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"content": "\u003cp>\u003ca href=\"http://guerilla-art.mx/yescka/\" target=\"_blank\" rel=\"noopener\">Yescka\u003c/a>’s call to action as an artist truly began in 2006 during the Oaxaca \u003ca href=\"https://en.wikipedia.org/wiki/2006_Oaxaca_protests\" target=\"_blank\" rel=\"noopener\">teachers’ strike\u003c/a>, when a tear gas canister hit him in the chest at close range. Thinking he had been hit with a bullet, he realized the radio he was holding had shattered from the impact of the canister, probably saving his life.\u003c/p>\n\u003cp>It was during this now-historic period of rebellion (calling for better pay for teachers and the resignation of the state’s governor) that the Asamblea de Artistas Revolucionarios de Oaxaca (ASARO) collective was formed.\u003c/p>\n\u003cfigure id=\"attachment_11503550\" class=\"wp-caption aligncenter\" style=\"max-width: 1047px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11503550 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Yescka.jpg\" alt=\"Yescka, 'La Hima Cena a la Mexicana.'\" width=\"1047\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Yescka.jpg 1047w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Yescka-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Yescka-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Yescka-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Yescka-960x660.jpg 960w\" sizes=\"(max-width: 1047px) 100vw, 1047px\">\u003cfigcaption class=\"wp-caption-text\">Yescka, ‘La Hima Cena a la Mexicana.’ \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Made up of 35 artists — from students to street artists to those with established careers — the collective set out to contribute to the movement by creating social and political art that would make people more sensitive, raise consciousness and foster new spaces for artistic expression.\u003c/p>\n\u003cp>Ten years later, ASARO is still a working collective with a core group of 13 members. Many of the original members have gone on to live abroad, carrying with them the values of ASARO’s founding principles. For Yescka, political art remains a tool to express emotions and situations that affect the human sensitivity. “In this world,” he says, “I think some expressions are forgetting the human side, they are more pretentious and empty.”\u003c/p>\n\u003cp>The collective’s current exhibition at \u003ca href=\"http://www.curategood.com/\" target=\"_blank\" rel=\"noopener\">Curate Good\u003c/a> in San Jose, \u003cem>MONARCA: La Metamorphosis\u003c/em> is an excellent example of the power of conscientious art making. The works in the show call attention to and document pivotal moments of human suffering as well as our enduring resilience.\u003c/p>\n\u003cfigure id=\"attachment_11503551\" class=\"wp-caption aligncenter\" style=\"max-width: 1021px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11503551 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Zaner.jpg\" alt=\"Zamer, 'La Ley Mata.'\" width=\"1021\" height=\"714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Zaner.jpg 1021w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Zaner-400x280.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Zaner-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Zaner-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Zaner-960x671.jpg 960w\" sizes=\"(max-width: 1021px) 100vw, 1021px\">\u003cfigcaption class=\"wp-caption-text\">Zamer, ‘La Ley Mata.’ \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition came to San Jose thanks to the efforts of \u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener\">Sonido Clash\u003c/a>, a San Jose music collective of DJs specializing in the “traditional and future sounds of Latino music.” Sonido Clash met many of the \u003ci>MONARCA\u003c/i> artists last year at \u003cem>Oaxacalifornia\u003c/em>, an art show at the \u003ca href=\"http://moderntimesbookstore.com/\" target=\"_blank\" rel=\"noopener\">Modern Times Bookstore\u003c/a> in San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>MONARCA\u003c/em> organizer Fernando J. “Tlacoyo” Pérez of Sonido Clash says the exhibiting artists produced new works for the show, which he describes as “artwork that marries traditional art forms mixed with the modern influences and political issues our generation faces.”\u003c/p>\n\u003cfigure id=\"attachment_11503549\" class=\"wp-caption alignright\" style=\"max-width: 418px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11503549 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Mazatal-418x600.jpg\" alt=\"Mazatal, 'La Sin Lucha.'\" width=\"418\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mazatal-418x600.jpg 418w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mazatal-400x575.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mazatal.jpg 501w\" sizes=\"(max-width: 418px) 100vw, 418px\">\u003cfigcaption class=\"wp-caption-text\">Mazatal, ‘La Sin Lucha.’ \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For ASARO, it’s very important to communicate with a wide audience of people through their art. The collective says, “The problems are not personal anymore. They are the world’s problem, and art plays an important role… art breaks rules and it critiques the most devastating human acts.” \u003c/p>\n\u003cp>Sadly, it’s a disappointing fact that no matter where you live on the planet today, there is plenty of oppression and suffering to keep political artists busy, including the 15 artists featured in \u003cem>MONARCA\u003c/em>. The conscious thought they put into their art, coupled with their medium — woodcut prints — binds these artists together even though they are from different parts of the world, depicting topics relevant to their specific communities.\u003c/p>\n\u003cp>The hurried viewer may assume all the work was created by a sole artist, but if you spend some time with the show, it becomes apparent that each artist has their own visual vocabulary, an identifiable method of carving and a unique way of dealing with negative and positive space within the print.\u003c/p>\n\u003cfigure id=\"attachment_11503548\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11503548 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IBautista.jpg\" alt=\"Ivan Bautista, (L) 'Estigma,' (R) 'Estigma XXII.'\" width=\"1080\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IBautista.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IBautista-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IBautista-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IBautista-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IBautista-960x640.jpg 960w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Ivan Bautista, (L) ‘Estigma,’ (R) ‘Estigma XXII.’ \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://vimeo.com/69185814\" target=\"_blank\" rel=\"noopener\">labor intensive process\u003c/a> of cutting away sections of wood to create an image in relief, inking it, placing paper on top and applying pressure to transfer the ink to the paper is to me symbolic of the exertion required to create anything of significance — whether that’s an artwork or effecting change in a worker’s life.\u003c/p>\n\u003cp>Perhaps this is why the woodcut, with its thick bold lines, stark contrasting colors and potential for mass distribution, is still used today. The woodcut remains an effective means to grab our attention and relay a message far beyond the gallery walls; find them on community boards, at civic gatherings and wheat pasted in the streets.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cb>MONARCA: La Metamorphosis\u003c/b> is on view through May 5, 2016 at Curate Good in San Jose. For more information visit \u003ca href=\"http://www.curategood.com/\" target=\"_blank\" rel=\"noopener\">curategood.com\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://guerilla-art.mx/yescka/\" target=\"_blank\" rel=\"noopener\">Yescka\u003c/a>’s call to action as an artist truly began in 2006 during the Oaxaca \u003ca href=\"https://en.wikipedia.org/wiki/2006_Oaxaca_protests\" target=\"_blank\" rel=\"noopener\">teachers’ strike\u003c/a>, when a tear gas canister hit him in the chest at close range. Thinking he had been hit with a bullet, he realized the radio he was holding had shattered from the impact of the canister, probably saving his life.\u003c/p>\n\u003cp>It was during this now-historic period of rebellion (calling for better pay for teachers and the resignation of the state’s governor) that the Asamblea de Artistas Revolucionarios de Oaxaca (ASARO) collective was formed.\u003c/p>\n\u003cfigure id=\"attachment_11503550\" class=\"wp-caption aligncenter\" style=\"max-width: 1047px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11503550 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Yescka.jpg\" alt=\"Yescka, 'La Hima Cena a la Mexicana.'\" width=\"1047\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Yescka.jpg 1047w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Yescka-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Yescka-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Yescka-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Yescka-960x660.jpg 960w\" sizes=\"(max-width: 1047px) 100vw, 1047px\">\u003cfigcaption class=\"wp-caption-text\">Yescka, ‘La Hima Cena a la Mexicana.’ \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Made up of 35 artists — from students to street artists to those with established careers — the collective set out to contribute to the movement by creating social and political art that would make people more sensitive, raise consciousness and foster new spaces for artistic expression.\u003c/p>\n\u003cp>Ten years later, ASARO is still a working collective with a core group of 13 members. Many of the original members have gone on to live abroad, carrying with them the values of ASARO’s founding principles. For Yescka, political art remains a tool to express emotions and situations that affect the human sensitivity. “In this world,” he says, “I think some expressions are forgetting the human side, they are more pretentious and empty.”\u003c/p>\n\u003cp>The collective’s current exhibition at \u003ca href=\"http://www.curategood.com/\" target=\"_blank\" rel=\"noopener\">Curate Good\u003c/a> in San Jose, \u003cem>MONARCA: La Metamorphosis\u003c/em> is an excellent example of the power of conscientious art making. The works in the show call attention to and document pivotal moments of human suffering as well as our enduring resilience.\u003c/p>\n\u003cfigure id=\"attachment_11503551\" class=\"wp-caption aligncenter\" style=\"max-width: 1021px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11503551 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Zaner.jpg\" alt=\"Zamer, 'La Ley Mata.'\" width=\"1021\" height=\"714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Zaner.jpg 1021w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Zaner-400x280.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Zaner-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Zaner-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Zaner-960x671.jpg 960w\" sizes=\"(max-width: 1021px) 100vw, 1021px\">\u003cfigcaption class=\"wp-caption-text\">Zamer, ‘La Ley Mata.’ \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition came to San Jose thanks to the efforts of \u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener\">Sonido Clash\u003c/a>, a San Jose music collective of DJs specializing in the “traditional and future sounds of Latino music.” Sonido Clash met many of the \u003ci>MONARCA\u003c/i> artists last year at \u003cem>Oaxacalifornia\u003c/em>, an art show at the \u003ca href=\"http://moderntimesbookstore.com/\" target=\"_blank\" rel=\"noopener\">Modern Times Bookstore\u003c/a> in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>MONARCA\u003c/em> organizer Fernando J. “Tlacoyo” Pérez of Sonido Clash says the exhibiting artists produced new works for the show, which he describes as “artwork that marries traditional art forms mixed with the modern influences and political issues our generation faces.”\u003c/p>\n\u003cfigure id=\"attachment_11503549\" class=\"wp-caption alignright\" style=\"max-width: 418px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11503549 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Mazatal-418x600.jpg\" alt=\"Mazatal, 'La Sin Lucha.'\" width=\"418\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mazatal-418x600.jpg 418w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mazatal-400x575.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mazatal.jpg 501w\" sizes=\"(max-width: 418px) 100vw, 418px\">\u003cfigcaption class=\"wp-caption-text\">Mazatal, ‘La Sin Lucha.’ \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For ASARO, it’s very important to communicate with a wide audience of people through their art. The collective says, “The problems are not personal anymore. They are the world’s problem, and art plays an important role… art breaks rules and it critiques the most devastating human acts.” \u003c/p>\n\u003cp>Sadly, it’s a disappointing fact that no matter where you live on the planet today, there is plenty of oppression and suffering to keep political artists busy, including the 15 artists featured in \u003cem>MONARCA\u003c/em>. The conscious thought they put into their art, coupled with their medium — woodcut prints — binds these artists together even though they are from different parts of the world, depicting topics relevant to their specific communities.\u003c/p>\n\u003cp>The hurried viewer may assume all the work was created by a sole artist, but if you spend some time with the show, it becomes apparent that each artist has their own visual vocabulary, an identifiable method of carving and a unique way of dealing with negative and positive space within the print.\u003c/p>\n\u003cfigure id=\"attachment_11503548\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11503548 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IBautista.jpg\" alt=\"Ivan Bautista, (L) 'Estigma,' (R) 'Estigma XXII.'\" width=\"1080\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IBautista.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IBautista-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IBautista-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IBautista-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IBautista-960x640.jpg 960w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Ivan Bautista, (L) ‘Estigma,’ (R) ‘Estigma XXII.’ \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://vimeo.com/69185814\" target=\"_blank\" rel=\"noopener\">labor intensive process\u003c/a> of cutting away sections of wood to create an image in relief, inking it, placing paper on top and applying pressure to transfer the ink to the paper is to me symbolic of the exertion required to create anything of significance — whether that’s an artwork or effecting change in a worker’s life.\u003c/p>\n\u003cp>Perhaps this is why the woodcut, with its thick bold lines, stark contrasting colors and potential for mass distribution, is still used today. The woodcut remains an effective means to grab our attention and relay a message far beyond the gallery walls; find them on community boards, at civic gatherings and wheat pasted in the streets.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cb>MONARCA: La Metamorphosis\u003c/b> is on view through May 5, 2016 at Curate Good in San Jose. For more information visit \u003ca href=\"http://www.curategood.com/\" target=\"_blank\" rel=\"noopener\">curategood.com\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Standing Tall' Tells Of Troubled Kids And Those Who Try To Help Them",
"headTitle": "‘Standing Tall’ Tells Of Troubled Kids And Those Who Try To Help Them | KQED",
"content": "\u003cp>Time was when every other drama about troubled youth came packaged with evil, inept or uncomprehending government functionaries itching to make matters worse. In Emmanuelle Bercot’s sympathetic \u003cem>Standing Tall\u003c/em>, one sorely lacking caseworker shows up briefly to rub salt in the prior wounds of a damaged youngster. He is quickly dispatched though, and from then on the film tags along with a team of dedicated workers trying to rescue the teenager from a rotten past, a lousy future, and his own hair-trigger temper. There’s not a saint among them, but their devotion rarely flags.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oucJZHGN9ic\u003c/p>\n\u003cp>If that’s a rosy view of how things go down in the halls of juvenile correction, it’s one that shows a refreshing appreciation for the compassion and perseverance of those on the front lines of a system that often seems primed for failure. For anyone who loves films about who we are when we’re working, \u003cem>Standing Tall\u003c/em> is a fine procedural that’s less concerned with the roots of delinquency or with institutional inertia than with the hair-raising ebb and flow of daily life in the juvie trenches.\u003c/p>\n\u003cp>No fingers are pointed here, and the movie brigns no fresh news about the forces that warped young Malony (played by Rod Paradot, an electric natural plucked from carpentry school) into the bundle of warring impulses he’s become since we first met him as a cute, terrified six-year-old. Abandoned by an ill-equipped mother (a very good Sara Forestier) who loves him in her way but is barely more than a child herself, Malony now bounces between foster families and juvenile courts, running wild with only a compassionate judge (Catherine Deneuve) standing between him and adult prison.\u003c/p>\n\u003cp>As a blowsy late bloomer in Bercot’s pleasantly knockabout 2013 road movie \u003cem>On My Way\u003c/em>, Deneuve clearly relished the release from her reputation as an ice queen. Here she offers a precisely observed friction between serenely maternal, crafty and exasperated as the magistrate who, on the verge of retirement, knows how stacked the deck is against the likes of Malony, yet never quite succumbs to cynicism or despair. She’s helped, mostly, by a caseworker (Benoit Magimel) who’s up from the gutter himself and careens between tenacious support of his young charge and terror that he my never be fully out of the woods himself. Picking their way through a system that stands ready to put Malony away for good, they steer the boy to a residential home in a bucolic country setting, where we see him struggle with other kids as volatile and as vulnerable as he is.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pleasure of \u003cem>Standing Tall\u003c/em> lies in its intelligent fidelity to process, to the Sisyphean struggle that both Malony and his stubborn but tested protectors face. We see the minuscule steps forward and the helpless backsliding that hold this frequently unlikable youngster captive to a reactivity that threatens his frail yet potent attachment to his mother, to the troubled yet loving girl (Diane Rouxel) who offers him love and hope, to the judge who refuses to give up on him. Deftly shuffling points of view with a soundtrack that veers between classical pieces and rap, Bercot moves the action along with unsteady, staccato rhythms that juggle Malony’s simmering rage with his yearning for an ordinary life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>By the end of this kindly film we want to give it to him, and though it’s easy enough to write off the climax as frankly wishful, Bercot has cunningly stashed a nascent gift in the prologue to \u003cem>Standing Tall\u003c/em>. This tortured young man has an innate talent that will help him earn the future she has bestowed on him, and send his helper into retirement resting easy.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Time was when every other drama about troubled youth came packaged with evil, inept or uncomprehending government functionaries itching to make matters worse. In Emmanuelle Bercot’s sympathetic \u003cem>Standing Tall\u003c/em>, one sorely lacking caseworker shows up briefly to rub salt in the prior wounds of a damaged youngster. He is quickly dispatched though, and from then on the film tags along with a team of dedicated workers trying to rescue the teenager from a rotten past, a lousy future, and his own hair-trigger temper. There’s not a saint among them, but their devotion rarely flags.