_blank\" rel=\"noopener\">a Joe Cocker-inspired version of “With a Little Help from my Friends,”\u003c/a> and the entire over-the-top ridiculous \u003cem>fun\u003c/em> of the whole thing blew through the entire crowd. For what was just a short one-time show, it had to have been a ton of work, and after the smoke settled, the crew of Muppet operators emerged from beneath the riser… to a \u003cem>huge\u003c/em> burst of screams and applause for being zany enough to pull this off. (Watch the whole set \u003ca href=\"https://ww2.kqed.org/pop/2016/08/07/heres-muppet-band-dr-teeth-and-the-electric-mayhem-performing-at-outside-lands/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> at KQED Pop.)\u003c/p>\n\u003cfigure id=\"attachment_11911965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Kehlani-01-800x551.jpg\" alt=\"Kehlani performs at the 2016 Outside Lands Festival in Golden Gate Park.\" width=\"800\" height=\"551\" class=\"size-medium wp-image-11911965\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-400x276.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-1180x813.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-960x662.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs at the 2016 Outside Lands Festival in Golden Gate Park. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Kehlani\u003c/h3>\n\u003cp>Making her first hometown appearance in eight months, Kehlani wasted no time talking about Oakland; growing up in the Town, singing on BART, and eventually going on a world tour. Throughout a gymnastic set heavy on her 2015 mixtape \u003cem>You Should Be Here\u003c/em>, the 21-year-old repeatedly doled out inspirational advice and messages of self-love while running through the audience and \u003ca href=\"https://twitter.com/gmeline/status/762432160556908549\" target=\"_blank\" rel=\"noopener\">getting close to her fans\u003c/a>. And while a much-anticipated guest spot by Chance the Rapper on “The Way” failed to materialize, Kehlani still brought it hard for her home turf. “There’s so much talent here in the Bay Area!” she said. “Don’t let anybody tell you that you can’t do what you want and make it! Go out there and get it all and bring it back to the Bay!”\u003c/p>\n\u003cfigure id=\"attachment_11911410\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-800x533.jpg\" alt=\"Chance The Rapper at OSL. (Wendy Goodfriend)\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11911410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chance The Rapper at OSL. (Wendy Goodfriend) \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Chance the Rapper\u003c/h3>\n\u003cp>In 2013, Chance the Rapper was exploding in every direction. That year, during a neutron blast of a show at the Regency Ballroom in San Francisco, I witnessed the guy run through tracks from his then-new mixtape \u003cem>Acid Rap\u003c/em> with a raw ferociousness, blending amphetamine jazz and rapid-fire rapping on a stage too crowded with talent to fathomably conceive. Since then, the stages have gotten bigger, the songs’ rough edges have been smoothed, and Chance the Rapper’s broad appeal is guaranteed: he’s positive, uplifting, melodic, and continues to be insanely skilled on the mic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That helps explain why Chance drew an even larger crowd on Sunday afternoon than Radiohead did the night before, in a set pulled almost exclusively from his latest album, \u003cem>Coloring Book\u003c/em>. His show-stopping \u003ca href=\"https://twitter.com/gmeline/status/762443273596080128\" target=\"_blank\" rel=\"noopener\">verse\u003c/a> from Kanye West’s “Ultralight Beam” killed, too, and the lines about God in that song as well as from \u003cem>Coloring Book\u003c/em> aren’t just talk: he explained that he nearly missed his set because he’d been volunteering for his grandma’s church organization earlier in the day. Doncha just want to pinch the guy’s cheeks?\u003c/p>\n\u003cfigure id=\"attachment_11911971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Miguel-04-800x537.jpg\" alt=\"Miguel performs at the 2016 Outside Lands Festival in Golden Gate Park.\" width=\"800\" height=\"537\" class=\"size-medium wp-image-11911971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-960x644.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel performs at the 2016 Outside Lands Festival in Golden Gate Park. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>4. Miguel\u003c/h3>\n\u003cp>After a one-two of “The Thrill” and “Ride that Wave,” Miguel weaved a thread that led from his father, born in Michocán, to his mother, “a beautiful black woman from Los Angeles,” on to the racial upheaval of late. “We’re living in such a crazy time, it feels like a paradigm shift,” he said. “All around the world, and at home, it feels like shit is slowly unraveling. And I ain’t gonna ruin the moment by pretending that I know the solution.” This led into a speech on the unifying power of music, the need for curiosity, and — hey, it’s a music festival — a rousing chorus of “Do You Like Drugs?” At his best, Miguel channels strains of Prince, Michael Jackson, and James Brown (those \u003cem>moves\u003c/em>), and he intertwined all three on Sunday.