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"content": "\u003cp>Surrealist painter René Magritte developed an iconography of ordinary objects: anonymous men in bowler hats, apples hovering in the interval between the eye and its aim, pipes and pillars that smirk at bids to make them things or symbols. However, Magritte’s best trick is what he does with context, as with his flat bright skies of puffy clouds that lurk within or beyond us, or the flummoxing picture frames that act as windows to the world or frustrating, impenetrable walls. These ploys ask us to consider whether life is something we encounter or create.\u003c/p>\n\u003cp>When stripped of plot, ballet is an art that matches the sensibility of these paintings. It’s an art form that makes our known anatomy extraordinary through improbable acts against the laws of physics and a limited vocabulary of recurrent shapes. The meeting of movement and surrealist imagery drives Yuri Possokhov’s mesmerizing \u003cem>Magrittomania\u003c/em> (2000), the central piece of \u003ca href=\"https://www.sfballet.org/tickets/production/overview/program-1-2016\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet\u003c/a>’s first program of the 2016 season. This work, plus two others — Helgi Tomasson’s \u003cem>7 for Eight\u003c/em> and \u003cem>Pas/Parts\u003c/em> by William Forsythe — are on view through Friday Feb. 5 at the War Memorial Opera House in San Francisco.\u003c/p>\n\u003cp>The sound of rushing water opens \u003cem>Magrittomania\u003c/em>. Then the curtain rises on a screen projected with an image of the cookie-cutter “raining” men from Magritte’s famous 1953 painting \u003cem>Golconda\u003c/em>. The image draws a laugh from the audience, though the liquid hiss of the soundscape is a reminder of Magritte’s mother’s suicide by drowning. A man in a bowler hat (the reliably grave principal dancer Davit Karapetyan), at first silhouetted by the scrim, pulls open a panel to find a column of sky. Gargantuan green apples — another key piece of imagery from Magritte’s art work — suspend themselves in the air, obscuring the faces of a sudden assemblage of dancers. Joined on stage by an array of identically clad male dancers, Karapetyan confronts his doubles as they playfully shadow, launch, and catch him.\u003c/p>\n\u003cp>The images on stage inherently pose the same questions that Magritte coaxed out of canvas: is the real world within or beyond the space depicted? Is the body we view our own or another’s? May we move it? Does it breathe? And it’s not just the choreography that evokes the spirit of Magritte: Yuri Krasavin’s musical score quotes and perverts Beethoven with the same unsettling familiarity and deferral of meaning as the rest of the surreal project.\u003c/p>\n\u003cfigure id=\"attachment_11277564\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11277564\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Yuan-Yuan-Tan-in-Marittomania-photo-by-Erik-Tomasson-e1453830116679-800x501.jpg\" alt=\"Yuan Yuan Tan in Yuri Possokhov's Magrittomania at San Francisco Ballet\" width=\"800\" height=\"501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Yuan-Yuan-Tan-in-Marittomania-photo-by-Erik-Tomasson-e1453830116679-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Yuan-Yuan-Tan-in-Marittomania-photo-by-Erik-Tomasson-e1453830116679-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Yuan-Yuan-Tan-in-Marittomania-photo-by-Erik-Tomasson-e1453830116679-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Yuan-Yuan-Tan-in-Marittomania-photo-by-Erik-Tomasson-e1453830116679-1180x740.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Yuan-Yuan-Tan-in-Marittomania-photo-by-Erik-Tomasson-e1453830116679-1920x1203.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Yuan-Yuan-Tan-in-Marittomania-photo-by-Erik-Tomasson-e1453830116679-960x602.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yuan Yuan Tan in Yuri Possokhov’s ‘Magrittomania’ at San Francisco Ballet \u003ccite>(Photo: Erik Tomasson / San Francisco Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The mood darkens when the figure of principal ballerina Yuan Yuan Tan appears in red, her left arm wrapped behind her back like a broken wing as she inscribes the stage with long arcs to the limping strains of an abbreviated version of Beethoven’s \u003cem>Für Elise\u003c/em>. Then a translucent veil is drawn over and tied about her head for a duet both tender and explicit inspired by Magritte’s paintings of shrouded lovers straining blindly towards one another. Just as Magritte’s iconic \u003cem>Treachery of Images\u003c/em> obstinately declares a painted pipe is not a pipe (“ceci n’est pas une pipe”) the act on stage refers to and negates itself because ballet always does wear a veil, the way a lift is a substitute for carnal embrace and spiritual rapture.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a final spectacle, Tan enters bearing a massive, menacing apple that weighs her down. The voluminous prop just as abruptly deflates, delivering all by giving us nothing—an eruption of vacancy to test the boundaries of presence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>San Francisco Ballet’s Program 1 is on view at the War Memorial Opera House, San Francisco through Friday, Feb. 5. \u003ca href=\"https://www.sfballet.org/tickets/production/overview/program-1-2016\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Surrealist painter René Magritte developed an iconography of ordinary objects: anonymous men in bowler hats, apples hovering in the interval between the eye and its aim, pipes and pillars that smirk at bids to make them things or symbols. However, Magritte’s best trick is what he does with context, as with his flat bright skies of puffy clouds that lurk within or beyond us, or the flummoxing picture frames that act as windows to the world or frustrating, impenetrable walls. These ploys ask us to consider whether life is something we encounter or create.\u003c/p>\n\u003cp>When stripped of plot, ballet is an art that matches the sensibility of these paintings. It’s an art form that makes our known anatomy extraordinary through improbable acts against the laws of physics and a limited vocabulary of recurrent shapes. The meeting of movement and surrealist imagery drives Yuri Possokhov’s mesmerizing \u003cem>Magrittomania\u003c/em> (2000), the central piece of \u003ca href=\"https://www.sfballet.org/tickets/production/overview/program-1-2016\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet\u003c/a>’s first program of the 2016 season. This work, plus two others — Helgi Tomasson’s \u003cem>7 for Eight\u003c/em> and \u003cem>Pas/Parts\u003c/em> by William Forsythe — are on view through Friday Feb. 5 at the War Memorial Opera House in San Francisco.