\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/oucJZHGN9ic'\n title='//www.youtube.com/embed/oucJZHGN9ic'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If that’s a rosy view of how things go down in the halls of juvenile correction, it’s one that shows a refreshing appreciation for the compassion and perseverance of those on the front lines of a system that often seems primed for failure. For anyone who loves films about who we are when we’re working, \u003cem>Standing Tall\u003c/em> is a fine procedural that’s less concerned with the roots of delinquency or with institutional inertia than with the hair-raising ebb and flow of daily life in the juvie trenches.\u003c/p>\n\u003cp>No fingers are pointed here, and the movie brigns no fresh news about the forces that warped young Malony (played by Rod Paradot, an electric natural plucked from carpentry school) into the bundle of warring impulses he’s become since we first met him as a cute, terrified six-year-old. Abandoned by an ill-equipped mother (a very good Sara Forestier) who loves him in her way but is barely more than a child herself, Malony now bounces between foster families and juvenile courts, running wild with only a compassionate judge (Catherine Deneuve) standing between him and adult prison.\u003c/p>\n\u003cp>As a blowsy late bloomer in Bercot’s pleasantly knockabout 2013 road movie \u003cem>On My Way\u003c/em>, Deneuve clearly relished the release from her reputation as an ice queen. Here she offers a precisely observed friction between serenely maternal, crafty and exasperated as the magistrate who, on the verge of retirement, knows how stacked the deck is against the likes of Malony, yet never quite succumbs to cynicism or despair. She’s helped, mostly, by a caseworker (Benoit Magimel) who’s up from the gutter himself and careens between tenacious support of his young charge and terror that he my never be fully out of the woods himself. Picking their way through a system that stands ready to put Malony away for good, they steer the boy to a residential home in a bucolic country setting, where we see him struggle with other kids as volatile and as vulnerable as he is.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pleasure of \u003cem>Standing Tall\u003c/em> lies in its intelligent fidelity to process, to the Sisyphean struggle that both Malony and his stubborn but tested protectors face. We see the minuscule steps forward and the helpless backsliding that hold this frequently unlikable youngster captive to a reactivity that threatens his frail yet potent attachment to his mother, to the troubled yet loving girl (Diane Rouxel) who offers him love and hope, to the judge who refuses to give up on him. Deftly shuffling points of view with a soundtrack that veers between classical pieces and rap, Bercot moves the action along with unsteady, staccato rhythms that juggle Malony’s simmering rage with his yearning for an ordinary life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>By the end of this kindly film we want to give it to him, and though it’s easy enough to write off the climax as frankly wishful, Bercot has cunningly stashed a nascent gift in the prologue to \u003cem>Standing Tall\u003c/em>. This tortured young man has an innate talent that will help him earn the future she has bestowed on him, and send his helper into retirement resting easy.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "can-outsiders-make-films-about-india-in-an-honest-way",
"title": "Can Outsiders Make Films About India in an Honest Way?",
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"content": "\u003cp>\u003cem>Sold\u003c/em> tells the story of a 12-year-old Nepali girl trafficked to India for sex slavery. The film is based on a book for young adults by Patricia McCormick, also called \u003cem>Sold\u003c/em>. It also happens to be directed by a white man.\u003c/p>\n\u003cp>I got the opportunity to speak with director Jeffrey D. Brown about the film. During the course of our interview he told me twice that his stepfather is Bengali. The first time he told me I thought it was interesting; by the second time I wondered if this was the South Asian-equivalent of telling me he has Black friends.\u003c/p>\n\u003cfigure id=\"attachment_11491171\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11491171\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Sold1200.jpg\" alt=\"Still from 'Sold.'\" width=\"1200\" height=\"510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Sold1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Sold1200-400x170.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Sold1200-800x340.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Sold1200-768x326.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Sold1200-1180x502.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Sold1200-960x408.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Sold.’ \u003ccite>(Courtesy of Jaya International)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Was he trying to prove to me he couldn’t be guilty of a certain amount of \u003ca href=\"https://en.wikipedia.org/wiki/White_savior_narrative_in_film\" target=\"_blank\" rel=\"noopener\">white savior complex\u003c/a> because his stepfather is Bengali? My stepmother is Czech (true story) and despite frequent visits to Prague, I don’t believe this gives me authority on anything Czech-related.\u003c/p>\n\u003cp>The film is well shot and beautiful in many ways, but it will always be uncomfortable to watch a 12-year-old girl being raped and continually abused. Maybe it was more uncomfortable for me since the main character and I share a name.\u003c/p>\n\u003cfigure id=\"attachment_11491172\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11491172\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/SoldDancing1200.jpg\" alt=\"Still from 'Sold.'\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SoldDancing1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SoldDancing1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SoldDancing1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SoldDancing1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SoldDancing1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SoldDancing1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Sold.’ \u003ccite>(Courtesy of Jaya International)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It also felt strange to hear English spoken in a variety of Indian accents. The cast of \u003cem>Sold\u003c/em> came from all over India; Brown said filming in English was one of the most challenging parts of production. In the end, they spent 26 days on dubbing. Though they wanted to shoot \u003ci>Sold\u003c/i> in both Hindi and English, the budget wasn’t sufficient to do both.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This got me thinking about other films about India (and beyond) and whether or not outsiders are truly able to understand a community that is not their own. And since nothing is merely black or white these days, I’ve come up with an emoji ranking system: four diverse thumbs up = 4 out of 4 stars. Let’s try it out:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-11483134\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Born_into_Brothels.jpg\" alt=\"Born_into_Brothels\" width=\"200\" height=\"296\">\u003c/p>\n\u003ch3>\u003ci>Born into Brothels\u003c/i> (2004) directed by Zana Briski and Ross Kauffman\u003c/h3>\n\u003cp>In this Academy Award-winning documentary, director Zana Briski chronicles her work teaching kids from Kolkata’s red light district photography skills and her efforts to get those children into boarding schools.\u003c/p>\n\u003cp>\u003cstrong>What the critics said:\u003c/strong> “The red light district has existed for centuries and will exist for centuries more. I was reminded of a scene in Buñuel’s \u003cem>Viridiana\u003c/em>. A man is disturbed by the sight of a dog tied to a wagon and being dragged along faster than it can run. The man buys the dog to free it, but does not notice, in the background, another cart pulling another dog.” — \u003ca href=\"http://www.rogerebert.com/reviews/born-into-brothels-2005\" target=\"_blank\" rel=\"noopener\">Roger Ebert\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11489206 size-full alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/two-white.png\" alt=\"two-white\" width=\"258\" height=\"89\">\u003c/p>\n\u003cp>\u003cstrong>Honesty rating:\u003c/strong> While I liked this film overall, it could be seen as problematic because of its “white savior” undertones.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11483133\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Monsoon_Wedding_poster.jpg\" alt=\"Monsoon_Wedding_poster\" width=\"211\" height=\"296\">\u003c/p>\n\u003ch3>\u003ci>Monsoon Wedding\u003c/i> (2001) directed by Mira Nair\u003c/h3>\n\u003cp>What constitutes an outsider? As an Indian-born woman currently living in New York, Nair is arguably an insider. Perhaps that’s why she gets four thumbs up.\u003c/p>\n\u003cp>\u003cstrong>What the critics said:\u003c/strong> “The cast is exclusively Indian and the setting is Delhi… The film is played out in English, Hindi and Punjabi, which such a family would speak. Though tradition, such as the arranged marriage of the family’s daughter, plays a large part in the film, there is modernity too. The groom is an engineer from Houston, and the characters are as familiar with the dot com society as anyone in the west… Nair looks at these contrasts with a skilled eye that’s ironic but never mocking.” — \u003ca href=\"http://www.theguardian.com/film/2001/nov/12/londonfilmfestival2001.londonfilmfestival2\" target=\"_blank\" rel=\"noopener\">Derek Malcolm, \u003ci>The Guardian\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11489205 size-full alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/4-up-emoji.png\" alt=\"\" width=\"260\" height=\"92\">\u003c/p>\n\u003cp>\u003cstrong>Honesty rating:\u003c/strong>There’s beauty, nuance, and a variety of complex and complicated characters.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-11483135\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/The-best-exotic-marigold-hotel.jpg\" alt=\"The-best-exotic-marigold-hotel\" width=\"360\" height=\"270\">\u003c/p>\n\u003ch3>\u003ci>Best Exotic Marigold Hotel\u003c/i> (2011) directed by John Madden\u003c/h3>\n\u003cp>\u003cstrong>What the critics said:\u003c/strong> “Despite all the creaky contrivances (notably Muriel’s new-found ability to walk coinciding with her realization that brown people aren’t so bad after all)… The case to be made for \u003cem>The Best Exotic Marigold Hotel\u003c/em> is that it addresses a sector of the cinema audience — the over-50s — routinely overlooked by the film industry, and deals, however lightly, with subject matter that meshes with their preoccupations.” — \u003ca href=\"http://www.telegraph.co.uk/culture/film/filmreviews/9101176/The-Best-Exotic-Marigold-Hotel-review.html\" target=\"_blank\" rel=\"noopener\">David Gritten, \u003ci>The Telegraph\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11489202 size-full alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/emoji-3-old.png\" alt=\"emoji-3-old\" width=\"261\" height=\"86\">\u003c/p>\n\u003cp>\u003cstrong>Honesty rating:\u003c/strong> It’s entertaining, but ultimately the target audience seems to be older folks.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-11483137\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Slumdog_millionaire_ver2.jpg\" alt=\"Slumdog_millionaire_ver2\" width=\"360\" height=\"270\">\u003c/p>\n\u003ch3>\u003ci>Slumdog Millionaire\u003c/i> (2008) directed by Danny Boyle\u003c/h3>\n\u003cp>\u003cstrong>What the critics said:\u003c/strong> “This proves to be one of the most upbeat stories about living in hell imaginable.” — \u003ca href=\"http://www.nytimes.com/2008/11/12/movies/12slum.html\" target=\"_blank\" rel=\"noopener\">Manohla Dargis, \u003ci>The New York Times\u003c/i>\u003c/a>\u003c/p>\n\u003cp>“The main issue isn’t that the film is just patronizing to India, but to the audience. It is merely a pastiche of styles and ideas, although ethnicity and epic landscapes may be enough to satisfy the Academy judges… Maybe we should be realistic: if the slum tours profit, so do the charities supporting them. So the film has done some good. But that isn’t the same as it being any good.” — \u003ca href=\"http://www.telegraph.co.uk/comment/personal-view/4362622/Slumdog-Millionaire-may-be-a-good-cause-but-its-not-a-good-movie.html\" target=\"_blank\" rel=\"noopener\">Chei Amlani, \u003ci>The Telegraph\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11489203 size-full alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/emoji-two-up-two-down.png\" alt=\"emoji-two-up-two-down\" width=\"273\" height=\"101\">\u003c/p>\n\u003cp>\u003cstrong>Honesty rating:\u003c/strong> It’s slightly patronizing and stereotypical but overall it’s an intense and moving story.\u003c/p>\n\u003cfigure id=\"attachment_11491173\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11491173\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/David1200.jpg\" alt=\"Still from 'Sold.'\" width=\"1200\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/David1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/David1200-400x173.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/David1200-800x347.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/David1200-768x333.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/David1200-1180x511.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/David1200-960x416.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Sold.’ \u003ccite>(Courtesy of Jaya International)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back to the matter at hand. \u003cem>Sold\u003c/em> the movie makes one big change to the original book’s narrative (spoiler alert!): Lakshmi frees herself instead of being rescued.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11489203 size-full alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/emoji-two-up-two-down.png\" alt=\"emoji-two-up-two-down\" width=\"273\" height=\"101\">\u003c/p>\n\u003cp>I give \u003cem>Sold\u003c/em> two thumbs up because despite all its problems, its message is a good one.\u003c/p>\n\u003cp>Human trafficking is a multibillion-dollar industry that impacts over \u003ca href=\"https://polarisproject.org/human-trafficking\" target=\"_blank\" rel=\"noopener\">20 million\u003c/a> people around the world. Anything that brings attention to these issues is important.\u003c/p>\n\u003cp>I give \u003ci>Sold\u003c/i> two thumbs downs because I didn’t need to see a movie to be convinced we need to end child trafficking. It makes me wonder if money spent on the film could have been better allocated directly towards the cause it promotes.\u003c/p>\n\u003cp>Have you seen a film in which an outsider accurately portrays a community? Does it make a difference if someone is from that place, race, or country?\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Decide for yourself:\u003cstrong> Sold\u003c/strong> opens in Bay Area theaters on April 15. For tickets and more information visit \u003ca href=\"http://www.soldthemovie.com/screenings/\" target=\"_blank\" rel=\"noopener\">soldthemovie.com\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Sold\u003c/em> tells the story of a 12-year-old Nepali girl trafficked to India for sex slavery. The film is based on a book for young adults by Patricia McCormick, also called \u003cem>Sold\u003c/em>. It also happens to be directed by a white man.\u003c/p>\n\u003cp>I got the opportunity to speak with director Jeffrey D. Brown about the film. During the course of our interview he told me twice that his stepfather is Bengali. The first time he told me I thought it was interesting; by the second time I wondered if this was the South Asian-equivalent of telling me he has Black friends.\u003c/p>\n\u003cfigure id=\"attachment_11491171\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11491171\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Sold1200.jpg\" alt=\"Still from 'Sold.'\" width=\"1200\" height=\"510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Sold1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Sold1200-400x170.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Sold1200-800x340.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Sold1200-768x326.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Sold1200-1180x502.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Sold1200-960x408.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Sold.’ \u003ccite>(Courtesy of Jaya International)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Was he trying to prove to me he couldn’t be guilty of a certain amount of \u003ca href=\"https://en.wikipedia.org/wiki/White_savior_narrative_in_film\" target=\"_blank\" rel=\"noopener\">white savior complex\u003c/a> because his stepfather is Bengali? My stepmother is Czech (true story) and despite frequent visits to Prague, I don’t believe this gives me authority on anything Czech-related.\u003c/p>\n\u003cp>The film is well shot and beautiful in many ways, but it will always be uncomfortable to watch a 12-year-old girl being raped and continually abused. Maybe it was more uncomfortable for me since the main character and I share a name.\u003c/p>\n\u003cfigure id=\"attachment_11491172\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11491172\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/SoldDancing1200.jpg\" alt=\"Still from 'Sold.'\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SoldDancing1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SoldDancing1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SoldDancing1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SoldDancing1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SoldDancing1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SoldDancing1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Sold.’ \u003ccite>(Courtesy of Jaya International)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It also felt strange to hear English spoken in a variety of Indian accents. The cast of \u003cem>Sold\u003c/em> came from all over India; Brown said filming in English was one of the most challenging parts of production. In the end, they spent 26 days on dubbing. Though they wanted to shoot \u003ci>Sold\u003c/i> in both Hindi and English, the budget wasn’t sufficient to do both.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This got me thinking about other films about India (and beyond) and whether or not outsiders are truly able to understand a community that is not their own. And since nothing is merely black or white these days, I’ve come up with an emoji ranking system: four diverse thumbs up = 4 out of 4 stars. Let’s try it out:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-11483134\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Born_into_Brothels.jpg\" alt=\"Born_into_Brothels\" width=\"200\" height=\"296\">\u003c/p>\n\u003ch3>\u003ci>Born into Brothels\u003c/i> (2004) directed by Zana Briski and Ross Kauffman\u003c/h3>\n\u003cp>In this Academy Award-winning documentary, director Zana Briski chronicles her work teaching kids from Kolkata’s red light district photography skills and her efforts to get those children into boarding schools.\u003c/p>\n\u003cp>\u003cstrong>What the critics said:\u003c/strong> “The red light district has existed for centuries and will exist for centuries more. I was reminded of a scene in Buñuel’s \u003cem>Viridiana\u003c/em>. A man is disturbed by the sight of a dog tied to a wagon and being dragged along faster than it can run. The man buys the dog to free it, but does not notice, in the background, another cart pulling another dog.” — \u003ca href=\"http://www.rogerebert.com/reviews/born-into-brothels-2005\" target=\"_blank\" rel=\"noopener\">Roger Ebert\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11489206 size-full alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/two-white.png\" alt=\"two-white\" width=\"258\" height=\"89\">\u003c/p>\n\u003cp>\u003cstrong>Honesty rating:\u003c/strong> While I liked this film overall, it could be seen as problematic because of its “white savior” undertones.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11483133\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Monsoon_Wedding_poster.jpg\" alt=\"Monsoon_Wedding_poster\" width=\"211\" height=\"296\">\u003c/p>\n\u003ch3>\u003ci>Monsoon Wedding\u003c/i> (2001) directed by Mira Nair\u003c/h3>\n\u003cp>What constitutes an outsider? As an Indian-born woman currently living in New York, Nair is arguably an insider. Perhaps that’s why she gets four thumbs up.