\u003c/p>\n\u003cfigure id=\"attachment_11912298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lionel-800x531.jpg\" alt=\"Lionel Richie performs at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"531\" class=\"size-medium wp-image-11912298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-960x638.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lionel Richie performs at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Photo via @LionelRichie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Lionel Richie\u003c/h3>\n\u003cp>I’m biased when it comes to Lionel Richie: I grew up on his music, and the fact that I knew almost every word of his headlining set is evidence that young brains are absorbent musical sponges. But I wasn’t the only one amazed at how lithe, energetic and powerful he appeared to be while fulfilling an early promise of “all the hits!” “Runnin’ With the Night,” “Say You, Say Me,” “Dancin’ on the Ceiling,” “Lady,” “Penny Lover,” and \u003ca href=\"https://twitter.com/gmeline/status/762504340359700481\" target=\"_blank\" rel=\"noopener\">on and on\u003c/a> until the inevitable closers “Hello” and “All Night Long” — the guy really gave his all, and the crowd gave it back. “I may need security!” he joked at one point, “This crowd is out of control!” I remember when, after a long career hiatus, Lionel Richie at last turned up to headline the Paramount Theater in Oakland several years ago; then all of a sudden he was a country singer, with a lifetime tribute at the Academy of Country Music Awards to boot. Glad he ditched the pedal steel and brought the soul on Sunday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Outside Lands 2016: Saturday's Music Highlights and Photo Gallery",
"headTitle": "Outside Lands 2016: Saturday’s Music Highlights and Photo Gallery | KQED",
"content": "\u003cp>Saturday at Outside Lands is like Las Vegas if every corporate convention descended on the strip at once — and every casino had ten hours’ worth of headliners all day. It’s shoulder-to-shoulder crowded, bands everywhere are competing for people’s attention, and a sense of entitled celebration pervades. It’s a minor miracle that everyone makes it out alive.\u003c/p>\n\u003cp>Naturally, sandwiched between the chaos this year were some stellar sets by bands both young and established. Here were our highlights.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo gallery.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11907421\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/con-brio30-800x533.jpg\" alt=\"Con Brio at OSL.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11907421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Con Brio at OSL. \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1. Con Brio\u003c/h3>\n\u003cp>Regular KQED viewers will remember Con Brio from our video of the San Francisco seven-piece \u003ca href=\"http://ww2.kqed.org/arts/2016/07/13/watch-con-brio-play-living-for-the-city-on-the-golden-gate-bridge/\" target=\"_blank\" rel=\"noopener\">playing Stevie Wonder’s “Livin’ for the City” inside their tour van while driving across the Golden Gate Bridge\u003c/a>. At Outside Lands’ Panhandle Stage on Saturday, Con Brio turned up the energy to 11, commanded a huge crowd, and tore through a sizzling set of uptempo funk and soul that did the Bay Area proud. After the band’s nimble, magnetic frontman \u003ca href=\"http://ww2.kqed.org/arts/2015/02/13/giving-it-all-talking-love-and-relationships-with-con-brios-ziek-mccarter/\" target=\"_blank\" rel=\"noopener\">Ziek McCarter\u003c/a> ended the show with a series of backflips and James Brown splits, a newly won-over fan stood on the barricade and shouted, “That’s it! That’s the best performance you’ll see all day! Shut down the festival!”\u003c/p>\n\u003cfigure id=\"attachment_11907960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-800x487.jpg\" alt=\"Anderson .Paak at Outside Lands.\" width=\"800\" height=\"487\" class=\"size-medium wp-image-11907960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-800x487.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-400x243.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-768x467.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-1180x718.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-960x584.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anderson .Paak at Outside Lands. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Anderson .Paak\u003c/h3>\n\u003cp>Once again, the small Panhandle Stage delivered on Saturday with the Southern Californian R&B singer, rapper and multi-instrumentalist Anderson .Paak, whose recent album \u003cem>Malibu\u003c/em> is a rich swamp of soul destined for many year-end lists. His job on Saturday night was essentially to justify people’s decisions to skip the first half of huge-name headliner Radiohead, and after seeing him singing, rapping, dancing, telling stories and drumming up a storm, I can’t imagine anyone regretted it. It’ll be interesting to see what the future has in store for the guy; he’s got nowhere to go but up.\u003c/p>\n\u003cfigure id=\"attachment_11907965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Halsey-01-800x532.jpg\" alt=\"Halsey at Outside Lands.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-11907965\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Halsey at Outside Lands. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Halsey\u003c/h3>\n\u003cp>Halsey’s evening set fell somewhere between the intricate indie balladry of Sufjan Stevens — winged and elegant on the Sutro Stage in the afternoon — and the EDM mayhem of Zedd, who headlined the Twin Peaks stage with gut-rumbling drops and face-singing pyrotechnics. Hers is the kind of electro-pop one can get behind: she grew from troubled teen years of bipolar disorder and bad boyfriends to a tightly organized style of songwriting and production, and in Golden Gate Park, won over a rapt crowd.\u003c/p>\n\u003cfigure id=\"attachment_11907976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/e40-800x571.jpg\" alt=\"The crowd at E-40.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-11907976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-960x686.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at E-40. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>4. E-40\u003c/h3>\n\u003cp>The cryptic press release arrived earlier in the week, announcing a pop-up show of E-40 and Warren G performing one song together outside the Heineken tent. It had all the makings of yet another sponsored bit of hype — would it really be just one song? As it turned out, E-40 did “Tell Me When to Go,” “Choices,” “Function” and more, a seven-song blast of Bay Area love to a gigantic mob that was already smashed like sardines 20 minutes before Vallejo’s royal son (and \u003ca href=\"http://ww2.kqed.org/pop/2015/07/10/eye-of-the-sluricane-a-dispatch-from-an-e-40-bottle-signing/\" target=\"_blank\" rel=\"noopener\">professional Mother’s Day card signer\u003c/a>) hit the stage with guests Nef the Pharaoh and Warren G. Note to festival organizers: get E-40 on a larger stage next year.\u003c/p>\n\u003cfigure id=\"attachment_11907977\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Radiohead-1-800x571.jpg\" alt=\"Radiohead at Outside Lands.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-11907977\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-960x686.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Radiohead at Outside Lands. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Radiohead\u003c/h3>\n\u003cp>I distinctly remmeber, eight years ago on the first night of the very first Outside Lands, thinking that Radiohead was far too creative and strange for a giant field full of people to genuinely love. But theirs was a rare success story of the weird kids winning, and in their return performance Saturday night, both the weirdness and the crowd seemed more subdued. Part of this may have been to a semi-exodus partway through when Zedd took the stage, which speaks to EDM’s enduring popularity, but part of it owes to Radiohead playing mostly new material. Two-thirds of the way through, we started getting “Everything in Its Right Place,” “Idioteque,” “Let Down” and other older classics, and the energy changed. As we left the festival during Radiohead’s encore, we discovered a hill full of people sitting outside the gates near Spreckels Lake, listening for free to “Paranoid Android” and “Karma Police” and appearing even more excited than the crowd in the Polo Field. Go figure!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"11907960,11907961,11907963,11907964,11907965,11907966,11907969,11907970,11907971,11907974,11907968,11907967,11907972,11907976,11907977,11907234,11907402,11907405,11907411,11907415,11907421,11907420,11907417,11907424,11907430,11907602,11907603,11907433,11907609,11907612,11907616,11907617,11907957,11907958,11907959\" orderby=\"rand\"]\u003c/p>\n\n",