\u003c/p>\n\u003cp>The sound of rushing water opens \u003cem>Magrittomania\u003c/em>. Then the curtain rises on a screen projected with an image of the cookie-cutter “raining” men from Magritte’s famous 1953 painting \u003cem>Golconda\u003c/em>. The image draws a laugh from the audience, though the liquid hiss of the soundscape is a reminder of Magritte’s mother’s suicide by drowning. A man in a bowler hat (the reliably grave principal dancer Davit Karapetyan), at first silhouetted by the scrim, pulls open a panel to find a column of sky. Gargantuan green apples — another key piece of imagery from Magritte’s art work — suspend themselves in the air, obscuring the faces of a sudden assemblage of dancers. Joined on stage by an array of identically clad male dancers, Karapetyan confronts his doubles as they playfully shadow, launch, and catch him.\u003c/p>\n\u003cp>The images on stage inherently pose the same questions that Magritte coaxed out of canvas: is the real world within or beyond the space depicted? Is the body we view our own or another’s? May we move it? Does it breathe? And it’s not just the choreography that evokes the spirit of Magritte: Yuri Krasavin’s musical score quotes and perverts Beethoven with the same unsettling familiarity and deferral of meaning as the rest of the surreal project.\u003c/p>\n\u003cfigure id=\"attachment_11277564\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11277564\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Yuan-Yuan-Tan-in-Marittomania-photo-by-Erik-Tomasson-e1453830116679-800x501.jpg\" alt=\"Yuan Yuan Tan in Yuri Possokhov's Magrittomania at San Francisco Ballet\" width=\"800\" height=\"501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Yuan-Yuan-Tan-in-Marittomania-photo-by-Erik-Tomasson-e1453830116679-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Yuan-Yuan-Tan-in-Marittomania-photo-by-Erik-Tomasson-e1453830116679-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Yuan-Yuan-Tan-in-Marittomania-photo-by-Erik-Tomasson-e1453830116679-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Yuan-Yuan-Tan-in-Marittomania-photo-by-Erik-Tomasson-e1453830116679-1180x740.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Yuan-Yuan-Tan-in-Marittomania-photo-by-Erik-Tomasson-e1453830116679-1920x1203.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Yuan-Yuan-Tan-in-Marittomania-photo-by-Erik-Tomasson-e1453830116679-960x602.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yuan Yuan Tan in Yuri Possokhov’s ‘Magrittomania’ at San Francisco Ballet \u003ccite>(Photo: Erik Tomasson / San Francisco Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The mood darkens when the figure of principal ballerina Yuan Yuan Tan appears in red, her left arm wrapped behind her back like a broken wing as she inscribes the stage with long arcs to the limping strains of an abbreviated version of Beethoven’s \u003cem>Für Elise\u003c/em>. Then a translucent veil is drawn over and tied about her head for a duet both tender and explicit inspired by Magritte’s paintings of shrouded lovers straining blindly towards one another. Just as Magritte’s iconic \u003cem>Treachery of Images\u003c/em> obstinately declares a painted pipe is not a pipe (“ceci n’est pas une pipe”) the act on stage refers to and negates itself because ballet always does wear a veil, the way a lift is a substitute for carnal embrace and spiritual rapture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a final spectacle, Tan enters bearing a massive, menacing apple that weighs her down. The voluminous prop just as abruptly deflates, delivering all by giving us nothing—an eruption of vacancy to test the boundaries of presence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>San Francisco Ballet’s Program 1 is on view at the War Memorial Opera House, San Francisco through Friday, Feb. 5. \u003ca href=\"https://www.sfballet.org/tickets/production/overview/program-1-2016\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The term “pop music” is a 20th century invention — it originated in England in the 1950s to describe the rock and roll frenzy that was sweeping the nation. One of the many inspired things about the first part of New York drag artist Taylor Mac’s lunatic-brilliant \u003cem>A 24-Decade History of Popular Music\u003c/em> is how it reminds us that pop music in this country is actually much older than that. Another, is a sense that the greatest hits of the 1770s and 1780s — the tunes that rocked the taverns and bawdy houses of our fledgling republic back in the days when England was pretty unpopular and a mohawk was a member of a native American tribe rather than a way to wear your hair — could easily go viral today.\u003c/p>\n\u003cp>Mac is training for a 24-hour marathon performance of his \u003cem>A 24-Decade History of Popular Music\u003c/em> in New York the weekend of Oct. 8 – 9, in which he will devote an hour of stage time to each decade from 1776 to the present day. For now, he’s getting into shape for this feat by undertaking just the first two parts — or six decades / six hours worth of songs — in San Francisco as part of the Curran Theatre’s \u003cem>Under Construction\u003c/em> series of experimental performance. I caught the first three decades (1776 – 1806) on opening night and can’t wait to go back for Part Two (1806 – 1836) in a few days.\u003c/p>\n\u003cp>The productions featured in \u003cem>Under Construction\u003c/em> seat the audience on stage close to the performer. In his show, Mac first appears on a balcony above the Curran’s orchestra section, looking down at us from afar. Wearing an elaborate hooped dress fashioned from brightly-colored foil ribbons and a voluminous wig that makes him look like Marie Antoinette had an accident in a Mexican bodega, the artist begins an epic journey through 240 years of U.S. musical history that’s as timeless as it is prescient.\u003c/p>\n\u003cp>That’s in part because of music director and pianist Matt Ray’s creative song arrangements, which make crusty old tunes like “Yankee Doodle” and “Amazing Grace” sound like like they were written just in time for this year’s Grammys. The performances carry it too: Although the show is currently in workshop mode, with Mac, Ray and the band still ironing out a few wonky transitions, the team manages to breathe new life into both well-known and obscure 18th century ditties. And it’s Mac’s mercurial tenor that anchors the experience: the drag queen’s voice is as colorful as his flamboyant sense of style. There’s crushed velvet and feathers in Mac’s mellifluous ballad singing and 8-inch spiked heels in his drinking song belt.\u003c/p>\n\u003cfigure id=\"attachment_11273116\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11273116\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-800x511.jpg\" alt=\"Taylor Mac in A 24-Decade History of Popular Music: 1776-1806 as part of Curran: Under Construction\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-1920x1227.