\u003c/p>\n\u003cp>\u003cstrong>What the critics said:\u003c/strong> “The cast is exclusively Indian and the setting is Delhi… The film is played out in English, Hindi and Punjabi, which such a family would speak. Though tradition, such as the arranged marriage of the family’s daughter, plays a large part in the film, there is modernity too. The groom is an engineer from Houston, and the characters are as familiar with the dot com society as anyone in the west… Nair looks at these contrasts with a skilled eye that’s ironic but never mocking.” — \u003ca href=\"http://www.theguardian.com/film/2001/nov/12/londonfilmfestival2001.londonfilmfestival2\" target=\"_blank\" rel=\"noopener\">Derek Malcolm, \u003ci>The Guardian\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11489205 size-full alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/4-up-emoji.png\" alt=\"\" width=\"260\" height=\"92\">\u003c/p>\n\u003cp>\u003cstrong>Honesty rating:\u003c/strong>There’s beauty, nuance, and a variety of complex and complicated characters.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-11483135\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/The-best-exotic-marigold-hotel.jpg\" alt=\"The-best-exotic-marigold-hotel\" width=\"360\" height=\"270\">\u003c/p>\n\u003ch3>\u003ci>Best Exotic Marigold Hotel\u003c/i> (2011) directed by John Madden\u003c/h3>\n\u003cp>\u003cstrong>What the critics said:\u003c/strong> “Despite all the creaky contrivances (notably Muriel’s new-found ability to walk coinciding with her realization that brown people aren’t so bad after all)… The case to be made for \u003cem>The Best Exotic Marigold Hotel\u003c/em> is that it addresses a sector of the cinema audience — the over-50s — routinely overlooked by the film industry, and deals, however lightly, with subject matter that meshes with their preoccupations.” — \u003ca href=\"http://www.telegraph.co.uk/culture/film/filmreviews/9101176/The-Best-Exotic-Marigold-Hotel-review.html\" target=\"_blank\" rel=\"noopener\">David Gritten, \u003ci>The Telegraph\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11489202 size-full alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/emoji-3-old.png\" alt=\"emoji-3-old\" width=\"261\" height=\"86\">\u003c/p>\n\u003cp>\u003cstrong>Honesty rating:\u003c/strong> It’s entertaining, but ultimately the target audience seems to be older folks.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-11483137\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Slumdog_millionaire_ver2.jpg\" alt=\"Slumdog_millionaire_ver2\" width=\"360\" height=\"270\">\u003c/p>\n\u003ch3>\u003ci>Slumdog Millionaire\u003c/i> (2008) directed by Danny Boyle\u003c/h3>\n\u003cp>\u003cstrong>What the critics said:\u003c/strong> “This proves to be one of the most upbeat stories about living in hell imaginable.” — \u003ca href=\"http://www.nytimes.com/2008/11/12/movies/12slum.html\" target=\"_blank\" rel=\"noopener\">Manohla Dargis, \u003ci>The New York Times\u003c/i>\u003c/a>\u003c/p>\n\u003cp>“The main issue isn’t that the film is just patronizing to India, but to the audience. It is merely a pastiche of styles and ideas, although ethnicity and epic landscapes may be enough to satisfy the Academy judges… Maybe we should be realistic: if the slum tours profit, so do the charities supporting them. So the film has done some good. But that isn’t the same as it being any good.” — \u003ca href=\"http://www.telegraph.co.uk/comment/personal-view/4362622/Slumdog-Millionaire-may-be-a-good-cause-but-its-not-a-good-movie.html\" target=\"_blank\" rel=\"noopener\">Chei Amlani, \u003ci>The Telegraph\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11489203 size-full alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/emoji-two-up-two-down.png\" alt=\"emoji-two-up-two-down\" width=\"273\" height=\"101\">\u003c/p>\n\u003cp>\u003cstrong>Honesty rating:\u003c/strong> It’s slightly patronizing and stereotypical but overall it’s an intense and moving story.\u003c/p>\n\u003cfigure id=\"attachment_11491173\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11491173\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/David1200.jpg\" alt=\"Still from 'Sold.'\" width=\"1200\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/David1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/David1200-400x173.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/David1200-800x347.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/David1200-768x333.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/David1200-1180x511.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/David1200-960x416.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Sold.’ \u003ccite>(Courtesy of Jaya International)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back to the matter at hand. \u003cem>Sold\u003c/em> the movie makes one big change to the original book’s narrative (spoiler alert!): Lakshmi frees herself instead of being rescued.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11489203 size-full alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/emoji-two-up-two-down.png\" alt=\"emoji-two-up-two-down\" width=\"273\" height=\"101\">\u003c/p>\n\u003cp>I give \u003cem>Sold\u003c/em> two thumbs up because despite all its problems, its message is a good one.\u003c/p>\n\u003cp>Human trafficking is a multibillion-dollar industry that impacts over \u003ca href=\"https://polarisproject.org/human-trafficking\" target=\"_blank\" rel=\"noopener\">20 million\u003c/a> people around the world. Anything that brings attention to these issues is important.\u003c/p>\n\u003cp>I give \u003ci>Sold\u003c/i> two thumbs downs because I didn’t need to see a movie to be convinced we need to end child trafficking. It makes me wonder if money spent on the film could have been better allocated directly towards the cause it promotes.\u003c/p>\n\u003cp>Have you seen a film in which an outsider accurately portrays a community? Does it make a difference if someone is from that place, race, or country?\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Decide for yourself:\u003cstrong> Sold\u003c/strong> opens in Bay Area theaters on April 15. For tickets and more information visit \u003ca href=\"http://www.soldthemovie.com/screenings/\" target=\"_blank\" rel=\"noopener\">soldthemovie.com\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Old Vinyl, New Memories in Eric Spitznagel's 'Old Records Never Die'",
"headTitle": "Old Vinyl, New Memories in Eric Spitznagel’s ‘Old Records Never Die’ | KQED",
"content": "\u003cp>I noticed it immediately from across the cluttered, musty-smelling room: a \u003ca href=\"http://jaysonelliot.com/blog/2010/10/23/phonemate-unboxing/\" target=\"_blank\" rel=\"noopener\">Phone-Mate IQ-2845\u003c/a> answering machine.\u003c/p>\n\u003cp>I was at an estate sale in my hometown at a former bed & breakfast that’d gotten terrible reviews on Yelp — like, scary-terrible reviews, specifically of the B&B’s nosy and cantankerous owner. The owner had died, and I’d come to the estate sale to gawk at the insides of a house I’d read countless stories about solely based on customers’ bitter, angry reviews. But when I saw the Phone-Mate, I knew I’d have to buy it, no matter the price. We’re talking a circa-1985 answering machine with two cassettes inside, a technology utterly obsolete. Even if it turned out to be $50? Sold.\u003c/p>\n\u003cfigure id=\"attachment_11488463\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/PhoneMate.jpg\" alt=\"The Phone-Mate IQ-2845 answering machine.\" width=\"600\" height=\"800\" class=\"size-full wp-image-11488463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PhoneMate.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PhoneMate-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PhoneMate-450x600.jpg 450w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Phone-Mate IQ-2845 answering machine.\u003c/figcaption>\u003c/figure>\n\u003cp>It was, after all, my family’s answering machine when I was growing up. \u003c/p>\n\u003cp>Not the same \u003cem>exact\u003c/em> answering machine, of course. It couldn’t be. I wouldn’t plug it in and hear my mom’s voice saying she’d be home late from running errands; the babysitter I not-so-secretly had a crush on calling about sitting Friday night; my friend Brandon asking how our dirtbike ramp was coming.\u003c/p>\n\u003cp>Or… would I? A little voice inside my mind whispered: \u003cem>it’s possible, right?\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Eric Spitznagel’s new book, \u003cem>\u003ca href=\"http://recordsneverdie.com/\" target=\"_blank\" rel=\"noopener\">Old Records Never Die\u003c/a>\u003c/em>, is a nonfiction memoir of Spitznagel’s quest, at age 45 and with a wife and son, to find and recapture the records he’d sold off in the mid- to late-’90s. Not just the same titles, mind you, and not just the same pressing of each — he tries to find the \u003cem>same exact copies\u003c/em> of records that he’d once owned.\u003c/p>\n\u003cp>The Bon Jovi record with his girlfriend’s number written on the cover. The Kiss record with a message from his brother scrawled inside the “K” in “Kiss.” The Replacements record that always skipped in the same spot, and every time he’s heard a pristine copy since, he’s missed the skip.\u003c/p>\n\u003cp>Spitznagel wants the skip back. But that’s not all he wants back. \u003c/p>\n\u003cfigure id=\"attachment_11488464\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/OldRecordsCover-784x1180.jpg\" alt=\"'Old Records Never Die,' by Eric Spitznagel.\" width=\"640\" height=\"963\" class=\"size-large wp-image-11488464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/OldRecordsCover-784x1180.jpg 784w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/OldRecordsCover-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/OldRecordsCover-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/OldRecordsCover-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/OldRecordsCover-1180x1777.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/OldRecordsCover-960x1446.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/OldRecordsCover.jpg 1275w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Old Records Never Die,’ by Eric Spitznagel. \u003ccite>(Image: Penguin Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Old Records Never Die\u003c/em> starts somewhat plain, rehashing the familiar scripture of the vinyl collector, the same platitudes for records that you’ve heard before. Music should be tactile. Imperfections have personality. The digital experience is cold. Past this cursory introduction, we learn about Spitznagel’s stupidity in selling off his vinyl collection, his yearning to reclaim certain specific copies, and how his determination to find them is crystallized while talking with the Roots’ drummer Questlove. (Spitznagel, a magazine writer now working at \u003cem>Men’s Health\u003c/em>, has interviewed everyone from Merle Haggard to Ke$ha.)\u003c/p>\n\u003cp>From there, readers’ ability to connect with the book may hinge on one’s appetite for sentimentalism, as well as one’s personal connection to and/or obsession over the details of records by the Replacements, Hüsker Dü, the Rolling Stones and more.\u003c/p>\n\u003cp>Spitznagel’s adolescence doesn’t align exactly with mine; I believe we’re 5-7 years apart. But most of the music in \u003cem>Old Records Never Die\u003c/em> is timeless anyway, and the way certain records lead him down endless tributaries of memories is a theme that resonates universally.\u003c/p>\n\u003cfigure id=\"attachment_11488466\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/replacements-740x1180.jpg\" alt=\"The Replacements, 'Let it Be' cassette.\" width=\"640\" height=\"1021\" class=\"size-large wp-image-11488466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/replacements-740x1180.jpg 740w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/replacements-400x638.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/replacements-376x600.jpg 376w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/replacements.jpg 747w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Replacements, ‘Let it Be’ cassette.\u003c/figcaption>\u003c/figure>\n\u003cp>For example, reading his reasons for wanting to hold his exact same teenage copy of the Replacements’ \u003cem>Let it Be\u003c/em> immediately brought back every memory I personally have of the album. I remember the cassette tape I owned of \u003cem>Let it Be\u003c/em> when I was 18, the brown Volvo where I played \u003cem>Let it Be\u003c/em> and only \u003cem>Let it Be\u003c/em> on repeat for an entire summer, the phrase “We Don’t Wanna Know” that I spraypainted on my bass amp in homage to “Seen Your Video,” the riff I shamelessly stole from “Favorite Thing” for my band’s first album, the night I flipped my brown Volvo on the freeway driving back from a show doing 70mph because I fell asleep at the wheel, the fact that \u003cem>Let it Be\u003c/em> was still playing on the cassette deck when the car came to a stop in the median, and the very beautiful, mutual way that my girlfriend of 1½ years and I broke up, with no malice or bitterness, the very next day after the crash.\u003c/p>\n\u003cp>Spitznagel’s search for his old records has its ups and downs, but even when he’s wildly unsuccessful (testing the patience of his wife, making foolish expensive purchases, chasing down rabbit holes in vain), he starts inching closer to a core understanding about adolescence and the ways we recall it.\u003c/p>\n\u003cp>Here, about halfway through the book, is when \u003cem>Old Records Never Die\u003c/em> really kicks in. When Spitznagel visits his old college frat basement, writes about his father’s obsession with Willie Nelson’s “Always on My Mind” or reconnects with his first girlfriend \u003cem>High Fidelity\u003c/em>-style, it becomes less about the records and more about life itself. A beautiful passage involving Journey’s “Don’t Stop Believin’” even has the unfathomable ability to pull the reader out of the convoluted sap of the overplayed song and into misty-eyed heartache over love and the passage of time. Really. I’m not kidding.\u003c/p>\n\u003cfigure id=\"attachment_11488467\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Spitznagel.jpg\" alt=\"'Old Records Never Die' author Eric Spitznagel.\" width=\"450\" height=\"370\" class=\"size-full wp-image-11488467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Spitznagel.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Spitznagel-400x329.jpg 400w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">‘Old Records Never Die’ author Eric Spitznagel. \u003ccite>(Photo courtesy Penguin Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At times, the details and timing of these scenes seem too perfect, and it’s apparent that Spitznagel engages in a dose of creative nonfiction. (Is anyone who grew up in the Midwest in the ’80s really unable, like Spitznagel in the book, to immediately recall the title of the Prince song that’s about a beret? No.) But while stricter writers will allow the truth to get in the way of a good story, Spitznagel knows that a good story can sometimes lead to a greater truth. After accepting that aspect of \u003cem>Old Records Never Die\u003c/em>, the book’s conclusion — an unexpected variation of “you can’t go home again” — is wholly satisfying.\u003c/p>\n\u003cp>I wish I could say the same for the estate sale’s Phone-Mate IQ-2845 answering machine, which, as it turned out, only cost me $3. I brought it home and plugged it in. The series of clicks and buzzes and clacks that followed sounded like an Aphex Twin 12″, and it soon became apparent that the outgoing message cassette was thrashed. I tried and tried to fix it, but nothing worked.\u003c/p>\n\u003cp>But do you remember that girlfriend? The one from the day after the car crash, with the Replacements’ \u003cem>Let it Be\u003c/em> playing? The one from the mutual breakup? We didn’t stay broken up forever. I was sure she’d thought my answering machine escapade insane (not quite as insane as Spitznagel’s, granted), but I texted her today about it:\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Text.jpg\" alt=\"Text\" width=\"750\" height=\"1334\" class=\"aligncenter size-full wp-image-11486141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Text.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Text-400x711.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Text-337x600.jpg 337w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Text-663x1180.jpg 663w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/p>\n\n",
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"excerpt": "The world's craziest record-collecting quest blossoms into a soliloquy on adolescent memories in Eric Spitznagel's latest book.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I noticed it immediately from across the cluttered, musty-smelling room: a \u003ca href=\"http://jaysonelliot.com/blog/2010/10/23/phonemate-unboxing/\" target=\"_blank\" rel=\"noopener\">Phone-Mate IQ-2845\u003c/a> answering machine.\u003c/p>\n\u003cp>I was at an estate sale in my hometown at a former bed & breakfast that’d gotten terrible reviews on Yelp — like, scary-terrible reviews, specifically of the B&B’s nosy and cantankerous owner. The owner had died, and I’d come to the estate sale to gawk at the insides of a house I’d read countless stories about solely based on customers’ bitter, angry reviews. But when I saw the Phone-Mate, I knew I’d have to buy it, no matter the price. We’re talking a circa-1985 answering machine with two cassettes inside, a technology utterly obsolete. Even if it turned out to be $50? Sold.\u003c/p>\n\u003cfigure id=\"attachment_11488463\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/PhoneMate.jpg\" alt=\"The Phone-Mate IQ-2845 answering machine.\" width=\"600\" height=\"800\" class=\"size-full wp-image-11488463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PhoneMate.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PhoneMate-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PhoneMate-450x600.jpg 450w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Phone-Mate IQ-2845 answering machine.\u003c/figcaption>\u003c/figure>\n\u003cp>It was, after all, my family’s answering machine when I was growing up. \u003c/p>\n\u003cp>Not the same \u003cem>exact\u003c/em> answering machine, of course. It couldn’t be. I wouldn’t plug it in and hear my mom’s voice saying she’d be home late from running errands; the babysitter I not-so-secretly had a crush on calling about sitting Friday night; my friend Brandon asking how our dirtbike ramp was coming.\u003c/p>\n\u003cp>Or… would I? A little voice inside my mind whispered: \u003cem>it’s possible, right?\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Eric Spitznagel’s new book, \u003cem>\u003ca href=\"http://recordsneverdie.com/\" target=\"_blank\" rel=\"noopener\">Old Records Never Die\u003c/a>\u003c/em>, is a nonfiction memoir of Spitznagel’s quest, at age 45 and with a wife and son, to find and recapture the records he’d sold off in the mid- to late-’90s. Not just the same titles, mind you, and not just the same pressing of each — he tries to find the \u003cem>same exact copies\u003c/em> of records that he’d once owned.\u003c/p>\n\u003cp>The Bon Jovi record with his girlfriend’s number written on the cover. The Kiss record with a message from his brother scrawled inside the “K” in “Kiss.” The Replacements record that always skipped in the same spot, and every time he’s heard a pristine copy since, he’s missed the skip.\u003c/p>\n\u003cp>Spitznagel wants the skip back. But that’s not all he wants back. \u003c/p>\n\u003cfigure id=\"attachment_11488464\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/OldRecordsCover-784x1180.jpg\" alt=\"'Old Records Never Die,' by Eric Spitznagel.\" width=\"640\" height=\"963\" class=\"size-large wp-image-11488464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/OldRecordsCover-784x1180.jpg 784w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/OldRecordsCover-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/OldRecordsCover-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/OldRecordsCover-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/OldRecordsCover-1180x1777.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/OldRecordsCover-960x1446.