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"excerpt": "Saturday's thick crowds in Golden Gate Park were treated to backflips, booty-shaking and beats in highlights that included Con Brio, E-40, Radiohead and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Saturday at Outside Lands is like Las Vegas if every corporate convention descended on the strip at once — and every casino had ten hours’ worth of headliners all day. It’s shoulder-to-shoulder crowded, bands everywhere are competing for people’s attention, and a sense of entitled celebration pervades. It’s a minor miracle that everyone makes it out alive.\u003c/p>\n\u003cp>Naturally, sandwiched between the chaos this year were some stellar sets by bands both young and established. Here were our highlights.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo gallery.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11907421\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/con-brio30-800x533.jpg\" alt=\"Con Brio at OSL.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11907421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Con Brio at OSL. \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1. Con Brio\u003c/h3>\n\u003cp>Regular KQED viewers will remember Con Brio from our video of the San Francisco seven-piece \u003ca href=\"http://ww2.kqed.org/arts/2016/07/13/watch-con-brio-play-living-for-the-city-on-the-golden-gate-bridge/\" target=\"_blank\" rel=\"noopener\">playing Stevie Wonder’s “Livin’ for the City” inside their tour van while driving across the Golden Gate Bridge\u003c/a>. At Outside Lands’ Panhandle Stage on Saturday, Con Brio turned up the energy to 11, commanded a huge crowd, and tore through a sizzling set of uptempo funk and soul that did the Bay Area proud. After the band’s nimble, magnetic frontman \u003ca href=\"http://ww2.kqed.org/arts/2015/02/13/giving-it-all-talking-love-and-relationships-with-con-brios-ziek-mccarter/\" target=\"_blank\" rel=\"noopener\">Ziek McCarter\u003c/a> ended the show with a series of backflips and James Brown splits, a newly won-over fan stood on the barricade and shouted, “That’s it! That’s the best performance you’ll see all day! Shut down the festival!”\u003c/p>\n\u003cfigure id=\"attachment_11907960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-800x487.jpg\" alt=\"Anderson .Paak at Outside Lands.\" width=\"800\" height=\"487\" class=\"size-medium wp-image-11907960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-800x487.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-400x243.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-768x467.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-1180x718.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-960x584.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anderson .Paak at Outside Lands. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Anderson .Paak\u003c/h3>\n\u003cp>Once again, the small Panhandle Stage delivered on Saturday with the Southern Californian R&B singer, rapper and multi-instrumentalist Anderson .Paak, whose recent album \u003cem>Malibu\u003c/em> is a rich swamp of soul destined for many year-end lists. His job on Saturday night was essentially to justify people’s decisions to skip the first half of huge-name headliner Radiohead, and after seeing him singing, rapping, dancing, telling stories and drumming up a storm, I can’t imagine anyone regretted it. It’ll be interesting to see what the future has in store for the guy; he’s got nowhere to go but up.\u003c/p>\n\u003cfigure id=\"attachment_11907965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Halsey-01-800x532.jpg\" alt=\"Halsey at Outside Lands.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-11907965\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Halsey at Outside Lands. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Halsey\u003c/h3>\n\u003cp>Halsey’s evening set fell somewhere between the intricate indie balladry of Sufjan Stevens — winged and elegant on the Sutro Stage in the afternoon — and the EDM mayhem of Zedd, who headlined the Twin Peaks stage with gut-rumbling drops and face-singing pyrotechnics. Hers is the kind of electro-pop one can get behind: she grew from troubled teen years of bipolar disorder and bad boyfriends to a tightly organized style of songwriting and production, and in Golden Gate Park, won over a rapt crowd.\u003c/p>\n\u003cfigure id=\"attachment_11907976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/e40-800x571.jpg\" alt=\"The crowd at E-40.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-11907976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-960x686.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at E-40. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>4. E-40\u003c/h3>\n\u003cp>The cryptic press release arrived earlier in the week, announcing a pop-up show of E-40 and Warren G performing one song together outside the Heineken tent. It had all the makings of yet another sponsored bit of hype — would it really be just one song? As it turned out, E-40 did “Tell Me When to Go,” “Choices,” “Function” and more, a seven-song blast of Bay Area love to a gigantic mob that was already smashed like sardines 20 minutes before Vallejo’s royal son (and \u003ca href=\"http://ww2.kqed.org/pop/2015/07/10/eye-of-the-sluricane-a-dispatch-from-an-e-40-bottle-signing/\" target=\"_blank\" rel=\"noopener\">professional Mother’s Day card signer\u003c/a>) hit the stage with guests Nef the Pharaoh and Warren G. Note to festival organizers: get E-40 on a larger stage next year.\u003c/p>\n\u003cfigure id=\"attachment_11907977\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Radiohead-1-800x571.jpg\" alt=\"Radiohead at Outside Lands.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-11907977\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-960x686.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Radiohead at Outside Lands. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Radiohead\u003c/h3>\n\u003cp>I distinctly remmeber, eight years ago on the first night of the very first Outside Lands, thinking that Radiohead was far too creative and strange for a giant field full of people to genuinely love. But theirs was a rare success story of the weird kids winning, and in their return performance Saturday night, both the weirdness and the crowd seemed more subdued. Part of this may have been to a semi-exodus partway through when Zedd took the stage, which speaks to EDM’s enduring popularity, but part of it owes to Radiohead playing mostly new material. Two-thirds of the way through, we started getting “Everything in Its Right Place,” “Idioteque,” “Let Down” and other older classics, and the energy changed. As we left the festival during Radiohead’s encore, we discovered a hill full of people sitting outside the gates near Spreckels Lake, listening for free to “Paranoid Android” and “Karma Police” and appearing even more excited than the crowd in the Polo Field. Go figure!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Outside Lands 2016: Friday's Music Highlights and Photo Gallery",
"headTitle": "Outside Lands 2016: Friday’s Music Highlights and Photo Gallery | KQED",
"content": "\u003cp>Day one at Outside Lands is always a little overwhelming, and this year was no exception. On a weekday when crowds have usually been thin in years past, everything seemed a little more crowded this year, with more branded “experiences” that came with FB- and IG-like admission and instructions for proper social media posting (a.k.a. free advertising), as well as DJ booths, arcade games, art walls, steampunk sideshows, pop-up shows and dozens more — each with its own hashtag, naturally. The message at big festivals is always a little anxious: \u003cem>This. Is. An. Experience. You. Are. Having!\u003c/em>\u003c/p>\n\u003cp>Beyond the crowds and targeted #Millennial sponsorships, there happens to be some great music at Outside Lands. While our KQED friends over at \u003ca href=\"https://ww2.kqed.org/bayareabites/\" target=\"_blank\" rel=\"noopener\">Bay Area Bites\u003c/a> have a \u003ca href=\"http://ww2.kqed.org/bayareabites/2016/08/06/guide-some-of-the-best-things-to-eat-at-outside-lands-2016/\" target=\"_blank\" rel=\"noopener\">rundown of this year’s food offerings\u003c/a>, here’s what resonated with us onstage on Friday.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo gallery.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11903866\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/LCD-800x500.jpg\" alt=\"LCD Soundsystem performs at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-11903866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-960x600.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LCD Soundsystem performs at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1. LCD Soundsystem\u003c/h3>\n\u003cp>After a long, slow building set, the reunited stalwarts of analog dance jams ended with a triple threat of hits: “New York, I Love You, But You’re Bringing Me Down,” “Dance Yourself Clean,” and “All My Friends” — the latter culminating in a giant sing-along of “If I could see all my friends to-niiiiiiight!” Slicker and more polished than their last Bay Area appearance (on Treasure Island, in 2010), James Murphy & Co. proved themselves worthy first-day headliners.\u003c/p>\n\u003cfigure id=\"attachment_11903867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Grimes-800x500.jpg\" alt=\"Grimes performs at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-11903867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-960x600.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grimes performs at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Grimes\u003c/h3>\n\u003cp>Once a woozy electronic artist with effects-laden vocals and loops, the Canadian artist Clare Boucher underwent a more pop-oriented transformation with her latest album, \u003cem>Art Angels\u003c/em>, and it showed in her exuberant set on Friday. With smoke machines, backup dancers and an excellent band, Boucher bounced and danced around the entire stage to a crowd that gave all her energy right back.