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac in A 24-Decade History of Popular Music: 1776-1806 as part of Curran: Under Construction \u003ccite>(Photo: Jim Norrena / Courtesy Curran: Under Construction )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t just the music that makes three hours of sitting on an uncomfortable plastic chair on a rickety riser breeze by, or Mac’s eye-popping wardrobe. (In addition to the gaudy get-up mentioned above, there’s an “architectural” dress involving a pair of enormous doric columns, each with a plastic doll’s head dangling from the bottom, and another costume topped with an amazing wig made of wine bottle corks and sheaths of barley.) The thematic through-line connecting the musical numbers also helps to take \u003cem>A 24-Decade History of Popular Music\u003c/em> beyond regular drag cabaret.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mac underpins each decade of the musical journey with commentaries on broad social issues, which he spices with liberal amounts of scathing humor and personal anecdote. The first decade roughly and comically charts the founding principles of post-Revolutionary U.S.. In the second decade, Mac takes a piquant look at women’s lib. Part Three is all about booze, where the ripe innuendos of raucous drinking songs like “Nine Inch Will Please a Lady” clash against the stiff, bonneted warblings of a scandalized Temperance Choir (a small guest ensemble of classically-trained singers.) By the time we reach the end of the show, the do-gooder choristers get their comeuppance, pelted in a hailstorm of ping-pong balls. In addition to having fun with a piece of political history, the gambit neatly plays out a more contemporary stand-off between the scrappy, underground world of drag performance and the straight-laced mores of today’s arts establishment. Here, the political becomes personal, as Mac himself has been faced with negotiating these two worlds in his own career.\u003c/p>\n\u003cp>The socio-political content at times feels a little strained, like when Mac spins a long feminist diatribe out of a mopey little ditty about a young woman fretting about why her beau hasn’t come home from the fair. But Mac’s ability to work the crowd, in particular his obsessive, sweetly overbearing use of audience participation, mitigates this shortcoming. He makes this otherwise sprawling historical project feel intimate and personal.\u003c/p>\n\u003cp>Mac’s insistence on bringing the crowd into the proceedings might seem tiresome and gimmicky to some — one person complained to me about being pulled into a conga line and forced to wear a pair of fairy wings. But overdoing it, going over-the-top, “carrying on for just a bit too long,” as Mac himself puts it, is part of his stage technique. It’s there to make a broader point about just how topsy-turvy the world is. And like an old song that’s so familiar that it’s stuck in all of our heads, we’re all in this thing together, like it or not.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Taylor Mac’s A 24-Decade History of Popular Music\u003cstrong> \u003c/strong>runs through Saturday, Jan. 30 at the Curran Theatre in San Francisco. \u003ca href=\"http://sfcurran.com/event/a-24-decade-history-of-popular-music/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. You can also hear Mac speak on \u003ca href=\"http://www.kqed.org/a/forum/R201601191030\" target=\"_blank\" rel=\"noopener\">KQED’s Forum about his show\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The term “pop music” is a 20th century invention — it originated in England in the 1950s to describe the rock and roll frenzy that was sweeping the nation. One of the many inspired things about the first part of New York drag artist Taylor Mac’s lunatic-brilliant \u003cem>A 24-Decade History of Popular Music\u003c/em> is how it reminds us that pop music in this country is actually much older than that. Another, is a sense that the greatest hits of the 1770s and 1780s — the tunes that rocked the taverns and bawdy houses of our fledgling republic back in the days when England was pretty unpopular and a mohawk was a member of a native American tribe rather than a way to wear your hair — could easily go viral today.\u003c/p>\n\u003cp>Mac is training for a 24-hour marathon performance of his \u003cem>A 24-Decade History of Popular Music\u003c/em> in New York the weekend of Oct. 8 – 9, in which he will devote an hour of stage time to each decade from 1776 to the present day. For now, he’s getting into shape for this feat by undertaking just the first two parts — or six decades / six hours worth of songs — in San Francisco as part of the Curran Theatre’s \u003cem>Under Construction\u003c/em> series of experimental performance. I caught the first three decades (1776 – 1806) on opening night and can’t wait to go back for Part Two (1806 – 1836) in a few days.\u003c/p>\n\u003cp>The productions featured in \u003cem>Under Construction\u003c/em> seat the audience on stage close to the performer. In his show, Mac first appears on a balcony above the Curran’s orchestra section, looking down at us from afar. Wearing an elaborate hooped dress fashioned from brightly-colored foil ribbons and a voluminous wig that makes him look like Marie Antoinette had an accident in a Mexican bodega, the artist begins an epic journey through 240 years of U.S. musical history that’s as timeless as it is prescient.\u003c/p>\n\u003cp>That’s in part because of music director and pianist Matt Ray’s creative song arrangements, which make crusty old tunes like “Yankee Doodle” and “Amazing Grace” sound like like they were written just in time for this year’s Grammys. The performances carry it too: Although the show is currently in workshop mode, with Mac, Ray and the band still ironing out a few wonky transitions, the team manages to breathe new life into both well-known and obscure 18th century ditties. And it’s Mac’s mercurial tenor that anchors the experience: the drag queen’s voice is as colorful as his flamboyant sense of style. There’s crushed velvet and feathers in Mac’s mellifluous ballad singing and 8-inch spiked heels in his drinking song belt.\u003c/p>\n\u003cfigure id=\"attachment_11273116\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11273116\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-800x511.jpg\" alt=\"Taylor Mac in A 24-Decade History of Popular Music: 1776-1806 as part of Curran: Under Construction\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-1920x1227.