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/OldRecordsCover.jpg 1275w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Old Records Never Die,’ by Eric Spitznagel. \u003ccite>(Image: Penguin Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Old Records Never Die\u003c/em> starts somewhat plain, rehashing the familiar scripture of the vinyl collector, the same platitudes for records that you’ve heard before. Music should be tactile. Imperfections have personality. The digital experience is cold. Past this cursory introduction, we learn about Spitznagel’s stupidity in selling off his vinyl collection, his yearning to reclaim certain specific copies, and how his determination to find them is crystallized while talking with the Roots’ drummer Questlove. (Spitznagel, a magazine writer now working at \u003cem>Men’s Health\u003c/em>, has interviewed everyone from Merle Haggard to Ke$ha.)\u003c/p>\n\u003cp>From there, readers’ ability to connect with the book may hinge on one’s appetite for sentimentalism, as well as one’s personal connection to and/or obsession over the details of records by the Replacements, Hüsker Dü, the Rolling Stones and more.\u003c/p>\n\u003cp>Spitznagel’s adolescence doesn’t align exactly with mine; I believe we’re 5-7 years apart. But most of the music in \u003cem>Old Records Never Die\u003c/em> is timeless anyway, and the way certain records lead him down endless tributaries of memories is a theme that resonates universally.\u003c/p>\n\u003cfigure id=\"attachment_11488466\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/replacements-740x1180.jpg\" alt=\"The Replacements, 'Let it Be' cassette.\" width=\"640\" height=\"1021\" class=\"size-large wp-image-11488466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/replacements-740x1180.jpg 740w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/replacements-400x638.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/replacements-376x600.jpg 376w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/replacements.jpg 747w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Replacements, ‘Let it Be’ cassette.\u003c/figcaption>\u003c/figure>\n\u003cp>For example, reading his reasons for wanting to hold his exact same teenage copy of the Replacements’ \u003cem>Let it Be\u003c/em> immediately brought back every memory I personally have of the album. I remember the cassette tape I owned of \u003cem>Let it Be\u003c/em> when I was 18, the brown Volvo where I played \u003cem>Let it Be\u003c/em> and only \u003cem>Let it Be\u003c/em> on repeat for an entire summer, the phrase “We Don’t Wanna Know” that I spraypainted on my bass amp in homage to “Seen Your Video,” the riff I shamelessly stole from “Favorite Thing” for my band’s first album, the night I flipped my brown Volvo on the freeway driving back from a show doing 70mph because I fell asleep at the wheel, the fact that \u003cem>Let it Be\u003c/em> was still playing on the cassette deck when the car came to a stop in the median, and the very beautiful, mutual way that my girlfriend of 1½ years and I broke up, with no malice or bitterness, the very next day after the crash.\u003c/p>\n\u003cp>Spitznagel’s search for his old records has its ups and downs, but even when he’s wildly unsuccessful (testing the patience of his wife, making foolish expensive purchases, chasing down rabbit holes in vain), he starts inching closer to a core understanding about adolescence and the ways we recall it.\u003c/p>\n\u003cp>Here, about halfway through the book, is when \u003cem>Old Records Never Die\u003c/em> really kicks in. When Spitznagel visits his old college frat basement, writes about his father’s obsession with Willie Nelson’s “Always on My Mind” or reconnects with his first girlfriend \u003cem>High Fidelity\u003c/em>-style, it becomes less about the records and more about life itself. A beautiful passage involving Journey’s “Don’t Stop Believin’” even has the unfathomable ability to pull the reader out of the convoluted sap of the overplayed song and into misty-eyed heartache over love and the passage of time. Really. I’m not kidding.\u003c/p>\n\u003cfigure id=\"attachment_11488467\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Spitznagel.jpg\" alt=\"'Old Records Never Die' author Eric Spitznagel.\" width=\"450\" height=\"370\" class=\"size-full wp-image-11488467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Spitznagel.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Spitznagel-400x329.jpg 400w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">‘Old Records Never Die’ author Eric Spitznagel. \u003ccite>(Photo courtesy Penguin Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At times, the details and timing of these scenes seem too perfect, and it’s apparent that Spitznagel engages in a dose of creative nonfiction. (Is anyone who grew up in the Midwest in the ’80s really unable, like Spitznagel in the book, to immediately recall the title of the Prince song that’s about a beret? No.) But while stricter writers will allow the truth to get in the way of a good story, Spitznagel knows that a good story can sometimes lead to a greater truth. After accepting that aspect of \u003cem>Old Records Never Die\u003c/em>, the book’s conclusion — an unexpected variation of “you can’t go home again” — is wholly satisfying.\u003c/p>\n\u003cp>I wish I could say the same for the estate sale’s Phone-Mate IQ-2845 answering machine, which, as it turned out, only cost me $3. I brought it home and plugged it in. The series of clicks and buzzes and clacks that followed sounded like an Aphex Twin 12″, and it soon became apparent that the outgoing message cassette was thrashed. I tried and tried to fix it, but nothing worked.\u003c/p>\n\u003cp>But do you remember that girlfriend? The one from the day after the car crash, with the Replacements’ \u003cem>Let it Be\u003c/em> playing? The one from the mutual breakup? We didn’t stay broken up forever. I was sure she’d thought my answering machine escapade insane (not quite as insane as Spitznagel’s, granted), but I texted her today about it:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Tom Sachs’ Artist-Made ‘Space Program’ Lands First Women on Mars",
"headTitle": "Tom Sachs’ Artist-Made ‘Space Program’ Lands First Women on Mars | KQED",
"content": "\u003cp>\u003ci>A Space Program\u003c/i> isn’t quite a science fiction film. It’s also not quite a documentary film. It’s a film about a contemporary artist, \u003ca href=\"http://www.tomsachs.org/\" target=\"_blank\" rel=\"noopener\">Tom Sachs\u003c/a>, and his small army of studio assistants, as they build, launch and successfully complete an Earthly approximation of a manned mission to Mars.\u003c/p>\n\u003cp>https://youtu.be/83u78TRil7Q\u003c/p>\n\u003cp>\u003ci>A Space Program\u003c/i> is the stylish movie version of Sachs’ 2012 project \u003ci>\u003ca href=\"http://creativetime.org/projects/space-program-mars/\" target=\"_blank\" rel=\"noopener\">Space Program: Mars\u003c/a>\u003c/i>, a four-week installation in the Park Avenue Armory’s 55,000-square-foot Wade Thompson Drill Hall. During the course of the show, Sachs and his studio team conducted demonstrations of their entirely handmade space exploration complex for live audience, complete with sets for a mission control, a Mars lander, surface sampling equipment and a stress-relieving tea ceremony.\u003c/p>\n\u003cp>Using the concept of bricolage, every aspect of Sachs’ artistic output is a hobbled-together approximation of a real life thing. These objects — a space suit cooling system that includes a five-gallon sports cooler, a landing system that many will recognize as the arcade game Lunar Lander — are wonderfully playful. The mock-seriousness of the entire endeavor has a \u003ci>Life Aquatic\u003c/i>-like quality of matching a merry band of misfits with charming lo-fi special effects, cartoonish drawings and stop-motion animation.\u003c/p>\n\u003cfigure id=\"attachment_11486007\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11486007\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/ASP2.jpg\" alt=\"Lt. Samantha Ratanarat and Cdr. Mary Eannarino perform the first tea ceremony on the surface of Mars.\" width=\"1200\" height=\"776\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP2-400x259.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP2-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP2-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP2-1180x763.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP2-960x621.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lt. Samantha Ratanarat and Cdr. Mary Eannarino perform the first tea ceremony on the surface of Mars. \u003ccite>(Photo: Phoebe D'Heurle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for narrative, \u003ci>A Space Program\u003c/i> is light on that front. The movie starts off with a lot of stagecraft, introducing the Sachs studio members and their various material specialties: steel, plywood, Tyvek, epoxy and literature, to name a few. There’s plenty of dramatic lighting, official-looking ID badges and a stern-voiced narrator who fills us in on anything we might not know about plywood, Tyvek, epoxy and other Sachs studio methodologies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The stated mission of \u003ci>A Space Program\u003c/i> is to land the first women on the surface of Mars, find life on the planet and recoup investment. The astronauts, Lieutenant Samantha Ratanarat and Commander Mary Eannarino (who wear an 54 extra pounds of gear for the duration of the demonstrations documented in the movie), are the real focus of \u003ci>A Space Program\u003c/i>, enacting a stilted drama about the stress of the mission and heightened interpersonal conflict inside the close quarters of the Mars lander.\u003c/p>\n\u003cfigure id=\"attachment_11486006\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11486006\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/ASP1.jpg\" alt=\"Lt. Samantha Ratanarat loads soil samples onto the LEM after completing an extra-vehicular mission. \" width=\"1200\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP1-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP1-960x639.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lt. Samantha Ratanarat loads soil samples onto the LEM after completing an extra-vehicular mission. \u003ccite>(Photo: Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sachs, the ringmaster, is shown in quick cuts back to the control room, usually sipping whiskey on the rocks out of a glass with “NASA” etched on its side. Except for a brief introduction to Captain Oksana Todorova — who’s in charge of document forgery and currency counterfeiting — the rest of the studio is made up of men.\u003c/p>\n\u003cfigure id=\"attachment_11486009\" class=\"wp-caption alignright\" style=\"max-width: 432px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/ASPPoster.jpg\" alt=\"'A Space Program' opens Friday, April 15 in San Francisco.\" width=\"432\" height=\"640\" class=\"size-full wp-image-11486009\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASPPoster.jpg 432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASPPoster-400x593.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASPPoster-405x600.jpg 405w\" sizes=\"(max-width: 432px) 100vw, 432px\">\u003cfigcaption class=\"wp-caption-text\">‘A Space Program’ opens Friday, April 15 in San Francisco. \u003ccite>(Courtesy of Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In their classic Apollo missions-era attire of white button-down shirts, khakis, slim ties and pockets full of pens, it’s hard to miss the moment when men back in mission control refer to astronauts Ratanarat and Eannarino as “girls.” That’s because it happens immediately after Eannarino takes her first step on Mars (the Park Avenue Armory’s hardwood floor) and says, “A woman did this.”\u003c/p>\n\u003cp>This, the astronauts’ sexy mesh bodysuits, and a few other cringeworthy moments of men explaining things to the women put a permanent sneer on my face right around \u003ci>A Space Program\u003c/i>’s halfway mark.\u003c/p>\n\u003cp>With the decommission of NASA’s space shuttle Atlantis and the rise of pricey privatized space travel, Sachs’ artistic solution to our collective dreams of exploring the stars are welcome and visually inventive solutions. After all the helpful instruction included in \u003ci>A Space Program\u003c/i>, we the viewers might just have the tools to craft our own missions, with our own set of rules.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>A Space Program\u003c/b> opens April 15 at the Alamo Drafthouse in San Francisco.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>A Space Program\u003c/i> isn’t quite a science fiction film. It’s also not quite a documentary film. It’s a film about a contemporary artist, \u003ca href=\"http://www.tomsachs.org/\" target=\"_blank\" rel=\"noopener\">Tom Sachs\u003c/a>, and his small army of studio assistants, as they build, launch and successfully complete an Earthly approximation of a manned mission to Mars.\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/83u78TRil7Q'\n title='//www.youtube.com/embed/83u78TRil7Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ci>A Space Program\u003c/i> is the stylish movie version of Sachs’ 2012 project \u003ci>\u003ca href=\"http://creativetime.org/projects/space-program-mars/\" target=\"_blank\" rel=\"noopener\">Space Program: Mars\u003c/a>\u003c/i>, a four-week installation in the Park Avenue Armory’s 55,000-square-foot Wade Thompson Drill Hall. During the course of the show, Sachs and his studio team conducted demonstrations of their entirely handmade space exploration complex for live audience, complete with sets for a mission control, a Mars lander, surface sampling equipment and a stress-relieving tea ceremony.\u003c/p>\n\u003cp>Using the concept of bricolage, every aspect of Sachs’ artistic output is a hobbled-together approximation of a real life thing. These objects — a space suit cooling system that includes a five-gallon sports cooler, a landing system that many will recognize as the arcade game Lunar Lander — are wonderfully playful. The mock-seriousness of the entire endeavor has a \u003ci>Life Aquatic\u003c/i>-like quality of matching a merry band of misfits with charming lo-fi special effects, cartoonish drawings and stop-motion animation.\u003c/p>\n\u003cfigure id=\"attachment_11486007\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11486007\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/ASP2.jpg\" alt=\"Lt. Samantha Ratanarat and Cdr. Mary Eannarino perform the first tea ceremony on the surface of Mars.\" width=\"1200\" height=\"776\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP2-400x259.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP2-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP2-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP2-1180x763.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP2-960x621.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lt. Samantha Ratanarat and Cdr. Mary Eannarino perform the first tea ceremony on the surface of Mars. \u003ccite>(Photo: Phoebe D'Heurle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for narrative, \u003ci>A Space Program\u003c/i> is light on that front. The movie starts off with a lot of stagecraft, introducing the Sachs studio members and their various material specialties: steel, plywood, Tyvek, epoxy and literature, to name a few. There’s plenty of dramatic lighting, official-looking ID badges and a stern-voiced narrator who fills us in on anything we might not know about plywood, Tyvek, epoxy and other Sachs studio methodologies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The stated mission of \u003ci>A Space Program\u003c/i> is to land the first women on the surface of Mars, find life on the planet and recoup investment. The astronauts, Lieutenant Samantha Ratanarat and Commander Mary Eannarino (who wear an 54 extra pounds of gear for the duration of the demonstrations documented in the movie), are the real focus of \u003ci>A Space Program\u003c/i>, enacting a stilted drama about the stress of the mission and heightened interpersonal conflict inside the close quarters of the Mars lander.\u003c/p>\n\u003cfigure id=\"attachment_11486006\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11486006\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/ASP1.jpg\" alt=\"Lt. Samantha Ratanarat loads soil samples onto the LEM after completing an extra-vehicular mission. \" width=\"1200\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP1-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP1-960x639.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lt. Samantha Ratanarat loads soil samples onto the LEM after completing an extra-vehicular mission. \u003ccite>(Photo: Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sachs, the ringmaster, is shown in quick cuts back to the control room, usually sipping whiskey on the rocks out of a glass with “NASA” etched on its side. Except for a brief introduction to Captain Oksana Todorova — who’s in charge of document forgery and currency counterfeiting — the rest of the studio is made up of men.\u003c/p>\n\u003cfigure id=\"attachment_11486009\" class=\"wp-caption alignright\" style=\"max-width: 432px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/ASPPoster.jpg\" alt=\"'A Space Program' opens Friday, April 15 in San Francisco.\" width=\"432\" height=\"640\" class=\"size-full wp-image-11486009\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASPPoster.jpg 432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASPPoster-400x593.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASPPoster-405x600.jpg 405w\" sizes=\"(max-width: 432px) 100vw, 432px\">\u003cfigcaption class=\"wp-caption-text\">‘A Space Program’ opens Friday, April 15 in San Francisco. \u003ccite>(Courtesy of Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In their classic Apollo missions-era attire of white button-down shirts, khakis, slim ties and pockets full of pens, it’s hard to miss the moment when men back in mission control refer to astronauts Ratanarat and Eannarino as “girls.” That’s because it happens immediately after Eannarino takes her first step on Mars (the Park Avenue Armory’s hardwood floor) and says, “A woman did this.”\u003c/p>\n\u003cp>This, the astronauts’ sexy mesh bodysuits, and a few other cringeworthy moments of men explaining things to the women put a permanent sneer on my face right around \u003ci>A Space Program\u003c/i>’s halfway mark.\u003c/p>\n\u003cp>With the decommission of NASA’s space shuttle Atlantis and the rise of pricey privatized space travel, Sachs’ artistic solution to our collective dreams of exploring the stars are welcome and visually inventive solutions. After all the helpful instruction included in \u003ci>A Space Program\u003c/i>, we the viewers might just have the tools to craft our own missions, with our own set of rules.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>A Space Program\u003c/b> opens April 15 at the Alamo Drafthouse in San Francisco.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">What images first come to mind when you think of a puppet show? Punch and Judy, perhaps? Or “The Lonely Goatherd” from \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Sound of Music\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">? \u003c/span>\u003cspan style=\"font-weight: 400\">Grover, Cookie Monster and the Count from \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sesame Street? \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">If those are your expectations, \u003c/span>\u003cstrong>\u003ci>\u003ca href=\"http://zspace.org/new-work/birdheart\" target=\"_blank\" rel=\"noopener\">Birdheart\u003c/a>,\u003c/i>\u003c/strong>\u003cspan style=\"font-weight: 400\"> now playing at Z Space in San Francisco, will foil them.\u003c/span> \u003cspan style=\"font-weight: 400\">Conceived of and performed by Julian Crouch and Saskia Lane, this puppet show largely eschews a traditional narrative and favors instead the art of visual transformation.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Crouch is a British theater designer and puppet maker based in Brooklyn and well known for his work with the \u003ca href=\"http://www.improbable.co.uk/\" target=\"_blank\" rel=\"noopener\">Improbable Theatre Company\u003c/a> on such shows as \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Devil and Mister Punch\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Shockheaded Peter. \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">In 2015, he received a Tony nomination for the scenic design of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hedwig and the Angry Inch\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. In comparison to that raucous showstopper of a musical, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Birdheart\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> lives in a hushed and intimate space. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lane makes up the other half of the duo. A composer and musician by background (she is a member of the hip, New York band \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://biddies.virb.com/\" target=\"_blank\" rel=\"noopener\">The Lascivious Biddies\u003c/a>) she is nevertheless\u003c/span>\u003cspan style=\"font-weight: 400\"> an equal partner to Crouch in the art of making inanimate objects spring to life.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11484839\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11484839 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/bird_b.jpg\" alt=\"BIRDHEART - Duke Theater\" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/bird_b.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/bird_b-400x267.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Saskia Lane (l) and Julian Crouch (r) with one of the creations in ‘Birdheart’ that manifests in front of the audience’s eyes. (Photo: Courtesy of Jill Steinberg)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Crouch and Lane are already on stage as the audience enters the auditorium. They sit next to each other on stools, quietly cutting shapes out of a flesh-colored fabric that pile up at their feet. They look like members of a knitting bee or a sewing circle, fastidious with the work at hand. Once everyone is seated and the lights dimmed, the performers put their scissors down and walk off stage.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11484840\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11484840 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/bird_c.jpg\" alt=\"BIRDHEART - Duke Theater\" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/bird_c.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/bird_c-400x267.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Saskia Lane (l) and Julian Crouch (r) with one of the creations in the play that manifests in front of the audience’s eyes. (Photo: Courtesy of Jill Steinberg)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">When they return, each of their faces is covered with a blank mask made from the cut pieces of fabric. Once the performers complete each other’s masks, Crouch grabs a banjo and begins to pluck a jaunty tune. Lane then retrieves her comically large double-bass from backstage and they proceed to finish the song together. For a few minutes, Crouch and Lane appear to be puppets themselves, entirely self-created and entirely alive.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This scene, in fact, serves as a preamble to the core \u003c/span>\u003cspan style=\"font-weight: 400\">part of the program. And it works beautifully. The sweet, lighthearted introduction helps to ease the audience into the more serious content of \u003cem>Birdheart — \u003c/em>a story inspired in part by news stories the artists read a few years ago about albatrosses consuming plastic and other human debris. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It isn’t until Crouch and Lane end the song and remove their masks that \u003ci>Birdheart\u003c/i> truly begins. Standing side by side behind a table topped with a sandbox, the puppeteers bring a mannequin made from brown construction paper to life. On the soundtrack, ocean waves crash on some distant shore. We are transported to a desert island with a solitary creature wandering on a beach somewhere.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Seemingly attached at the hip and sharing an eerie psychic rapport that informs their synchronized movements, the two puppeteers hold the fragile creature up, skillfully make it dance, and eventually give it wings. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Birdheart\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is moving. Despite the primitive materials, it never feels trivial. Crouch and Lane are performing an act of careful attention. They’ve imagined a bird that not only dreams of flight but also achieves it.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Birdheart\u003c/em> plays through Sunday, Apr. 17 at Z Space in San Francisco. Go \u003ca href=\"http://zspace.org/new-work/birdheart\" target=\"_blank\" rel=\"noopener\">here \u003c/a>for more information. \u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">What images first come to mind when you think of a puppet show? Punch and Judy, perhaps? Or “The Lonely Goatherd” from \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Sound of Music\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">? \u003c/span>\u003cspan style=\"font-weight: 400\">Grover, Cookie Monster and the Count from \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sesame Street? \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">If those are your expectations, \u003c/span>\u003cstrong>\u003ci>\u003ca href=\"http://zspace.org/new-work/birdheart\" target=\"_blank\" rel=\"noopener\">Birdheart\u003c/a>,\u003c/i>\u003c/strong>\u003cspan style=\"font-weight: 400\"> now playing at Z Space in San Francisco, will foil them.\u003c/span> \u003cspan style=\"font-weight: 400\">Conceived of and performed by Julian Crouch and Saskia Lane, this puppet show largely eschews a traditional narrative and favors instead the art of visual transformation.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Crouch is a British theater designer and puppet maker based in Brooklyn and well known for his work with the \u003ca href=\"http://www.improbable.co.uk/\" target=\"_blank\" rel=\"noopener\">Improbable Theatre Company\u003c/a> on such shows as \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Devil and Mister Punch\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Shockheaded Peter. \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">In 2015, he received a Tony nomination for the scenic design of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hedwig and the Angry Inch\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. In comparison to that raucous showstopper of a musical, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Birdheart\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> lives in a hushed and intimate space. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lane makes up the other half of the duo. A composer and musician by background (she is a member of the hip, New York band \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://biddies.virb.com/\" target=\"_blank\" rel=\"noopener\">The Lascivious Biddies\u003c/a>) she is nevertheless\u003c/span>\u003cspan style=\"font-weight: 400\"> an equal partner to Crouch in the art of making inanimate objects spring to life.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11484839\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11484839 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/bird_b.jpg\" alt=\"BIRDHEART - Duke Theater\" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/bird_b.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/bird_b-400x267.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Saskia Lane (l) and Julian Crouch (r) with one of the creations in ‘Birdheart’ that manifests in front of the audience’s eyes. (Photo: Courtesy of Jill Steinberg)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Crouch and Lane are already on stage as the audience enters the auditorium. They sit next to each other on stools, quietly cutting shapes out of a flesh-colored fabric that pile up at their feet. They look like members of a knitting bee or a sewing circle, fastidious with the work at hand. Once everyone is seated and the lights dimmed, the performers put their scissors down and walk off stage.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11484840\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11484840 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/bird_c.jpg\" alt=\"BIRDHEART - Duke Theater\" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/bird_c.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/bird_c-400x267.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Saskia Lane (l) and Julian Crouch (r) with one of the creations in the play that manifests in front of the audience’s eyes. (Photo: Courtesy of Jill Steinberg)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">When they return, each of their faces is covered with a blank mask made from the cut pieces of fabric. Once the performers complete each other’s masks, Crouch grabs a banjo and begins to pluck a jaunty tune. Lane then retrieves her comically large double-bass from backstage and they proceed to finish the song together. For a few minutes, Crouch and Lane appear to be puppets themselves, entirely self-created and entirely alive.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This scene, in fact, serves as a preamble to the core \u003c/span>\u003cspan style=\"font-weight: 400\">part of the program. And it works beautifully. The sweet, lighthearted introduction helps to ease the audience into the more serious content of \u003cem>Birdheart — \u003c/em>a story inspired in part by news stories the artists read a few years ago about albatrosses consuming plastic and other human debris. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It isn’t until Crouch and Lane end the song and remove their masks that \u003ci>Birdheart\u003c/i> truly begins. Standing side by side behind a table topped with a sandbox, the puppeteers bring a mannequin made from brown construction paper to life. On the soundtrack, ocean waves crash on some distant shore. We are transported to a desert island with a solitary creature wandering on a beach somewhere.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Seemingly attached at the hip and sharing an eerie psychic rapport that informs their synchronized movements, the two puppeteers hold the fragile creature up, skillfully make it dance, and eventually give it wings. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Birdheart\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is moving. Despite the primitive materials, it never feels trivial. Crouch and Lane are performing an act of careful attention. They’ve imagined a bird that not only dreams of flight but also achieves it.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Birdheart\u003c/em> plays through Sunday, Apr. 17 at Z Space in San Francisco. Go \u003ca href=\"http://zspace.org/new-work/birdheart\" target=\"_blank\" rel=\"noopener\">here \u003c/a>for more information. \u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>On Saturday night in a West Oakland backyard, LowKey, an East Coast event promoter, laid down the rules. “If they’re wack, you can boo them off stage.” The crowd murmured. “This ain’t the Grammys,” he said sternly. And then the karaoke — trap karaoke, to be precise — began.\u003c/p>\n\u003cp>Trap Karaoke began late last year after Jason Mowatt, a music festival organizer, envisioned an event where fans could connect and sing along to their favorite thundering, bass-heavy party music: rap, R&B, hip-hop and trap. He and his co-organizers came up with a format, and launched a touring series of parties in cities like New York, Chicago, and LA (where the rapper Wale dropped by at a recent show). Imagine the myth-making of your neighborhood bar’s karaoke night with the energetic community of Korean-style karaoke but featuring recent turn-up hits and hip-hop classics, and you’ve got the idea.\u003c/p>\n\u003cp>https://www.instagram.com/p/BEBpLAFTMRR/\u003c/p>\n\u003cp>At \u003ca href=\"http://regularsonly.com\" target=\"_blank\" rel=\"noopener\">#RegularsOnly\u003c/a>, a relaxed backyard, the venue’s informality set the loose tone of the night. After the first few brave singers, it became clear that people were taking the host’s warning to heart. “Two! I need two people!” LowKey called, desperate, over the opening lines of Young Dro’s “FDB.” But the crowd seemed content to shriek along together rather than put one person on the small wooden stage.\u003c/p>\n\u003cp>As the night went on, it became both less trap and less karaoke — the most popular tracks were old-school bangers (Lauryn Hill’s “Ex-Factor”; U.G.K.’s “International Player’s Anthem”) and Bay Area hits like Too Short’s “Blow the Whistle.” (“Sorry, I don’t listen to Future,” a woman grumbled to her friend, calling the Atlanta rapper “the music I hear my kids play.”) Everyone sang along, everyone danced, but for a time, nobody wanted to leave the boisterous party in the crowd to go onstage and actually sing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/BEAtP_Atvv_/\u003c/p>\n\u003cp>Not that anyone seemed to mind. Throughout the night, the atmosphere was joyfully chaotic. Twice, the music stopped and the DJs — LowKey and Leon “Dnas” Sykes — firmly ordered that the tent’s poles were \u003cem>not\u003c/em> to be used as stripper poles. Some of the 300 audience members braved the rain and spread out from under the tent, standing on raised vegetable garden beds to get a better look at the stage. A heat lamp gently shook from the force of the crowd’s dancing. During a raucous sing along to Rihanna’s current No. 1 hit “Work” — where the DJs turned off the music and let the crowd flawlessly complete Drake’s verse — it almost toppled completely.\u003c/p>\n\u003cp>Confidence eventually bolstered, people started returning to the stage. The performers were all solid with charismatic stage presence (and the DJs merciful with well-timed fade outs once it became clear that really, no one knows the second verse in Rich Homie Quan’s “Flex”), and witnessing fans who’d once perhaps dreamed of becoming rap stars finally touching a piece of the prize was infectious and joyful.\u003c/p>\n\u003cp>https://www.instagram.com/p/BEBm3u3zMaR/\u003c/p>\n\u003cp>Take one of the last performances of the night: an electrifying version of E-40’s “Tell Me When To Go” by an Oakland native, who confidently spit every word, her hair flying as she bounced around the stage.\u003c/p>\n\u003cp>“I felt like I was in Miami for a sec,” someone nearby said dreamily of the singer’s more athletic dance moves. But her performance, much like the night itself, was in fact pure Oakland: spirited, slightly lawless, low-key yet exuberant.\u003c/p>\n\u003cp>https://www.instagram.com/p/BEA3XjbrVAt/\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tour details and more footage from Trap Karaoke parties can be found \u003ca href=\"http://trapkaraoke.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Move over, \"Don't Stop Believin'\": In a packed Oakland backyard, Trap Karaoke got fans #LitAF to sing their favorite rap, R&B, hip-hop and trap songs.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>On Saturday night in a West Oakland backyard, LowKey, an East Coast event promoter, laid down the rules. “If they’re wack, you can boo them off stage.” The crowd murmured. “This ain’t the Grammys,” he said sternly. And then the karaoke — trap karaoke, to be precise — began.\u003c/p>\n\u003cp>Trap Karaoke began late last year after Jason Mowatt, a music festival organizer, envisioned an event where fans could connect and sing along to their favorite thundering, bass-heavy party music: rap, R&B, hip-hop and trap. He and his co-organizers came up with a format, and launched a touring series of parties in cities like New York, Chicago, and LA (where the rapper Wale dropped by at a recent show). Imagine the myth-making of your neighborhood bar’s karaoke night with the energetic community of Korean-style karaoke but featuring recent turn-up hits and hip-hop classics, and you’ve got the idea.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not that anyone seemed to mind. Throughout the night, the atmosphere was joyfully chaotic. Twice, the music stopped and the DJs — LowKey and Leon “Dnas” Sykes — firmly ordered that the tent’s poles were \u003cem>not\u003c/em> to be used as stripper poles. Some of the 300 audience members braved the rain and spread out from under the tent, standing on raised vegetable garden beds to get a better look at the stage. A heat lamp gently shook from the force of the crowd’s dancing. During a raucous sing along to Rihanna’s current No. 1 hit “Work” — where the DJs turned off the music and let the crowd flawlessly complete Drake’s verse — it almost toppled completely.\u003c/p>\n\u003cp>Confidence eventually bolstered, people started returning to the stage. The performers were all solid with charismatic stage presence (and the DJs merciful with well-timed fade outs once it became clear that really, no one knows the second verse in Rich Homie Quan’s “Flex”), and witnessing fans who’d once perhaps dreamed of becoming rap stars finally touching a piece of the prize was infectious and joyful.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Take one of the last performances of the night: an electrifying version of E-40’s “Tell Me When To Go” by an Oakland native, who confidently spit every word, her hair flying as she bounced around the stage.\u003c/p>\n\u003cp>“I felt like I was in Miami for a sec,” someone nearby said dreamily of the singer’s more athletic dance moves. But her performance, much like the night itself, was in fact pure Oakland: spirited, slightly lawless, low-key yet exuberant.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>Paul Dedalus can be a man of action. The middle-class protagonist of the dynamic yet ultimately melancholy \u003cem>My Golden Days\u003c/em> carries a gun into a tense negotiation with a drug dealer, and happily accepts a secret mission to carry documents and cash to Jewish refuseniks while on a high-school trip behind what was then the Iron Curtain.\u003c/p>\n\u003cp>Yet Paul — like his Irish cousin, James Joyce’s Stephen Dedalus — is more observer than doer. In fact, he’s an anthropology student who will grow up to be the central character in director Arnaud Desplechin’s 1996 film, \u003cem>My Sex Life, or … How I Got Into an Argument\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v4D7XhKZoTg\u003c/p>\n\u003cp>The older Paul is played by Desplechin regular Matthieu Amalric, who also had the role 20 years ago. He appears only in brief framing stories, set in Tajikstan and Paris. The movie belongs to Quentin Dolmaire, soulful and selfish as the teenage Paul, and Lou Roy-Lecollinet, who movingly plays Esther, the troubled girlfriend he can’t comfort, and will never forget.\u003c/p>\n\u003cp>Despite its references to ancient Greek literature, \u003cem>My Golden Days\u003c/em> doesn’t try for classical symmetry. Its French title means “three memories of my youth,” and the film does consist primarily of a trio of episodes, set in the 1970s and ’80s. But the first two are quick and open-ended, while the third is a movie in itself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the elliptical first chapter, Paul protects his two younger siblings from their manic mother, and then seeks refuge with his lesbian great-aunt. He hears a story about a Stalinist execution, and attends a funeral. The circumstances won’t be explained until later.\u003c/p>\n\u003cp>The second part sends Paul and a Jewish pal to Minsk, where they meet the refuseniks. Paul makes a spontaneous gift that will inconvenience him later, and also provide a metaphor for his detachment. “I feel nothing” is Paul’s refrain, although it’s not always true.\u003c/p>\n\u003cp>Finally, Paul meets Esther, one of his younger sister’s classmates. She’s a headstrong siren who’s certain of her attractiveness, yet has doubts about her other qualities. Their relationship is roiled by infidelities on both sides, and also by distance. Paul is studying in Paris, while Esther still lives in Roubaix, Paul’s — and the director’s — Belgian-border hometown.\u003c/p>\n\u003cp>Like \u003cem>My Sex Life\u003c/em>, Desplechin’s latest effort is as much novelistic as cinematic. Indeed, it might benefit from being longer and more discursive, so as to fill in such sketchy characters as Paul’s enigmatic younger brother, and to show more of how Esther became the person she is in the earlier film.