\u003c/p>\n\u003cfigure id=\"attachment_11901950\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/duran-duran1-800x533.jpg\" alt=\"Duran Duran perform at Outside Lands. (Wendy Goodfriend)\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11901950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Duran Duran perform at Outside Lands. (Wendy Goodfriend) \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Duran Duran\u003c/h3>\n\u003cp>Remember the ’80s? Outside Lands does too — they’ve recently taken to booking acts like Hall & Oates, and, coming this Sunday, Lionel Richie. (Will Michael McDonald be next?) In a seemingly perfectly timed late-afternoon slot, Duran Duran, led by the perpetually enigmatic Simon Le Bon, drove through a set of main-stage hits like “Hungry Like the Wolf,” “Wild Boys” and set-closer “Rio.” \u003c/p>\n\u003cfigure id=\"attachment_11903670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Beach-House-01-800x533.jpg\" alt=\"Beach House perform at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11903670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beach House perform at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>4. Beach House\u003c/h3>\n\u003cp>The Baltimore duo of Victoria Legrand and Alex Scally thrive in close environments — witness their \u003ca href=\"http://ww2.kqed.org/pop/2016/04/27/beach-house-plays-exclusive-installation-show-to-200-people-sitting-on-the-floor/\" target=\"_blank\" rel=\"noopener\">intimate show at the Mission District’s Gray Area Space\u003c/a> earlier this year — so it was fitting to have them on the Sutro stage, whose naturally sculpted bowl seems to cradle the audience. Under a typically San Franciscan overcast sky, the band provided a welcome breather from the adrenaline on other stages, playing songs from their one-two 2015 album punch of \u003cem>Depression Cherry\u003c/em> and \u003cem>Thank Your Lucky Stars\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11903679\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-800x532.jpg\" alt=\"J. Cole performs at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-11903679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J. Cole performs at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>5. J. Cole\u003c/h3>\n\u003cp>Despite playing at the same time as LCD Soundsystem, the rapper who \u003ca href=\"https://twitter.com/search?q=j.%20cole%20platinum%20no%20features&src=typd\" target=\"_blank\" rel=\"noopener\">went platinum with no features\u003c/a> drew a huge crowd at the Twin Peaks stage, with the unison crowd filling in bars on songs like “No Role Modelz” and “Crooked Smile.” In a white hoodie and shorts, J. Cole exemplified the wardrobe dilemma present in the crowd, as well — people either came bundled for Candlestick-proportions of fog, or barely covered in hopes of sun.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"11903687,11903686,11903685,11903684,11903678,11903679,11903680,11903681,11903682,11903683,11903675,11903676,11903673,11903311,11903312,11903497,11903671,11903672,11903670,11903310,11903677,11901950,11903149,11903145,11901952,11903147,11901951,11903148,11901953,11903309,11903144,11903151\" orderby=\"rand\"]\u003c/p>\n\n",
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"excerpt": "Friday's opening-day crowds at Outside Lands this year were huge from the onset, with musical highlights including Duran Duran, LCD Soundsystem, Grimes and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Day one at Outside Lands is always a little overwhelming, and this year was no exception. On a weekday when crowds have usually been thin in years past, everything seemed a little more crowded this year, with more branded “experiences” that came with FB- and IG-like admission and instructions for proper social media posting (a.k.a. free advertising), as well as DJ booths, arcade games, art walls, steampunk sideshows, pop-up shows and dozens more — each with its own hashtag, naturally. The message at big festivals is always a little anxious: \u003cem>This. Is. An. Experience. You. Are. Having!\u003c/em>\u003c/p>\n\u003cp>Beyond the crowds and targeted #Millennial sponsorships, there happens to be some great music at Outside Lands. While our KQED friends over at \u003ca href=\"https://ww2.kqed.org/bayareabites/\" target=\"_blank\" rel=\"noopener\">Bay Area Bites\u003c/a> have a \u003ca href=\"http://ww2.kqed.org/bayareabites/2016/08/06/guide-some-of-the-best-things-to-eat-at-outside-lands-2016/\" target=\"_blank\" rel=\"noopener\">rundown of this year’s food offerings\u003c/a>, here’s what resonated with us onstage on Friday.