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac in A 24-Decade History of Popular Music: 1776-1806 as part of Curran: Under Construction \u003ccite>(Photo: Jim Norrena / Courtesy Curran: Under Construction )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t just the music that makes three hours of sitting on an uncomfortable plastic chair on a rickety riser breeze by, or Mac’s eye-popping wardrobe. (In addition to the gaudy get-up mentioned above, there’s an “architectural” dress involving a pair of enormous doric columns, each with a plastic doll’s head dangling from the bottom, and another costume topped with an amazing wig made of wine bottle corks and sheaths of barley.) The thematic through-line connecting the musical numbers also helps to take \u003cem>A 24-Decade History of Popular Music\u003c/em> beyond regular drag cabaret.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mac underpins each decade of the musical journey with commentaries on broad social issues, which he spices with liberal amounts of scathing humor and personal anecdote. The first decade roughly and comically charts the founding principles of post-Revolutionary U.S.. In the second decade, Mac takes a piquant look at women’s lib. Part Three is all about booze, where the ripe innuendos of raucous drinking songs like “Nine Inch Will Please a Lady” clash against the stiff, bonneted warblings of a scandalized Temperance Choir (a small guest ensemble of classically-trained singers.) By the time we reach the end of the show, the do-gooder choristers get their comeuppance, pelted in a hailstorm of ping-pong balls. In addition to having fun with a piece of political history, the gambit neatly plays out a more contemporary stand-off between the scrappy, underground world of drag performance and the straight-laced mores of today’s arts establishment. Here, the political becomes personal, as Mac himself has been faced with negotiating these two worlds in his own career.\u003c/p>\n\u003cp>The socio-political content at times feels a little strained, like when Mac spins a long feminist diatribe out of a mopey little ditty about a young woman fretting about why her beau hasn’t come home from the fair. But Mac’s ability to work the crowd, in particular his obsessive, sweetly overbearing use of audience participation, mitigates this shortcoming. He makes this otherwise sprawling historical project feel intimate and personal.\u003c/p>\n\u003cp>Mac’s insistence on bringing the crowd into the proceedings might seem tiresome and gimmicky to some — one person complained to me about being pulled into a conga line and forced to wear a pair of fairy wings. But overdoing it, going over-the-top, “carrying on for just a bit too long,” as Mac himself puts it, is part of his stage technique. It’s there to make a broader point about just how topsy-turvy the world is. And like an old song that’s so familiar that it’s stuck in all of our heads, we’re all in this thing together, like it or not.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Taylor Mac’s A 24-Decade History of Popular Music\u003cstrong> \u003c/strong>runs through Saturday, Jan. 30 at the Curran Theatre in San Francisco. \u003ca href=\"http://sfcurran.com/event/a-24-decade-history-of-popular-music/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. You can also hear Mac speak on \u003ca href=\"http://www.kqed.org/a/forum/R201601191030\" target=\"_blank\" rel=\"noopener\">KQED’s Forum about his show\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the early 1970s, an elderly homeless woman who called herself Miss Shepherd parked her decrepit van in the London driveway of British playwright Alan Bennett. Bennett had invited her, ambivalently and with every expectation she’d leave before long. She stayed for 15 years, and \u003cem>The Lady in the Van\u003c/em>, Bennett’s hilarious, self-lacerating, and wistful account of her sojourn among the trendy liberals of Camden Town, became first an article and then a stage play starring — who else? — Maggie Smith. The play was a transatlantic success, but Bennett took some flack for “exploiting” Miss Shepherd for literary purposes. A curious charge given that most writers’ source material tends to be — in or out of the driveway — other people.\u003c/p>\n\u003cp>Now Bennett has teamed with the play’s director, Nicholas Hytner, for a charming, if slightly over-sugared movie version, their third film collaboration after \u003cem>The History Boys\u003c/em> and the wonderful \u003cem>The Madness of King George\u003c/em>. Dame Maggie takes the lead again as the cantankerous Miss S., looking, in elaborate layers of bag-lady threads artfully adorned with crumbs and stains, for all the world like Lady Grantham fallen on hard times. Miss Shepherd’s a show-stopper, flapping her hands and popping her eyes, complaining to Bennett in a querulous, Julia Child warble about the facilities, the food brought to her van’s door by well-meaning neighbors, the social workers bearing second-hand coats.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_dm-a9R763A\u003c/p>\n\u003cp>By way of a malevolent stranger played with smarmy relish by Jim Broadbent, we learn that Miss Shepherd is not the old lady’s real name. Bit by bit, flashbacks clear up the mystery of why a woman so down on her luck would have a posh accent, speak fluent French, perk up at a few bars of Beethoven, and go down on her knees early and often to seek atonement for a crime she may or may not have committed. There’s tragedy to burn in Miss Shepherd’s past, and Hytner, ever ready to gild the lily, lays it on with gusto. Mercifully, Dame Maggie’s fully in touch with her inner Yelling Ingrate, and Bennett’s sharp dialogue makes it clear that the old lady’s strident refusal of help unless she demands it herself is her way of hanging onto her independence and the tatters of a dignity horribly wounded by early adversity and current cruelty.\u003c/p>\n\u003cp>What’s more, it turns out that Miss Shepherd has led a more adventurous life than all the trendy lefties who queue up to ply her with gourmet delicatesse while holding their noses and wishing her anywhere but here. The ghost of Charles Dickens hovers closely over every neighbor (Roger Allam and Frances de la Tour excel) who tries to pitch in while backing away from the old lady’s rank odor. What many daintily refer to as English eccentricity is more accurately grasped here as a kind of barely controlled lunacy, gussied up in sensible sweaters and good manners. This includes Bennett, and for thematic reasons Hytner splits him into two Alan Bennetts, both rendered by the terrific Alex Jennings, who memorably played a pitifully ineffectual Prince Charles in the 2006 movie \u003cem>The Queen\u003c/em>. There’s Bennett the sardonic writer in search of material; and Bennett the owlish, partially closeted bachelor in search of a life, ruefully aware that his fascination with Miss Shepherd is intimately connected with his tortured love for his Mam (Gwen Taylor), a kindly ingénue who’s losing the plot far faster than Miss Shepherd.