\u003c/p>\n\u003cp>The overall style is realistic, and Irina Lubtchansky’s hand-held cinematography emulates documentary. Yet the director includes such movie-buff touches as split screens (most popular in the ’70s) and iris shots (which recall silent movies). Although the performances are immediate, the goal is to evoke a sense of the past.\u003c/p>\n\u003cp>This lost age is not particularly golden. Wispy classical-style music is interrupted by the earthy rap and funk of George Clinton, Run D.M.C., and Roxanne Shante, and Paul’s historical and anthropological interest in the former Soviet Union is tempered by his experience of Communist oppression.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But then this is a movie where Paul greets the demolition of the Berlin Wall with regret; he sees not freedom for millions but the end of his childhood. Years later, in a startling scene with the middle-aged Paul, a hometown rival, and the latter’s wife, Esther also becomes a symbol of private loss. It’s impossible to say how autobiographical \u003cem>My Golden Days\u003c/em> is, but there’s no question that it’s profoundly personal.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Paul Dedalus can be a man of action. The middle-class protagonist of the dynamic yet ultimately melancholy \u003cem>My Golden Days\u003c/em> carries a gun into a tense negotiation with a drug dealer, and happily accepts a secret mission to carry documents and cash to Jewish refuseniks while on a high-school trip behind what was then the Iron Curtain.\u003c/p>\n\u003cp>Yet Paul — like his Irish cousin, James Joyce’s Stephen Dedalus — is more observer than doer. In fact, he’s an anthropology student who will grow up to be the central character in director Arnaud Desplechin’s 1996 film, \u003cem>My Sex Life, or … How I Got Into an Argument\u003c/em>.\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/v4D7XhKZoTg'\n title='//www.youtube.com/embed/v4D7XhKZoTg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The older Paul is played by Desplechin regular Matthieu Amalric, who also had the role 20 years ago. He appears only in brief framing stories, set in Tajikstan and Paris. The movie belongs to Quentin Dolmaire, soulful and selfish as the teenage Paul, and Lou Roy-Lecollinet, who movingly plays Esther, the troubled girlfriend he can’t comfort, and will never forget.\u003c/p>\n\u003cp>Despite its references to ancient Greek literature, \u003cem>My Golden Days\u003c/em> doesn’t try for classical symmetry. Its French title means “three memories of my youth,” and the film does consist primarily of a trio of episodes, set in the 1970s and ’80s. But the first two are quick and open-ended, while the third is a movie in itself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the elliptical first chapter, Paul protects his two younger siblings from their manic mother, and then seeks refuge with his lesbian great-aunt. He hears a story about a Stalinist execution, and attends a funeral. The circumstances won’t be explained until later.\u003c/p>\n\u003cp>The second part sends Paul and a Jewish pal to Minsk, where they meet the refuseniks. Paul makes a spontaneous gift that will inconvenience him later, and also provide a metaphor for his detachment. “I feel nothing” is Paul’s refrain, although it’s not always true.\u003c/p>\n\u003cp>Finally, Paul meets Esther, one of his younger sister’s classmates. She’s a headstrong siren who’s certain of her attractiveness, yet has doubts about her other qualities. Their relationship is roiled by infidelities on both sides, and also by distance. Paul is studying in Paris, while Esther still lives in Roubaix, Paul’s — and the director’s — Belgian-border hometown.\u003c/p>\n\u003cp>Like \u003cem>My Sex Life\u003c/em>, Desplechin’s latest effort is as much novelistic as cinematic. Indeed, it might benefit from being longer and more discursive, so as to fill in such sketchy characters as Paul’s enigmatic younger brother, and to show more of how Esther became the person she is in the earlier film.\u003c/p>\n\u003cp>The overall style is realistic, and Irina Lubtchansky’s hand-held cinematography emulates documentary. Yet the director includes such movie-buff touches as split screens (most popular in the ’70s) and iris shots (which recall silent movies). Although the performances are immediate, the goal is to evoke a sense of the past.\u003c/p>\n\u003cp>This lost age is not particularly golden. Wispy classical-style music is interrupted by the earthy rap and funk of George Clinton, Run D.M.C., and Roxanne Shante, and Paul’s historical and anthropological interest in the former Soviet Union is tempered by his experience of Communist oppression.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But then this is a movie where Paul greets the demolition of the Berlin Wall with regret; he sees not freedom for millions but the end of his childhood. Years later, in a startling scene with the middle-aged Paul, a hometown rival, and the latter’s wife, Esther also becomes a symbol of private loss. It’s impossible to say how autobiographical \u003cem>My Golden Days\u003c/em> is, but there’s no question that it’s profoundly personal.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Peter Sinn Nachtrieb has done something rather amazing with his new play, \u003cem>\u003ca href=\"http://zspace.org/new-work/house-tour\" target=\"_blank\" rel=\"noopener\">A House Tour of the Infamous Porter Family Mansion with Tour Guide Weston Ludlow Londonderry\u003c/a>\u003c/em>, at Z Space. The dramatist has taken the docent-led house tours you find at famous stately homes and their ilk and lovingly recreated their most irritating and hollow qualities. By doing so, Nachtrieb has turned what might at best be considered a degraded and unrecognized form of theater into something chttps://kqed-wingspan.silkroad.com/ws/Login.aspx?ReturnUrl=%2fws#lose to a potent and moving piece of art.\u003c/p>\n\u003cp>This alchemical stunt begins right in the Z space lobby, which has been decked out to resemble the starting point of the tackiest of historical house tours. There’s the endlessly looping informational video, as portentous as it is delightfully nonsensical: “Billions of years ago, Mother Nature forged the Planet Earth and this land we stand on.” There are the mannequins in period costumes, posed to suggest a drama and animation that they can’t come close to realizing. And most prominently, there is our docent and guide, Weston Ludlow Londonderry. The character is brought to life in a sustained and amazing performance by veteran Bay Area actor Danny Scheie, for whom Nachtrieb wrote the play.\u003c/p>\n\u003cp>Nachtrieb expertly balances two unrelated narratives throughout. The first is the love story of Hubert and Clarissa Porter — this after all is the Porter Family Mansion tour. The second is that of Londonderry himself, the epitome of the know-it-all docent. Like all of his kind, Londonderry possesses an inflated sense of purpose and a maniacal belief in the importance of the lives he recounts to unenlightened tourists. Sadly, he knows the Porters better than he knows himself.\u003c/p>\n\u003cfigure id=\"attachment_11470012\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470012 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/House_edit4-800x493.jpg\" alt=\"House_edit4\" width=\"800\" height=\"493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/House_edit4-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/House_edit4-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/House_edit4-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/House_edit4-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/House_edit4-1920x1184.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/House_edit4-960x592.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Weston Ludlow Londonderry (Danny Scheie) plays peek-a-boo with the audience in Peter Sinn Nachtrieb’s ‘A House Tour.’ Photo: Julie Schuchard.\u003c/figcaption>\u003c/figure>\n\u003cp>And that’s one of Nachtrieb’s better and most effecting jokes: what exactly is Londonderry’s level of awareness? Does he know that he’s a fool? That he’s explosively violent? That he’s gay? When he mentions his wife — “Don’t get me started on the wife that I have” — the audience erupts in joyful disbelief. That he’s only happy when he’s talking in the filthiest possible manner seems funny at first and then becomes an awful self-flagellation. And the beautiful complexity of it all is that Nachtrieb perfectly realizes these psychic fissures in the canned performance of “docent talk.” This is parody as a form of self-revelation.\u003c/p>\n\u003cp>Now in real life, docents are often inept performers; and the tours they lead, the graveyard of talentless drama majors. And that’s where \u003cem>A House Tour\u003c/em> gets most of its strange charge. Because Scheie is so electric and Nachtrieb’s writing so alert and ornate, the situation of the tour gathers a tension and depth that you never would have imagined. You start to understand the love story of Hubert and Clarissa as Londonderry does, and so his belief in the couple’s significance starts to seem both justified and a mystery worth solving.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What room will Londonderry lead us to next? Which will he skip? Why is he so obsessed with Hubert and Clarissa’s mammoth bathroom? Why do we have to eat cookies there? Most importantly, how will the space itself bend to his will? In Sean Riley’s amazing set that’s exactly what happens: rooms appear, reconfigure, and disappear in strange ways. It’s as if the house has come alive to Londonderry’s mania; the effect is hallucinatory and a triumph of writing and design.\u003c/p>\n\u003cp>Most environmental or immersive productions are clunky and visually dead. All that moving around tends to dissipate the narrative tension, and the lack of consistent sight lines doesn’t allow for complex and sustained images. Nachtrieb and Riley account for those limitations by accounting for everything. There’s almost no inconsequential shuffling from room to room. And there are scores of stunning images — a magical bar of butter, a mass of people rubbing their hands in a bathroom, a crowd marching for the pleasure of a German butler, the sky opening up to reveal one man’s quest for transcendence. At first these moments seem like happenstance, but happenstance doesn’t happen over and over again.\u003c/p>\n\u003cp>Nachtrieb is the resident playwright at Z Space and wrote \u003cem>A House Tour\u003c/em> specially for the distinct possibilities of that huge warehouse space. It’s a brilliantly conceived and executed stunt that burrows deep into the psyche of a sick man. The fact that it’s all so fun and delightful is, upon reflection, more than a little disturbing. I’m not sure that it ends as it should, or that Nachtrieb has realized the full complexity of what he’s set in motion. You exit the theater wanting that last bit of wild that neither play nor production seems quite ready to embrace.\u003c/p>\n\u003cp>And yet what we have is masterful. \u003cem>A House Tour\u003c/em> is a play that makes us want to take on the delusions of an angry fool and see even the nastiest of that fool’s desires as significant and worthy of respect. Let us all be kind to the house tour docents of the world — without them, no mystery would ever be solved.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"House Tour (Trailer for the upcoming play)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/cJTngYUWuOk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://zspace.org/new-work/house-tour\" target=\"_blank\" rel=\"noopener\">A House Tour of the Infamous Porter Family Mansion with Tour Guide Weston Ludlow Londonderry\u003c/a>\u003c/em> plays through Saturday, Apr. 23 at the Z Space in San Francisco. For tickets and information go to www.zspace.org.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Peter Sinn Nachtrieb has done something rather amazing with his new play, \u003cem>\u003ca href=\"http://zspace.org/new-work/house-tour\" target=\"_blank\" rel=\"noopener\">A House Tour of the Infamous Porter Family Mansion with Tour Guide Weston Ludlow Londonderry\u003c/a>\u003c/em>, at Z Space. The dramatist has taken the docent-led house tours you find at famous stately homes and their ilk and lovingly recreated their most irritating and hollow qualities. By doing so, Nachtrieb has turned what might at best be considered a degraded and unrecognized form of theater into something chttps://kqed-wingspan.silkroad.com/ws/Login.aspx?ReturnUrl=%2fws#lose to a potent and moving piece of art.\u003c/p>\n\u003cp>This alchemical stunt begins right in the Z space lobby, which has been decked out to resemble the starting point of the tackiest of historical house tours. There’s the endlessly looping informational video, as portentous as it is delightfully nonsensical: “Billions of years ago, Mother Nature forged the Planet Earth and this land we stand on.” There are the mannequins in period costumes, posed to suggest a drama and animation that they can’t come close to realizing. And most prominently, there is our docent and guide, Weston Ludlow Londonderry. The character is brought to life in a sustained and amazing performance by veteran Bay Area actor Danny Scheie, for whom Nachtrieb wrote the play.\u003c/p>\n\u003cp>Nachtrieb expertly balances two unrelated narratives throughout. The first is the love story of Hubert and Clarissa Porter — this after all is the Porter Family Mansion tour. The second is that of Londonderry himself, the epitome of the know-it-all docent. Like all of his kind, Londonderry possesses an inflated sense of purpose and a maniacal belief in the importance of the lives he recounts to unenlightened tourists. Sadly, he knows the Porters better than he knows himself.\u003c/p>\n\u003cfigure id=\"attachment_11470012\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470012 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/House_edit4-800x493.jpg\" alt=\"House_edit4\" width=\"800\" height=\"493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/House_edit4-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/House_edit4-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/House_edit4-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/House_edit4-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/House_edit4-1920x1184.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/House_edit4-960x592.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Weston Ludlow Londonderry (Danny Scheie) plays peek-a-boo with the audience in Peter Sinn Nachtrieb’s ‘A House Tour.’ Photo: Julie Schuchard.\u003c/figcaption>\u003c/figure>\n\u003cp>And that’s one of Nachtrieb’s better and most effecting jokes: what exactly is Londonderry’s level of awareness? Does he know that he’s a fool? That he’s explosively violent? That he’s gay? When he mentions his wife — “Don’t get me started on the wife that I have” — the audience erupts in joyful disbelief. That he’s only happy when he’s talking in the filthiest possible manner seems funny at first and then becomes an awful self-flagellation. And the beautiful complexity of it all is that Nachtrieb perfectly realizes these psychic fissures in the canned performance of “docent talk.” This is parody as a form of self-revelation.\u003c/p>\n\u003cp>Now in real life, docents are often inept performers; and the tours they lead, the graveyard of talentless drama majors. And that’s where \u003cem>A House Tour\u003c/em> gets most of its strange charge. Because Scheie is so electric and Nachtrieb’s writing so alert and ornate, the situation of the tour gathers a tension and depth that you never would have imagined. You start to understand the love story of Hubert and Clarissa as Londonderry does, and so his belief in the couple’s significance starts to seem both justified and a mystery worth solving.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What room will Londonderry lead us to next? Which will he skip? Why is he so obsessed with Hubert and Clarissa’s mammoth bathroom? Why do we have to eat cookies there? Most importantly, how will the space itself bend to his will? In Sean Riley’s amazing set that’s exactly what happens: rooms appear, reconfigure, and disappear in strange ways. It’s as if the house has come alive to Londonderry’s mania; the effect is hallucinatory and a triumph of writing and design.\u003c/p>\n\u003cp>Most environmental or immersive productions are clunky and visually dead. All that moving around tends to dissipate the narrative tension, and the lack of consistent sight lines doesn’t allow for complex and sustained images. Nachtrieb and Riley account for those limitations by accounting for everything. There’s almost no inconsequential shuffling from room to room. And there are scores of stunning images — a magical bar of butter, a mass of people rubbing their hands in a bathroom, a crowd marching for the pleasure of a German butler, the sky opening up to reveal one man’s quest for transcendence. At first these moments seem like happenstance, but happenstance doesn’t happen over and over again.\u003c/p>\n\u003cp>Nachtrieb is the resident playwright at Z Space and wrote \u003cem>A House Tour\u003c/em> specially for the distinct possibilities of that huge warehouse space. It’s a brilliantly conceived and executed stunt that burrows deep into the psyche of a sick man. The fact that it’s all so fun and delightful is, upon reflection, more than a little disturbing. I’m not sure that it ends as it should, or that Nachtrieb has realized the full complexity of what he’s set in motion. You exit the theater wanting that last bit of wild that neither play nor production seems quite ready to embrace.\u003c/p>\n\u003cp>And yet what we have is masterful. \u003cem>A House Tour\u003c/em> is a play that makes us want to take on the delusions of an angry fool and see even the nastiest of that fool’s desires as significant and worthy of respect. Let us all be kind to the house tour docents of the world — without them, no mystery would ever be solved.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"House Tour (Trailer for the upcoming play)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/cJTngYUWuOk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://zspace.org/new-work/house-tour\" target=\"_blank\" rel=\"noopener\">A House Tour of the Infamous Porter Family Mansion with Tour Guide Weston Ludlow Londonderry\u003c/a>\u003c/em> plays through Saturday, Apr. 23 at the Z Space in San Francisco. For tickets and information go to www.zspace.org.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Berkeley Art Center's Agility Projects Support Daring Reflections on Identity",