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo gallery.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11903866\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/LCD-800x500.jpg\" alt=\"LCD Soundsystem performs at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-11903866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-960x600.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LCD Soundsystem performs at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1. LCD Soundsystem\u003c/h3>\n\u003cp>After a long, slow building set, the reunited stalwarts of analog dance jams ended with a triple threat of hits: “New York, I Love You, But You’re Bringing Me Down,” “Dance Yourself Clean,” and “All My Friends” — the latter culminating in a giant sing-along of “If I could see all my friends to-niiiiiiight!” Slicker and more polished than their last Bay Area appearance (on Treasure Island, in 2010), James Murphy & Co. proved themselves worthy first-day headliners.\u003c/p>\n\u003cfigure id=\"attachment_11903867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Grimes-800x500.jpg\" alt=\"Grimes performs at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-11903867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-960x600.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grimes performs at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Grimes\u003c/h3>\n\u003cp>Once a woozy electronic artist with effects-laden vocals and loops, the Canadian artist Clare Boucher underwent a more pop-oriented transformation with her latest album, \u003cem>Art Angels\u003c/em>, and it showed in her exuberant set on Friday. With smoke machines, backup dancers and an excellent band, Boucher bounced and danced around the entire stage to a crowd that gave all her energy right back.\u003c/p>\n\u003cfigure id=\"attachment_11901950\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/duran-duran1-800x533.jpg\" alt=\"Duran Duran perform at Outside Lands. (Wendy Goodfriend)\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11901950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Duran Duran perform at Outside Lands. (Wendy Goodfriend) \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Duran Duran\u003c/h3>\n\u003cp>Remember the ’80s? Outside Lands does too — they’ve recently taken to booking acts like Hall & Oates, and, coming this Sunday, Lionel Richie. (Will Michael McDonald be next?) In a seemingly perfectly timed late-afternoon slot, Duran Duran, led by the perpetually enigmatic Simon Le Bon, drove through a set of main-stage hits like “Hungry Like the Wolf,” “Wild Boys” and set-closer “Rio.” \u003c/p>\n\u003cfigure id=\"attachment_11903670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Beach-House-01-800x533.jpg\" alt=\"Beach House perform at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11903670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beach House perform at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>4. Beach House\u003c/h3>\n\u003cp>The Baltimore duo of Victoria Legrand and Alex Scally thrive in close environments — witness their \u003ca href=\"http://ww2.kqed.org/pop/2016/04/27/beach-house-plays-exclusive-installation-show-to-200-people-sitting-on-the-floor/\" target=\"_blank\" rel=\"noopener\">intimate show at the Mission District’s Gray Area Space\u003c/a> earlier this year — so it was fitting to have them on the Sutro stage, whose naturally sculpted bowl seems to cradle the audience. Under a typically San Franciscan overcast sky, the band provided a welcome breather from the adrenaline on other stages, playing songs from their one-two 2015 album punch of \u003cem>Depression Cherry\u003c/em> and \u003cem>Thank Your Lucky Stars\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11903679\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-800x532.jpg\" alt=\"J. Cole performs at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-11903679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J. Cole performs at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>5. J. Cole\u003c/h3>\n\u003cp>Despite playing at the same time as LCD Soundsystem, the rapper who \u003ca href=\"https://twitter.com/search?q=j.%20cole%20platinum%20no%20features&src=typd\" target=\"_blank\" rel=\"noopener\">went platinum with no features\u003c/a> drew a huge crowd at the Twin Peaks stage, with the unison crowd filling in bars on songs like “No Role Modelz” and “Crooked Smile.” In a white hoodie and shorts, J. Cole exemplified the wardrobe dilemma present in the crowd, as well — people either came bundled for Candlestick-proportions of fog, or barely covered in hopes of sun.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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