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hytner’s directing style is perhaps best described as BBC Films Plus, a functional telly-realism garnished with formal flourishes — unusual life forms come and go without warning — that head off any potential slide into kitchen-sink pathos. That would be to betray Bennett’s sensibility, which sits uncomfortably but fruitfully between jaundiced observation and the compassion of a man who understands marginality all too well. Divided against himself and forever unsure of his own motives, Bennett Squared isn’t just telling the story of his encounter with one of England’s dispossessed. He’s conducting an inquiry into the roots of kindness, where he finds indolence, passivity, self-interest — and a genuine desire to help and heal that he sees in the very doctors, social workers and ambulance drivers routinely fingered in movies as the enemy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a semi-final burst of special effects that shifts gears yet again, the movie pays tribute to the undefeated brio of Miss Shepherd, bestowing on her a make-a-wish fantasy exit as welcome as it is giddily off-kilter. Hytner’s not done locking things up, though. At the very end, each Alan is presented with a gift he’s longed for, too. Sentimental? In spades, and would you believe? For once, it actually happened that way.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the early 1970s, an elderly homeless woman who called herself Miss Shepherd parked her decrepit van in the London driveway of British playwright Alan Bennett. Bennett had invited her, ambivalently and with every expectation she’d leave before long. She stayed for 15 years, and \u003cem>The Lady in the Van\u003c/em>, Bennett’s hilarious, self-lacerating, and wistful account of her sojourn among the trendy liberals of Camden Town, became first an article and then a stage play starring — who else? — Maggie Smith. The play was a transatlantic success, but Bennett took some flack for “exploiting” Miss Shepherd for literary purposes. A curious charge given that most writers’ source material tends to be — in or out of the driveway — other people.\u003c/p>\n\u003cp>Now Bennett has teamed with the play’s director, Nicholas Hytner, for a charming, if slightly over-sugared movie version, their third film collaboration after \u003cem>The History Boys\u003c/em> and the wonderful \u003cem>The Madness of King George\u003c/em>. Dame Maggie takes the lead again as the cantankerous Miss S., looking, in elaborate layers of bag-lady threads artfully adorned with crumbs and stains, for all the world like Lady Grantham fallen on hard times. Miss Shepherd’s a show-stopper, flapping her hands and popping her eyes, complaining to Bennett in a querulous, Julia Child warble about the facilities, the food brought to her van’s door by well-meaning neighbors, the social workers bearing second-hand coats.\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/_dm-a9R763A'\n title='//www.youtube.com/embed/_dm-a9R763A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By way of a malevolent stranger played with smarmy relish by Jim Broadbent, we learn that Miss Shepherd is not the old lady’s real name. Bit by bit, flashbacks clear up the mystery of why a woman so down on her luck would have a posh accent, speak fluent French, perk up at a few bars of Beethoven, and go down on her knees early and often to seek atonement for a crime she may or may not have committed. There’s tragedy to burn in Miss Shepherd’s past, and Hytner, ever ready to gild the lily, lays it on with gusto. Mercifully, Dame Maggie’s fully in touch with her inner Yelling Ingrate, and Bennett’s sharp dialogue makes it clear that the old lady’s strident refusal of help unless she demands it herself is her way of hanging onto her independence and the tatters of a dignity horribly wounded by early adversity and current cruelty.\u003c/p>\n\u003cp>What’s more, it turns out that Miss Shepherd has led a more adventurous life than all the trendy lefties who queue up to ply her with gourmet delicatesse while holding their noses and wishing her anywhere but here. The ghost of Charles Dickens hovers closely over every neighbor (Roger Allam and Frances de la Tour excel) who tries to pitch in while backing away from the old lady’s rank odor. What many daintily refer to as English eccentricity is more accurately grasped here as a kind of barely controlled lunacy, gussied up in sensible sweaters and good manners. This includes Bennett, and for thematic reasons Hytner splits him into two Alan Bennetts, both rendered by the terrific Alex Jennings, who memorably played a pitifully ineffectual Prince Charles in the 2006 movie \u003cem>The Queen\u003c/em>. There’s Bennett the sardonic writer in search of material; and Bennett the owlish, partially closeted bachelor in search of a life, ruefully aware that his fascination with Miss Shepherd is intimately connected with his tortured love for his Mam (Gwen Taylor), a kindly ingénue who’s losing the plot far faster than Miss Shepherd.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hytner’s directing style is perhaps best described as BBC Films Plus, a functional telly-realism garnished with formal flourishes — unusual life forms come and go without warning — that head off any potential slide into kitchen-sink pathos. That would be to betray Bennett’s sensibility, which sits uncomfortably but fruitfully between jaundiced observation and the compassion of a man who understands marginality all too well. Divided against himself and forever unsure of his own motives, Bennett Squared isn’t just telling the story of his encounter with one of England’s dispossessed. He’s conducting an inquiry into the roots of kindness, where he finds indolence, passivity, self-interest — and a genuine desire to help and heal that he sees in the very doctors, social workers and ambulance drivers routinely fingered in movies as the enemy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a semi-final burst of special effects that shifts gears yet again, the movie pays tribute to the undefeated brio of Miss Shepherd, bestowing on her a make-a-wish fantasy exit as welcome as it is giddily off-kilter. Hytner’s not done locking things up, though. At the very end, each Alan is presented with a gift he’s longed for, too. Sentimental? In spades, and would you believe? For once, it actually happened that way.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Asunder No More, SFAC Gallery Expands and Reopens in Civic Center",
"headTitle": "Asunder No More, SFAC Gallery Expands and Reopens in Civic Center | KQED",