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"content": "\u003cp>Tucked into a grove of redwood trees, the Berkeley Art Center resembles a yoga studio far more than a contemporary arts venue. But if you enter the heptagonal building expecting to find asanas and sun salutations, \u003ca href=\"http://www.rodneyewing.com/\" target=\"_blank\" rel=\"noopener\">Rodney Ewing\u003c/a> and \u003ca href=\"http://www.jamilhellu.net/\" target=\"_blank\" rel=\"noopener\">Jamil Hellu\u003c/a>’s simultaneous solo exhibitions (despite being part of an ongoing series called “Agility Projects”) will provide you with none.\u003c/p>\n\u003cfigure id=\"attachment_11467955\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Ewing_ResurrectionHenrietta-Lacks_640.jpg\" alt=\"Rodney Ewing, 'Resurrection, (Henrietta Lacks)' with text from Milton’s 'Paradise Lost,' 2016.\" width=\"640\" height=\"640\" class=\"size-full wp-image-11467955\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ewing_ResurrectionHenrietta-Lacks_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ewing_ResurrectionHenrietta-Lacks_640-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ewing_ResurrectionHenrietta-Lacks_640-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ewing_ResurrectionHenrietta-Lacks_640-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ewing_ResurrectionHenrietta-Lacks_640-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ewing_ResurrectionHenrietta-Lacks_640-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ewing_ResurrectionHenrietta-Lacks_640-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ewing_ResurrectionHenrietta-Lacks_640-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rodney Ewing, ‘Resurrection, (Henrietta Lacks)’ with text from Milton’s ‘Paradise Lost,’ 2016. \u003ccite>(Courtesy of the artist and Berkeley Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than stretches, the Berkeley Art Center’s Agility Projects commission new works from local emerging artists. In this two-part presentation, Ewing’s projects \u003ci>Fact & Fiction\u003c/i> and \u003ci>Cloud Jar\u003c/i> occupy the left half of the gallery, and Hellu’s \u003ci>Present Tense\u003c/i> occupies the right. Both are personal reflections on issues of cultural identity — tales told through works on paper, sculptural installation, photography and video.\u003c/p>\n\u003cp>Ewing’s \u003ci>Fact & Fiction\u003c/i> is a series of eight works on paper that pairs images of important figures in Black American history with transcribed passages from works of fiction. In most, an abstract flow and pooling of pigment underlays the screenprinted faces and text. The colors splatter in large washes across the paper, connoting violence, sudden movement and irrevocable decisions. Ewing’s pairings are full of famous figures and little-known histories, bringing unexpected references into shared and powerful narrative combinations. \u003c/p>\n\u003cfigure id=\"attachment_11467954\" class=\"wp-caption alignright\" style=\"max-width: 576px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Ewing_Cloud-Jars-Rituals-of-Water_lowres.jpg\" alt=\"Rodney Ewing, 'Cloud Jars / Rituals of Water,' 2013-16.\" width=\"576\" height=\"430\" class=\"size-full wp-image-11467954\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ewing_Cloud-Jars-Rituals-of-Water_lowres.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ewing_Cloud-Jars-Rituals-of-Water_lowres-400x299.jpg 400w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003cfigcaption class=\"wp-caption-text\">Rodney Ewing, ‘Cloud Jars / Rituals of Water,’ 2013-16. \u003ccite>(Courtesy of the artist and Berkeley Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Ewing, the juxtaposition of fact and fiction is an opportunity for the audience to gain a better understanding of his subjects. “These classic tales of the imagination are tools that frame these individuals as human beings who made decisions and may have been forced into events that we would all find challenging,” Ewing writes in a description of the series. “The fiction is meant to establish empathy and invite introspection upon the actions of these persons.”\u003c/p>\n\u003cp>His installation \u003ci>Cloud Jars / Rituals of Water\u003c/i>, a hanging collection of mason jars filled with varying levels of not-always-clear water, traces the presence and absence of the substance throughout the African diaspora. From the Atlantic slave trade to droughts in Africa to the current crisis in Flint, Michigan, photo transfers wrapped around the jars’ exteriors provide ghostly references to a far-flung community’s complicated relationship to water.\u003c/p>\n\u003cfigure id=\"attachment_11467956\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Google.jpg\" alt=\"Jamil Hellu, Still from 'The Day I Googled “Homemade Bomb”,' 2015.\" width=\"600\" height=\"400\" class=\"size-full wp-image-11467956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Google.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Google-400x267.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Jamil Hellu, Still from ‘The Day I Googled “Homemade Bomb”,’ 2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Leaving \u003ci>Cloud Jars\u003c/i>, Hellu’s exhibition begins with a projected video tucked behind a short wall. In \u003ci>The Day I Googled “Homemade Bomb”\u003c/i>, Hellu appears with a plethora of household chemicals (Pine Sol, Aqua Net) taped around his head as he holds a bunch of lit sparklers, the “fuse” to his homemade bomb. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The visual is striking — and the rest of \u003ci>Present Tense\u003c/i> follows suit. Examining his own place in contemporary society as a gay man of Syrian descent, Hellu covers his body in various ways — from bondage leather to paper shroud to kaffiyeh headscarf — using the diptych (and even more snazzily, the lenticular print) to propose a series of dichotomies. Before, after. Above, below. Arab, gay. \u003c/p>\n\u003cfigure id=\"attachment_11467957\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Hellu_Wraps.jpg\" alt=\"Jamil Hellu, 'Present Tense (diptych),' 2015.\" width=\"1200\" height=\"873\" class=\"size-full wp-image-11467957\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Hellu_Wraps.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Hellu_Wraps-400x291.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Hellu_Wraps-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Hellu_Wraps-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Hellu_Wraps-1180x858.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Hellu_Wraps-960x698.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jamil Hellu, ‘Present Tense (diptych),’ 2015. \u003ccite>(Courtesy of the artist and Berkeley Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two tiny moving image works draw the viewer into Hellu’s scenes with eerie visual effects. \u003ci>Shift\u003c/i> shows Hellu positioned barefoot in a sandy cave, arms raised in stony-faced triumph. The background of the digital animation vibrates with red and blue distortions — features that jump into 3D relief when the viewer puts on a supplied pair of 3D glasses.\u003c/p>\n\u003cfigure id=\"attachment_11470150\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Shift.gif\" alt=\"Jamil Hellu, 'Shift,' 2015.\" width=\"427\" height=\"640\" class=\"size-full wp-image-11470150\">\u003cfigcaption class=\"wp-caption-text\">Jamil Hellu, ‘Shift,’ 2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The other small-scale gem is \u003ci>Once Upon a Time\u003c/i>, a jerky video piece playing behind a brass peephole in a lovely walnut box atop a pedestal. Bending at the waist, viewers can put an eye up to the tiny opening for a glimpse of Hellu on horseback, parading in a circle with the rainbow-striped pride flag draped over his shoulder. The experience of looking feels elicit, but the subject matter — in the context of Berkeley, Calif. — is not. \u003c/p>\n\u003cp>In a meta-sense, the most exciting aspect of Ewing and Hellu’s solo shows is the institutional support provided to create a space for such shows. And if this excites you as much as it does me, stay tuned for \u003ca href=\"http://www.berkeleyartcenter.org/#/upcoming-exhibitions-programs/\" target=\"_blank\" rel=\"noopener\">the rest of this year’s Agility Projects\u003c/a>, group shows \u003ci>I Look for Clues in Your Dreams\u003c/i> and \u003ci>Later, Tennis\u003c/i> and a Kathy Aoki solo exhibition. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Rodney Ewing: Fact & Fiction / Cloud Jar\u003c/b> and \u003cb>Jamil Hellu: Present Tense\u003c/b> are on view at the Berkeley Art Center in Berkeley through May 8, 2016. The artists will be in conversation with Rhiannon Evans MacFadyen on Thursday, April 14 at 6pm. For more information visit \u003ca href=\"http://www.berkeleyartcenter.org/#/agility-projects/\" target=\"_blank\" rel=\"noopener\">berkeleyartcenter.org\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tucked into a grove of redwood trees, the Berkeley Art Center resembles a yoga studio far more than a contemporary arts venue. But if you enter the heptagonal building expecting to find asanas and sun salutations, \u003ca href=\"http://www.rodneyewing.com/\" target=\"_blank\" rel=\"noopener\">Rodney Ewing\u003c/a> and \u003ca href=\"http://www.jamilhellu.net/\" target=\"_blank\" rel=\"noopener\">Jamil Hellu\u003c/a>’s simultaneous solo exhibitions (despite being part of an ongoing series called “Agility Projects”) will provide you with none.\u003c/p>\n\u003cfigure id=\"attachment_11467955\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Ewing_ResurrectionHenrietta-Lacks_640.jpg\" alt=\"Rodney Ewing, 'Resurrection, (Henrietta Lacks)' with text from Milton’s 'Paradise Lost,' 2016.\" width=\"640\" height=\"640\" class=\"size-full wp-image-11467955\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ewing_ResurrectionHenrietta-Lacks_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ewing_ResurrectionHenrietta-Lacks_640-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ewing_ResurrectionHenrietta-Lacks_640-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ewing_ResurrectionHenrietta-Lacks_640-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ewing_ResurrectionHenrietta-Lacks_640-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ewing_ResurrectionHenrietta-Lacks_640-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ewing_ResurrectionHenrietta-Lacks_640-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ewing_ResurrectionHenrietta-Lacks_640-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rodney Ewing, ‘Resurrection, (Henrietta Lacks)’ with text from Milton’s ‘Paradise Lost,’ 2016. \u003ccite>(Courtesy of the artist and Berkeley Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than stretches, the Berkeley Art Center’s Agility Projects commission new works from local emerging artists. In this two-part presentation, Ewing’s projects \u003ci>Fact & Fiction\u003c/i> and \u003ci>Cloud Jar\u003c/i> occupy the left half of the gallery, and Hellu’s \u003ci>Present Tense\u003c/i> occupies the right. Both are personal reflections on issues of cultural identity — tales told through works on paper, sculptural installation, photography and video.\u003c/p>\n\u003cp>Ewing’s \u003ci>Fact & Fiction\u003c/i> is a series of eight works on paper that pairs images of important figures in Black American history with transcribed passages from works of fiction. In most, an abstract flow and pooling of pigment underlays the screenprinted faces and text. The colors splatter in large washes across the paper, connoting violence, sudden movement and irrevocable decisions. Ewing’s pairings are full of famous figures and little-known histories, bringing unexpected references into shared and powerful narrative combinations. \u003c/p>\n\u003cfigure id=\"attachment_11467954\" class=\"wp-caption alignright\" style=\"max-width: 576px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Ewing_Cloud-Jars-Rituals-of-Water_lowres.jpg\" alt=\"Rodney Ewing, 'Cloud Jars / Rituals of Water,' 2013-16.\" width=\"576\" height=\"430\" class=\"size-full wp-image-11467954\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ewing_Cloud-Jars-Rituals-of-Water_lowres.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ewing_Cloud-Jars-Rituals-of-Water_lowres-400x299.jpg 400w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003cfigcaption class=\"wp-caption-text\">Rodney Ewing, ‘Cloud Jars / Rituals of Water,’ 2013-16. \u003ccite>(Courtesy of the artist and Berkeley Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Ewing, the juxtaposition of fact and fiction is an opportunity for the audience to gain a better understanding of his subjects. “These classic tales of the imagination are tools that frame these individuals as human beings who made decisions and may have been forced into events that we would all find challenging,” Ewing writes in a description of the series. “The fiction is meant to establish empathy and invite introspection upon the actions of these persons.”\u003c/p>\n\u003cp>His installation \u003ci>Cloud Jars / Rituals of Water\u003c/i>, a hanging collection of mason jars filled with varying levels of not-always-clear water, traces the presence and absence of the substance throughout the African diaspora. From the Atlantic slave trade to droughts in Africa to the current crisis in Flint, Michigan, photo transfers wrapped around the jars’ exteriors provide ghostly references to a far-flung community’s complicated relationship to water.\u003c/p>\n\u003cfigure id=\"attachment_11467956\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Google.jpg\" alt=\"Jamil Hellu, Still from 'The Day I Googled “Homemade Bomb”,' 2015.\" width=\"600\" height=\"400\" class=\"size-full wp-image-11467956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Google.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Google-400x267.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Jamil Hellu, Still from ‘The Day I Googled “Homemade Bomb”,’ 2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Leaving \u003ci>Cloud Jars\u003c/i>, Hellu’s exhibition begins with a projected video tucked behind a short wall. In \u003ci>The Day I Googled “Homemade Bomb”\u003c/i>, Hellu appears with a plethora of household chemicals (Pine Sol, Aqua Net) taped around his head as he holds a bunch of lit sparklers, the “fuse” to his homemade bomb. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The visual is striking — and the rest of \u003ci>Present Tense\u003c/i> follows suit. Examining his own place in contemporary society as a gay man of Syrian descent, Hellu covers his body in various ways — from bondage leather to paper shroud to kaffiyeh headscarf — using the diptych (and even more snazzily, the lenticular print) to propose a series of dichotomies. Before, after. Above, below. Arab, gay. \u003c/p>\n\u003cfigure id=\"attachment_11467957\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Hellu_Wraps.jpg\" alt=\"Jamil Hellu, 'Present Tense (diptych),' 2015.\" width=\"1200\" height=\"873\" class=\"size-full wp-image-11467957\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Hellu_Wraps.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Hellu_Wraps-400x291.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Hellu_Wraps-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Hellu_Wraps-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Hellu_Wraps-1180x858.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Hellu_Wraps-960x698.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jamil Hellu, ‘Present Tense (diptych),’ 2015. \u003ccite>(Courtesy of the artist and Berkeley Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two tiny moving image works draw the viewer into Hellu’s scenes with eerie visual effects. \u003ci>Shift\u003c/i> shows Hellu positioned barefoot in a sandy cave, arms raised in stony-faced triumph. The background of the digital animation vibrates with red and blue distortions — features that jump into 3D relief when the viewer puts on a supplied pair of 3D glasses.\u003c/p>\n\u003cfigure id=\"attachment_11470150\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Shift.gif\" alt=\"Jamil Hellu, 'Shift,' 2015.\" width=\"427\" height=\"640\" class=\"size-full wp-image-11470150\">\u003cfigcaption class=\"wp-caption-text\">Jamil Hellu, ‘Shift,’ 2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The other small-scale gem is \u003ci>Once Upon a Time\u003c/i>, a jerky video piece playing behind a brass peephole in a lovely walnut box atop a pedestal. Bending at the waist, viewers can put an eye up to the tiny opening for a glimpse of Hellu on horseback, parading in a circle with the rainbow-striped pride flag draped over his shoulder. The experience of looking feels elicit, but the subject matter — in the context of Berkeley, Calif. — is not. \u003c/p>\n\u003cp>In a meta-sense, the most exciting aspect of Ewing and Hellu’s solo shows is the institutional support provided to create a space for such shows. And if this excites you as much as it does me, stay tuned for \u003ca href=\"http://www.berkeleyartcenter.org/#/upcoming-exhibitions-programs/\" target=\"_blank\" rel=\"noopener\">the rest of this year’s Agility Projects\u003c/a>, group shows \u003ci>I Look for Clues in Your Dreams\u003c/i> and \u003ci>Later, Tennis\u003c/i> and a Kathy Aoki solo exhibition. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Rodney Ewing: Fact & Fiction / Cloud Jar\u003c/b> and \u003cb>Jamil Hellu: Present Tense\u003c/b> are on view at the Berkeley Art Center in Berkeley through May 8, 2016. The artists will be in conversation with Rhiannon Evans MacFadyen on Thursday, April 14 at 6pm. For more information visit \u003ca href=\"http://www.berkeleyartcenter.org/#/agility-projects/\" target=\"_blank\" rel=\"noopener\">berkeleyartcenter.org\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "3 Reasons Why Louis C.K.'s 'Horace and Pete' Might be the Best Series of Our Time",
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"content": "\u003cp>If there’s any show that can be said to symbolize our present “golden era” of TV, it’s \u003cem>\u003ca href=\"https://louisck.net/show/horace-and-pete\" target=\"_blank\" rel=\"noopener\">Horace and Pete\u003c/a>\u003c/em>, the comedian Louis C.K.’s new series set in a Brooklyn bar. C.K. unveiled the 10th and final episode this weekend. This is is an odd thing to say when you consider the fact that C.K. released the series via his website without the need of a network, and that \u003cem>Horace and Pete\u003c/em> feels more like a docudrama or an episodic piece of theater than anything I’ve ever witnessed on a small screen.\u003c/p>\n\u003cp>Nevertheless, here are three reasons why \u003cem>Horace and Pete\u003c/em> is brilliant:\u003c/p>\n\u003cp>\u003cstrong>1. It tells a story that feels old and new all at once.\u003c/strong>\u003cbr>\nI read a tongue-in-cheek elevator pitch-style description of the show in \u003ca href=\"http://www.newyorker.com/culture/culture-desk/horace-and-pete-is-louis-c-k-s-most-audacious-independent-creation-yet\" target=\"_blank\" rel=\"noopener\">The New Yorker\u003c/a> which I thought was right on the nose when it said Horace and Pete was “\u003cem>Cheers\u003c/em> meets \u003cem>The Iceman Cometh\u003c/em>.” And with its story about a group of blood relations destined to repeat their cycle of woes into perpetuity, a tragic hero who ultimately falls despite striving to do the right thing (C.K.’s role as bar co-owner Horace), and “chorus” of barflies, the series veers into the terrain of Greek tragedy.\u003c/p>\n\u003cp>Yet at the same time, the plot bubbles and spews with today’s headlines; Donald Trump’s campaign is an intermittent discussion point throughout. And it grapples in an explosive but still non-heavy-handed way with the issues of our time.\u003c/p>\n\u003cp>One of the most thoughtful scenes, for example, presents a side of transgender politics I’ve never given much thought to before: the question of whether it’s ethical for a transgender person to keep silent about their former gender identity to a person they’re sleeping with. Horace, who’s resolutely straight, has a happy one-night stand with a beautiful alcoholic. In the morning over eggs and coffee — well, Horace has coffee; his date Rhonda (played by Karen Pittman) asks for something a little stronger and her gracious host obliges — the conversation takes a left turn when Horace finds out Rhonda used to be a guy. At least, the possibility of a sex change is strongly inferred, though never explicitly stated. As non-judgmental as Horace is about people who make a habit of drinking whiskey before breakfast, he gets flustered and accusatory at the thought he’s somehow been “duped” into a “homosexual” encounter. Fascinating stuff.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=CbUMqNBO-W8\">https://www.youtube.com/watch?v=CbUMqNBO-W8\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>2. It refuses to conform to tried-and-tested formats.\u003c/strong>\u003cbr>\nThe series exists in a liminal space at the intersection of TV, theater, documentary and feature film and strikes an unusual balance between the structural and content mores of these formats. Louis C.K. has created what feels like an entirely fresh way to tell a story by carefully weaving together elements from different traditions.\u003c/p>\n\u003cp>The series has the cuts and close-ups of a TV serial. It brings in the actualities of the documentary format. And it has the epic, sweeping quality of a movie. The theatricality of the series is what interests me the most though, like C.K.’s penchant for splicing the action with long monologues. My favorite of these is a bonkers-foulmouthed explanation of the famous Biblical story of \u003cem>Sodom and Gomorrah \u003c/em>told by Kurt Metzger playing one of the bar’s regular customers.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=1wbfWfwh6HE\">https://www.youtube.com/watch?v=1wbfWfwh6HE\u003c/a>\u003c/p>\n\u003cp>There’s even an intermission to break up the longer episodes and the entire cast takes a bow at the end of the final show.\u003c/p>\n\u003cp>Oh, and even though \u003cem>Horace and Pete\u003c/em> is the work of one of the funniest comedians around today, there are few opportunities for laughter. Unless you count comedy in the sense of the great cosmic joke of which all humankind is a part. C.K. knows all about that, and with this series captures its essence in a bottle.