"content": "\u003cp>Things were bit groovier in 1970, when the San Francisco Arts Commission founded a gallery space called “\u003ca href=\"http://sflib1.sfpl.org:82/record=b1040562~S0\" target=\"_blank\" rel=\"noopener\">Capricorn Asunder\u003c/a>” at 155 Grove Street. Think about it: can you imagine a city agency in the San Francisco of 2016 naming anything after an astrological sign, let alone adorning its doors with images of a fish-tailed goat? \u003c/p>\n\u003cp>Times got less groovy, of course. But the SFAC Gallery continued its programming in what we know as the Grove Street Window Gallery — until the Loma Prieta earthquake in 1989 and a temporary move to the War Memorial Veterans Building in 1996. “Temporary” stretched for 17 years, until the Veterans Building closed its doors for a two-year, $160 million seismic retrofitting project in 2013. \u003c/p>\n\u003cfigure id=\"attachment_11263136\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/ranu.jpg\" alt=\"Ranu Mukherjee, 'Home and the World,' 2015. \" width=\"640\" height=\"360\" class=\"size-full wp-image-11263136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/ranu.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/ranu-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ranu Mukherjee, ‘Home and the World,’ 2015. \u003ccite>(Courtesy of the artist and Gallery Wendi Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The SFAC Gallery reopens after this long hiatus on Friday, Jan. 22 with 2,400 square-feet of exhibition space just down the hall from its old quarters in the northeast corner of the building. With expanded gallery space, the opening encompasses a new commission, a small solo show and a 10-person group exhibition.\u003c/p>\n\u003cp>The first of the three is \u003ci>Enter: 126\u003c/i>, a yearly series set to transform a nondescript glass-doored entryway into something that better telegraphs, “This is an art space, come look!”\u003c/p>\n\u003cp>A collaboration between architect Annette Jannotta and media artist Olivia Ting, \u003ci>Coalescence\u003c/i>, as the entryway installation is titled, reuses packing tubes from the gallery’s new lighting system. Silent video shot within the Veterans Building projects across the cylindrical surfaces as they hang from the ceiling. Resembling giant wind chimes or the disembodied tubes of a pipe organ, \u003ci>Coalescence\u003c/i> hovers between representation and abstraction, gently flickering an invitation to hallway passersby.\u003c/p>\n\u003cfigure id=\"attachment_11263137\" class=\"wp-caption alignright\" style=\"max-width: 496px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/omalley.jpg\" alt=\"Susan O'Malley, print from 'Advice From My Eighty-Year-Old Self' series, 2015.\" width=\"496\" height=\"640\" class=\"size-full wp-image-11263137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/omalley.jpg 496w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/omalley-400x516.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/omalley-465x600.jpg 465w\" sizes=\"(max-width: 496px) 100vw, 496px\">\u003cfigcaption class=\"wp-caption-text\">Susan O’Malley, print from ‘Advice From My Eighty-Year-Old Self’ series, 2015. \u003ccite>(Courtesy of Mara O'Malley Boord)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moving inside, the SFAC Gallery next hosts a small tribute to the late artist \u003ca href=\"http://ww2.kqed.org/arts/2015/03/02/celebrating-the-life-of-artist-and-curator-susan-omalley-1976-2015/\" target=\"_blank\" rel=\"noopener\">Susan O’Malley\u003c/a> in the form of photographs of her projects, three video pieces and a wall of colorful text-filled posters. The videos \u003ci>A Few Yards in San Jose\u003c/i> and \u003ci>How to be an Artist-in-Residence in San Jose\u003c/i> show O’Malley as a merry prankster messing around in suburban San Jose. She uses turquoise garden hoses, cloud-shaped bushes and tire swings in tightly-edited and wonderfully silly vignettes. They’re vivid demonstrations of O’Malley embodying the sentiments similar to those she later gathered in the series \u003ci>Advice From My Eighty-Year-Old Self\u003c/i>, a collection of imperatives published by \u003ca href=\"http://www.chroniclebooks.com/titles/advice-from-my-80-year-old-self.html\" target=\"_blank\" rel=\"noopener\">Chronicle Books\u003c/a> and installed as bus kiosk posters up and down Market Street this month.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Shifting from an intimate memorial-like display to the gallery’s larger exhibition space and a completely separate show is a bit jarring. The walls open up, with tall windows facing McAllister Street. The elaborately titled \u003ci>Bring it Home: (Re)Locating Cultural Legacy Through the Body\u003c/i> fills the expanded gallery space with everything from a wall drawing to textile works to projected video.\u003c/p>\n\u003cp>Co-curated by SFAC Galleries director Meg Shiffler and independent curator Kevin B. Chen, \u003ci>Bring it Home\u003c/i> brings together artists looking at the body as a site of struggle and reconciliation. Human figures abound. Jeremiah Barber’s rice paper and ink doppelgänger melts into a black pedestal for \u003ci>Half Mass\u003c/i>. A woman sweeps away colonial architecture in Ranu Mukherjee’s hybrid video \u003ci>Home and the World\u003c/i>. In Summer Mei Ling Lee’s \u003ci>Into the Nearness of Distance III\u003c/i>, cyanotype on cheesecloth images of her family members, already only visible from an angle, will slowly fade as they expose to sunlight.\u003c/p>\n\u003cfigure id=\"attachment_11263138\" class=\"wp-caption alignright\" style=\"max-width: 435px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/sherpa_edited-1.jpg\" alt=\"Tsherin Sherpa, '54 Views of Wisdom and Compassion,' 2014.\" width=\"435\" height=\"640\" class=\"size-full wp-image-11263138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/sherpa_edited-1.jpg 435w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/sherpa_edited-1-400x589.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/sherpa_edited-1-408x600.jpg 408w\" sizes=\"(max-width: 435px) 100vw, 435px\">\u003cfigcaption class=\"wp-caption-text\">Tsherin Sherpa, ’54 Views of Wisdom and Compassion,’ 2014. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other works reference bodies through absence. Guillermo Gómez-Peña, who will perform at the gallery on March 11, contributes a quote from \u003ci>In Defence of Performance Art\u003c/i> as wall vinyl. “Our main artwork is our own body…” it reads in part. Vic De La Rosa’s serapes convey messages both for and about the Mexican-American experience. One reads, simply, “assimilate.”\u003c/p>\n\u003cp>But sometimes the bodies aren’t even human. Carolyn Janssen’s phenomenal \u003ci>In any case, you are always there\u003c/i>, a triptych print on panel over a wall-sized background image depicts tiny, often grotesque figures in a fantastical digital landscape; Hieronymus Bosch meets Second Life. Zeina Barakeh’s six-minute video \u003ci>Homeland Insecurity\u003c/i> unfolds as centaurs invade a land of anthropomorphic horses to the glitchy beat of a synthetic drum. And Tsherin Sherpa’s brilliantly-hued \u003ci>54 Views of Wisdom and Compassion\u003c/i>resembles a giant sliding block puzzle, the shuffled image of a blue god with red-rimmed eyes. \u003c/p>\n\u003cp>With a calendar of public events scheduled throughout the exhibition, the SFAC Gallery is eager to reassert the War Memorial Veterans Building as its home base after two years “asunder.” The gallery’s mission, to make contemporary art accessible to broad audiences, will be better served in this new, larger floorplan. More business-as-usual than splashy grand reopening, the three opening exhibitions ground the programming with established local names and introduce a few welcome newcomers, but the most exciting thing about the whole space might simply be that there’s more of it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>San Francisco Arts Commission Gallery grand opening celebration\u003c/b> takes place Friday, Jan. 22, 6-9pm. \u003ci>Bring it Home: (Re)Locating Cultural Legacy Through the Body\u003c/i> and \u003ci>Do More of What You Love\u003c/i> are on view through May 7, 2016. \u003ci>Enter: 126 Coalescence\u003c/i> is on view through Dec. 17, 2016. For more information visit \u003ca href=\"http://www.sfartscommission.org/gallery/\" target=\"_blank\" rel=\"noopener\">sfartscommission.org/gallery\u003c/a>.\u003c/p>\n\n",
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"excerpt": "The SFAC Gallery reopens in Civic Center with group show 'Bring it Home,' a tribute to Susan O'Malley and a new commission.",
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"title": "Asunder No More, SFAC Gallery Expands and Reopens in Civic Center | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Things were bit groovier in 1970, when the San Francisco Arts Commission founded a gallery space called “\u003ca href=\"http://sflib1.sfpl.org:82/record=b1040562~S0\" target=\"_blank\" rel=\"noopener\">Capricorn Asunder\u003c/a>” at 155 Grove Street. Think about it: can you imagine a city agency in the San Francisco of 2016 naming anything after an astrological sign, let alone adorning its doors with images of a fish-tailed goat? \u003c/p>\n\u003cp>Times got less groovy, of course. But the SFAC Gallery continued its programming in what we know as the Grove Street Window Gallery — until the Loma Prieta earthquake in 1989 and a temporary move to the War Memorial Veterans Building in 1996. “Temporary” stretched for 17 years, until the Veterans Building closed its doors for a two-year, $160 million seismic retrofitting project in 2013. \u003c/p>\n\u003cfigure id=\"attachment_11263136\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/ranu.jpg\" alt=\"Ranu Mukherjee, 'Home and the World,' 2015. \" width=\"640\" height=\"360\" class=\"size-full wp-image-11263136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/ranu.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/ranu-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ranu Mukherjee, ‘Home and the World,’ 2015. \u003ccite>(Courtesy of the artist and Gallery Wendi Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The SFAC Gallery reopens after this long hiatus on Friday, Jan. 22 with 2,400 square-feet of exhibition space just down the hall from its old quarters in the northeast corner of the building. With expanded gallery space, the opening encompasses a new commission, a small solo show and a 10-person group exhibition.\u003c/p>\n\u003cp>The first of the three is \u003ci>Enter: 126\u003c/i>, a yearly series set to transform a nondescript glass-doored entryway into something that better telegraphs, “This is an art space, come look!”\u003c/p>\n\u003cp>A collaboration between architect Annette Jannotta and media artist Olivia Ting, \u003ci>Coalescence\u003c/i>, as the entryway installation is titled, reuses packing tubes from the gallery’s new lighting system. Silent video shot within the Veterans Building projects across the cylindrical surfaces as they hang from the ceiling. Resembling giant wind chimes or the disembodied tubes of a pipe organ, \u003ci>Coalescence\u003c/i> hovers between representation and abstraction, gently flickering an invitation to hallway passersby.\u003c/p>\n\u003cfigure id=\"attachment_11263137\" class=\"wp-caption alignright\" style=\"max-width: 496px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/omalley.jpg\" alt=\"Susan O'Malley, print from 'Advice From My Eighty-Year-Old Self' series, 2015.\" width=\"496\" height=\"640\" class=\"size-full wp-image-11263137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/omalley.jpg 496w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/omalley-400x516.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/omalley-465x600.jpg 465w\" sizes=\"(max-width: 496px) 100vw, 496px\">\u003cfigcaption class=\"wp-caption-text\">Susan O’Malley, print from ‘Advice From My Eighty-Year-Old Self’ series, 2015. \u003ccite>(Courtesy of Mara O'Malley Boord)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moving inside, the SFAC Gallery next hosts a small tribute to the late artist \u003ca href=\"http://ww2.kqed.org/arts/2015/03/02/celebrating-the-life-of-artist-and-curator-susan-omalley-1976-2015/\" target=\"_blank\" rel=\"noopener\">Susan O’Malley\u003c/a> in the form of photographs of her projects, three video pieces and a wall of colorful text-filled posters. The videos \u003ci>A Few Yards in San Jose\u003c/i> and \u003ci>How to be an Artist-in-Residence in San Jose\u003c/i> show O’Malley as a merry prankster messing around in suburban San Jose. She uses turquoise garden hoses, cloud-shaped bushes and tire swings in tightly-edited and wonderfully silly vignettes. They’re vivid demonstrations of O’Malley embodying the sentiments similar to those she later gathered in the series \u003ci>Advice From My Eighty-Year-Old Self\u003c/i>, a collection of imperatives published by \u003ca href=\"http://www.chroniclebooks.com/titles/advice-from-my-80-year-old-self.html\" target=\"_blank\" rel=\"noopener\">Chronicle Books\u003c/a> and installed as bus kiosk posters up and down Market Street this month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shifting from an intimate memorial-like display to the gallery’s larger exhibition space and a completely separate show is a bit jarring. The walls open up, with tall windows facing McAllister Street. The elaborately titled \u003ci>Bring it Home: (Re)Locating Cultural Legacy Through the Body\u003c/i> fills the expanded gallery space with everything from a wall drawing to textile works to projected video.\u003c/p>\n\u003cp>Co-curated by SFAC Galleries director Meg Shiffler and independent curator Kevin B. Chen, \u003ci>Bring it Home\u003c/i> brings together artists looking at the body as a site of struggle and reconciliation. Human figures abound. Jeremiah Barber’s rice paper and ink doppelgänger melts into a black pedestal for \u003ci>Half Mass\u003c/i>. A woman sweeps away colonial architecture in Ranu Mukherjee’s hybrid video \u003ci>Home and the World\u003c/i>. In Summer Mei Ling Lee’s \u003ci>Into the Nearness of Distance III\u003c/i>, cyanotype on cheesecloth images of her family members, already only visible from an angle, will slowly fade as they expose to sunlight.