\u003c/p>\n\u003cp>\u003cstrong>3. It features some of the most prescient writing and best performances I’ve ever seen in any format. Period.\u003c/strong>\u003cbr>\nWhat’s masterful about \u003cem>Horace and Pete\u003c/em> is the casting and the writing. It seems like the two are so closely intertwined (viz Metzger’s \u003cem>Sodom\u003c/em> monologue mentioned above, which, judging by the reactions of the other cast members in the scene, strikes me as having been partly or fully improvised) that I need to tackle them both at once.\u003c/p>\n\u003cp>The blend of standup comedians and dramatic actors is an unusual and powerful one. And each performer brings pathos, shadows and moments of levity to his or her role. I cannot speak highly enough of C.K., Steve Buscemi, and Edie Falco as the bar-owning brothers and their sister. Here we have a trio who show us plenty of fallibility and ugliness while at the same commanding our respect.\u003c/p>\n\u003cp>And how tightly wound and carefully controlled the writing feels: C.K. reveals dramatic information to us incrementally, doling out hard-to-digest news about the family’s troubled past in lean teaspoonfuls of strong medicine. Yet despite the economy of the dramaturgy, abetted by the claustrophobic indoor setting of the Brooklyn bar with its flat lighting and ugly furniture, C.K. somehow makes his drama feel airy and spacious.\u003c/p>\n\u003cp>Witness the final episode, which begins suddenly and without explanation in 1976. Here, the principal performers whom we’ve grown to know and love in the present-day setting — C. K., Buscemi, Falco — play their forebears. The scenes are without a doubt the nastiest and most suffocating of the whole series. But then we jump forward to 2016, to find Amy Sedaris, in the role of a sweetly unhinged wannabe bartender, lightening things up. When she skips over to the bar’s old jukebox and puts Simon and Garfunkel’s famous song “America,” about a journey to find meaning in a country that’s lost its way, it’s as if a feather duster had temporarily fluffed away all the creepy-crawlies from a cobwebby corner.\u003c/p>\n\u003cp>Speaking of which, Paul Simon’s ghostly little theme song for the series, with its sparsely-chorded guitar riff and far-off lament of a vocal line, captures the “high lonesome sound” of the great roots musicians that have been singing about this country’s dashed hopes and failures since the dawn of the Republic. The tune, together with this formidable series, leaves us feeling emotionally drained yet strangely complete.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Paul Simon - Louis CK's Horace and Pete theme song\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/yWpYtjil6Js?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If there’s any show that can be said to symbolize our present “golden era” of TV, it’s \u003cem>\u003ca href=\"https://louisck.net/show/horace-and-pete\" target=\"_blank\" rel=\"noopener\">Horace and Pete\u003c/a>\u003c/em>, the comedian Louis C.K.’s new series set in a Brooklyn bar. C.K. unveiled the 10th and final episode this weekend. This is is an odd thing to say when you consider the fact that C.K. released the series via his website without the need of a network, and that \u003cem>Horace and Pete\u003c/em> feels more like a docudrama or an episodic piece of theater than anything I’ve ever witnessed on a small screen.\u003c/p>\n\u003cp>Nevertheless, here are three reasons why \u003cem>Horace and Pete\u003c/em> is brilliant:\u003c/p>\n\u003cp>\u003cstrong>1. It tells a story that feels old and new all at once.\u003c/strong>\u003cbr>\nI read a tongue-in-cheek elevator pitch-style description of the show in \u003ca href=\"http://www.newyorker.com/culture/culture-desk/horace-and-pete-is-louis-c-k-s-most-audacious-independent-creation-yet\" target=\"_blank\" rel=\"noopener\">The New Yorker\u003c/a> which I thought was right on the nose when it said Horace and Pete was “\u003cem>Cheers\u003c/em> meets \u003cem>The Iceman Cometh\u003c/em>.” And with its story about a group of blood relations destined to repeat their cycle of woes into perpetuity, a tragic hero who ultimately falls despite striving to do the right thing (C.K.’s role as bar co-owner Horace), and “chorus” of barflies, the series veers into the terrain of Greek tragedy.\u003c/p>\n\u003cp>Yet at the same time, the plot bubbles and spews with today’s headlines; Donald Trump’s campaign is an intermittent discussion point throughout. And it grapples in an explosive but still non-heavy-handed way with the issues of our time.\u003c/p>\n\u003cp>One of the most thoughtful scenes, for example, presents a side of transgender politics I’ve never given much thought to before: the question of whether it’s ethical for a transgender person to keep silent about their former gender identity to a person they’re sleeping with. Horace, who’s resolutely straight, has a happy one-night stand with a beautiful alcoholic. In the morning over eggs and coffee — well, Horace has coffee; his date Rhonda (played by Karen Pittman) asks for something a little stronger and her gracious host obliges — the conversation takes a left turn when Horace finds out Rhonda used to be a guy. At least, the possibility of a sex change is strongly inferred, though never explicitly stated. As non-judgmental as Horace is about people who make a habit of drinking whiskey before breakfast, he gets flustered and accusatory at the thought he’s somehow been “duped” into a “homosexual” encounter. Fascinating stuff.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=CbUMqNBO-W8\">https://www.youtube.com/watch?v=CbUMqNBO-W8\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>2. It refuses to conform to tried-and-tested formats.\u003c/strong>\u003cbr>\nThe series exists in a liminal space at the intersection of TV, theater, documentary and feature film and strikes an unusual balance between the structural and content mores of these formats. Louis C.K. has created what feels like an entirely fresh way to tell a story by carefully weaving together elements from different traditions.\u003c/p>\n\u003cp>The series has the cuts and close-ups of a TV serial. It brings in the actualities of the documentary format. And it has the epic, sweeping quality of a movie. The theatricality of the series is what interests me the most though, like C.K.’s penchant for splicing the action with long monologues. My favorite of these is a bonkers-foulmouthed explanation of the famous Biblical story of \u003cem>Sodom and Gomorrah \u003c/em>told by Kurt Metzger playing one of the bar’s regular customers.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=1wbfWfwh6HE\">https://www.youtube.com/watch?v=1wbfWfwh6HE\u003c/a>\u003c/p>\n\u003cp>There’s even an intermission to break up the longer episodes and the entire cast takes a bow at the end of the final show.\u003c/p>\n\u003cp>Oh, and even though \u003cem>Horace and Pete\u003c/em> is the work of one of the funniest comedians around today, there are few opportunities for laughter. Unless you count comedy in the sense of the great cosmic joke of which all humankind is a part. C.K. knows all about that, and with this series captures its essence in a bottle.\u003c/p>\n\u003cp>\u003cstrong>3. It features some of the most prescient writing and best performances I’ve ever seen in any format. Period.\u003c/strong>\u003cbr>\nWhat’s masterful about \u003cem>Horace and Pete\u003c/em> is the casting and the writing. It seems like the two are so closely intertwined (viz Metzger’s \u003cem>Sodom\u003c/em> monologue mentioned above, which, judging by the reactions of the other cast members in the scene, strikes me as having been partly or fully improvised) that I need to tackle them both at once.\u003c/p>\n\u003cp>The blend of standup comedians and dramatic actors is an unusual and powerful one. And each performer brings pathos, shadows and moments of levity to his or her role. I cannot speak highly enough of C.K., Steve Buscemi, and Edie Falco as the bar-owning brothers and their sister. Here we have a trio who show us plenty of fallibility and ugliness while at the same commanding our respect.\u003c/p>\n\u003cp>And how tightly wound and carefully controlled the writing feels: C.K. reveals dramatic information to us incrementally, doling out hard-to-digest news about the family’s troubled past in lean teaspoonfuls of strong medicine. Yet despite the economy of the dramaturgy, abetted by the claustrophobic indoor setting of the Brooklyn bar with its flat lighting and ugly furniture, C.K. somehow makes his drama feel airy and spacious.\u003c/p>\n\u003cp>Witness the final episode, which begins suddenly and without explanation in 1976. Here, the principal performers whom we’ve grown to know and love in the present-day setting — C. K., Buscemi, Falco — play their forebears. The scenes are without a doubt the nastiest and most suffocating of the whole series. But then we jump forward to 2016, to find Amy Sedaris, in the role of a sweetly unhinged wannabe bartender, lightening things up. When she skips over to the bar’s old jukebox and puts Simon and Garfunkel’s famous song “America,” about a journey to find meaning in a country that’s lost its way, it’s as if a feather duster had temporarily fluffed away all the creepy-crawlies from a cobwebby corner.\u003c/p>\n\u003cp>Speaking of which, Paul Simon’s ghostly little theme song for the series, with its sparsely-chorded guitar riff and far-off lament of a vocal line, captures the “high lonesome sound” of the great roots musicians that have been singing about this country’s dashed hopes and failures since the dawn of the Republic. The tune, together with this formidable series, leaves us feeling emotionally drained yet strangely complete.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "when-is-a-biopic-not-a-biopic-when-don-cheadle-meets-miles-davis",
"title": "When is a Biopic Not a Biopic? When Don Cheadle Meets Miles Davis",
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"content": "\u003cp>Don Cheadle has been playing Miles Davis for his entire career. To look back now on some of the actor’s most exciting performances — as flashy porn star Buck Swope in \u003cem>Boogie Nights,\u003c/em> velvet-slick con man Basher Tarr in the \u003cem>Ocean’s\u003c/em> trilogy, and rabble-rousing deejay Petey Greene in \u003cem>Talk to Me — \u003c/em>is to recognize those same larger-than-life elements from the persona of the jazz legend and Cheadle’s \u003ca href=\"http://www.npr.org/2016/03/26/471903220/what-does-genius-look-like\" target=\"_blank\" rel=\"noopener\">personal hero\u003c/a>. Maybe all that was missing was that Jheri curl and that brilliantly weaponized trumpet.\u003c/p>\n\u003cp>In his feature directorial debut, Cheadle finally lets us in on the Miles in his mind. Named after Davis’ 1957 album of the same name, but set during his six-year withdrawal from public life in the late 1970s, \u003cem>Miles Ahead \u003c/em>is from the start portraying not the trumpeter’s life story but rather his essence. Typically that’s film-speak for excusing a biopic’s inevitable factual inaccuracies. But what about when the biopic isn’t even \u003cem>trying\u003c/em> to be accurate, because its makers are motivated by something other than accuracy? In this case, it’s the idea of hanging out in Davis’ house, watching him navigate his pigsty while producing drugs and priceless memorabilia from every corner. Call it a life story, only funkified.\u003c/p>\n\u003cp>This also may be the first biopic to prominently feature a MacGuffin. The story concerns an unreleased recording of a Davis studio session that he is desperate to keep to himself, a tape that will be passed around between an unscrupulous journalist (Ewan McGregor) and an even less scrupulous manager (Michael Stuhlbarg, trying out handlebar-mustache ham). This tape rouses Davis from hermitdom and gets him out onto the street, brandishing a pistol and prompting car chases that Cheadle shoots in “NBC cop show” action pieces.\u003c/p>\n\u003cp>Cheadle’s attempt to impose this thriller element onto an already suitably strange life story is the hardest pill to swallow, as it’s not clear what new insights into Davis’ character it’s meant to bring. There are times, too, when the film is confused about the motivations of the Davis it has invented. Early in his recluse period, he calls in to a radio station during a tribute hour to request a song from his 1960 record \u003cem>Sketches of Spain,\u003c/em> but later, when he finds the same record on the shelf of a young fan/supplier, he’s annoyed: “Man, I’ve recorded, like, 15 albums since then.” Is he disappearing into his legacy willingly, or has it imprisoned him? Or is it specifically the kid’s youth and whiteness that leaves this titan feeling vulnerable? Whether it’s McGregor’s journalist asking the big questions or us, they don’t seem to get answered.\u003c/p>\n\u003cp>Nevertheless, \u003cem>Miles Ahead\u003c/em> makes for a fine complement to \u003ca href=\"http://www.npr.org/2016/03/24/471035008/born-to-be-blue-finds-truth-in-inventive-riffs\" target=\"_blank\" rel=\"noopener\">Born to be Blue\u003c/a>, the similarly experimental and, at times, similarly sloppy Chet Baker sorta-biopic released just last week. Truly, this is a golden age for jazz films. In \u003cem>Blue,\u003c/em> we watched Ethan Hawke’s Baker revitalize his career onstage at the New York club Birdland; here, in a brutal (and factual) sequence, we see club headliner Davis beaten and arrested on the sidewalk after escorting a white woman outside.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Flashbacks like these, and others featuring Davis’ passionate but abusive relationship with first wife Frances Taylor (a luminous Emayatzy Corinealdi), weave into the central narrative at odd angles. And Cheadle blessedly makes no attempt to slap on any sort of thematic catch-all. A life is what it is: bright, brilliant, full of missteps and contradictions and moments of sheer transcendent glory. We can try to take that mess of humanity and squeeze it into a tailored Hollywood red-carpet dress — or we can do what the jazz greats do and invent, invent, invent, all while riffing on the stuff we know we can’t afford to lose.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Miles Ahead\u003c/em> ends with a dizzying blurring of the line between fact, fiction, past and present. In character as Davis, we see Cheadle take the stage clad in a vest he could never have worn (branded with “#SocialMusic,” his term for jazz). Then we get a good look at his new backing band: generations of jazz legends including Esperanza Spalding and still-kicking Davis compatriot Herbie Hancock, jamming on thoroughly modern melodies. Davis constantly reinvented his own style right up until his death. The fusion tunes the group plays help turn \u003cem>Miles Ahead\u003c/em> into something much weirder and freer than a biopic: a pulsating act of cinematic resurrection. The dead are not dead, not yet. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+Is+A+Biopic+Not+A+Biopic%3F+When+Don+Cheadle+Meets+Miles+Davis&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"title": "When is a Biopic Not a Biopic? When Don Cheadle Meets Miles Davis | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Don Cheadle has been playing Miles Davis for his entire career. To look back now on some of the actor’s most exciting performances — as flashy porn star Buck Swope in \u003cem>Boogie Nights,\u003c/em> velvet-slick con man Basher Tarr in the \u003cem>Ocean’s\u003c/em> trilogy, and rabble-rousing deejay Petey Greene in \u003cem>Talk to Me — \u003c/em>is to recognize those same larger-than-life elements from the persona of the jazz legend and Cheadle’s \u003ca href=\"http://www.npr.org/2016/03/26/471903220/what-does-genius-look-like\" target=\"_blank\" rel=\"noopener\">personal hero\u003c/a>. Maybe all that was missing was that Jheri curl and that brilliantly weaponized trumpet.\u003c/p>\n\u003cp>In his feature directorial debut, Cheadle finally lets us in on the Miles in his mind. Named after Davis’ 1957 album of the same name, but set during his six-year withdrawal from public life in the late 1970s, \u003cem>Miles Ahead \u003c/em>is from the start portraying not the trumpeter’s life story but rather his essence. Typically that’s film-speak for excusing a biopic’s inevitable factual inaccuracies. But what about when the biopic isn’t even \u003cem>trying\u003c/em> to be accurate, because its makers are motivated by something other than accuracy? In this case, it’s the idea of hanging out in Davis’ house, watching him navigate his pigsty while producing drugs and priceless memorabilia from every corner. Call it a life story, only funkified.\u003c/p>\n\u003cp>This also may be the first biopic to prominently feature a MacGuffin. The story concerns an unreleased recording of a Davis studio session that he is desperate to keep to himself, a tape that will be passed around between an unscrupulous journalist (Ewan McGregor) and an even less scrupulous manager (Michael Stuhlbarg, trying out handlebar-mustache ham). This tape rouses Davis from hermitdom and gets him out onto the street, brandishing a pistol and prompting car chases that Cheadle shoots in “NBC cop show” action pieces.\u003c/p>\n\u003cp>Cheadle’s attempt to impose this thriller element onto an already suitably strange life story is the hardest pill to swallow, as it’s not clear what new insights into Davis’ character it’s meant to bring. There are times, too, when the film is confused about the motivations of the Davis it has invented. Early in his recluse period, he calls in to a radio station during a tribute hour to request a song from his 1960 record \u003cem>Sketches of Spain,\u003c/em> but later, when he finds the same record on the shelf of a young fan/supplier, he’s annoyed: “Man, I’ve recorded, like, 15 albums since then.” Is he disappearing into his legacy willingly, or has it imprisoned him? Or is it specifically the kid’s youth and whiteness that leaves this titan feeling vulnerable? Whether it’s McGregor’s journalist asking the big questions or us, they don’t seem to get answered.\u003c/p>\n\u003cp>Nevertheless, \u003cem>Miles Ahead\u003c/em> makes for a fine complement to \u003ca href=\"http://www.npr.org/2016/03/24/471035008/born-to-be-blue-finds-truth-in-inventive-riffs\" target=\"_blank\" rel=\"noopener\">Born to be Blue\u003c/a>, the similarly experimental and, at times, similarly sloppy Chet Baker sorta-biopic released just last week. Truly, this is a golden age for jazz films. In \u003cem>Blue,\u003c/em> we watched Ethan Hawke’s Baker revitalize his career onstage at the New York club Birdland; here, in a brutal (and factual) sequence, we see club headliner Davis beaten and arrested on the sidewalk after escorting a white woman outside.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Flashbacks like these, and others featuring Davis’ passionate but abusive relationship with first wife Frances Taylor (a luminous Emayatzy Corinealdi), weave into the central narrative at odd angles. And Cheadle blessedly makes no attempt to slap on any sort of thematic catch-all. A life is what it is: bright, brilliant, full of missteps and contradictions and moments of sheer transcendent glory. We can try to take that mess of humanity and squeeze it into a tailored Hollywood red-carpet dress — or we can do what the jazz greats do and invent, invent, invent, all while riffing on the stuff we know we can’t afford to lose.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Miles Ahead\u003c/em> ends with a dizzying blurring of the line between fact, fiction, past and present. In character as Davis, we see Cheadle take the stage clad in a vest he could never have worn (branded with “#SocialMusic,” his term for jazz). Then we get a good look at his new backing band: generations of jazz legends including Esperanza Spalding and still-kicking Davis compatriot Herbie Hancock, jamming on thoroughly modern melodies. Davis constantly reinvented his own style right up until his death. The fusion tunes the group plays help turn \u003cem>Miles Ahead\u003c/em> into something much weirder and freer than a biopic: a pulsating act of cinematic resurrection. The dead are not dead, not yet. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+Is+A+Biopic+Not+A+Biopic%3F+When+Don+Cheadle+Meets+Miles+Davis&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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