\u003c/p>\n\u003cfigure id=\"attachment_11263138\" class=\"wp-caption alignright\" style=\"max-width: 435px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/sherpa_edited-1.jpg\" alt=\"Tsherin Sherpa, '54 Views of Wisdom and Compassion,' 2014.\" width=\"435\" height=\"640\" class=\"size-full wp-image-11263138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/sherpa_edited-1.jpg 435w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/sherpa_edited-1-400x589.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/sherpa_edited-1-408x600.jpg 408w\" sizes=\"(max-width: 435px) 100vw, 435px\">\u003cfigcaption class=\"wp-caption-text\">Tsherin Sherpa, ’54 Views of Wisdom and Compassion,’ 2014. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other works reference bodies through absence. Guillermo Gómez-Peña, who will perform at the gallery on March 11, contributes a quote from \u003ci>In Defence of Performance Art\u003c/i> as wall vinyl. “Our main artwork is our own body…” it reads in part. Vic De La Rosa’s serapes convey messages both for and about the Mexican-American experience. One reads, simply, “assimilate.”\u003c/p>\n\u003cp>But sometimes the bodies aren’t even human. Carolyn Janssen’s phenomenal \u003ci>In any case, you are always there\u003c/i>, a triptych print on panel over a wall-sized background image depicts tiny, often grotesque figures in a fantastical digital landscape; Hieronymus Bosch meets Second Life. Zeina Barakeh’s six-minute video \u003ci>Homeland Insecurity\u003c/i> unfolds as centaurs invade a land of anthropomorphic horses to the glitchy beat of a synthetic drum. And Tsherin Sherpa’s brilliantly-hued \u003ci>54 Views of Wisdom and Compassion\u003c/i>resembles a giant sliding block puzzle, the shuffled image of a blue god with red-rimmed eyes. \u003c/p>\n\u003cp>With a calendar of public events scheduled throughout the exhibition, the SFAC Gallery is eager to reassert the War Memorial Veterans Building as its home base after two years “asunder.” The gallery’s mission, to make contemporary art accessible to broad audiences, will be better served in this new, larger floorplan. More business-as-usual than splashy grand reopening, the three opening exhibitions ground the programming with established local names and introduce a few welcome newcomers, but the most exciting thing about the whole space might simply be that there’s more of it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>San Francisco Arts Commission Gallery grand opening celebration\u003c/b> takes place Friday, Jan. 22, 6-9pm. \u003ci>Bring it Home: (Re)Locating Cultural Legacy Through the Body\u003c/i> and \u003ci>Do More of What You Love\u003c/i> are on view through May 7, 2016. \u003ci>Enter: 126 Coalescence\u003c/i> is on view through Dec. 17, 2016. For more information visit \u003ca href=\"http://www.sfartscommission.org/gallery/\" target=\"_blank\" rel=\"noopener\">sfartscommission.org/gallery\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Chris Thorson's 'Recognition' Isn't What it Looks Like",
"headTitle": "Chris Thorson’s ‘Recognition’ Isn’t What it Looks Like | KQED",
"content": "\u003cp>Upon first glance at the floor of the Spotlight Gallery in the \u003ca href=\"http://napavalleymuseum.org/\" target=\"_blank\" rel=\"noopener\">Napa Valley Museum\u003c/a> in Yountville, we might feel a natural urge to clean up. A scattering of cigarette butts and plastic bags seem carelessly left behind by a crew of busy maintenance workers. Nearby, produce boxes filled with semi-rotten apples and melons create the same instinct — the impulse to quickly discard without a second thought. As a society, we tend to regard anything that isn’t shiny, new and completely intact as worthless and disposable. This is particularly true of unsightly trash or anything, really, that we deem unimportant.\u003c/p>\n\u003cfigure id=\"attachment_11248581\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11248581 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/thorson-cigarettes-1180x885.jpg\" alt=\"Chris Thorson, 'Sleepers' and 'Nice Days,' 2011-15.\" width=\"640\" height=\"480\">\u003cfigcaption class=\"wp-caption-text\">Chris Thorson, ‘Sleepers’ and ‘Nice Days,’ 2011-15. \u003ccite>(Courtesy: the artist and Napa Valley Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upon closer examination of the discarded cigarettes and wads of pastel-colored chewing gum, however, the painstaking detail of artist \u003ca href=\"http://christhorsonstudio.com/\" target=\"_blank\" rel=\"noopener\">Chris Thorson\u003c/a>’s elaborately realistic trompe l’oeil sculptures creates a subtle and then blunt shift in how we think about the ways we contribute to a culture of waste.\u003c/p>\n\u003cp>Thorson’s installations in \u003ci>Recognition\u003c/i> simultaneously create a sensation of repulsion and awe, causing us to peer as close as possible to each careful and unsightly detail. In her piece \u003ci>Bro Palace\u003c/i>, Thorson sets up a space anyone who has spent any time with adolescent boys (or girls) will experience as familiar — dirty socks, a set of keys, an empty ketchup packet, a plastic takeout bag and remote controls are strewn across a bedroom rug. Instead of using dirty clothing collected from a dorm room, each sock in the installation is handmade by Thorson with hydrocal, gouache and pastel; items such as the ketchup packet and a grape vine stripped of its fruit are a combination of cast bronze and enamel.\u003c/p>\n\u003cfigure id=\"attachment_11260367\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11260367\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BroPalace640.jpg\" alt=\"Chris Thorson, detail from 'Bro Palace' installation.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BroPalace640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BroPalace640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Chris Thorson, detail from ‘Bro Palace’ installation. \u003ccite>(Courtesy: the artist and Napa Valley Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thorson’s refrigerator installation, a personal favorite, includes seven rotting and sprouting potatoes (Yukon Golds, Century Russets and Viking Reds) displayed across the top of a minifridge. Added humorous touches include a “High from California” marijuana leaf refrigerator magnet and a magnet with the cast of \u003cem>Buffy the Vampire Slayer\u003c/em>, both affixed to the refrigerator’s small door. Nearby, a plastic shopping bag made of beeswax, organic silk and natural dyes made from plants grown by Thorson herself lies haphazardly on the floor. The potatoes’ eerily realistic appearance (oil paint on direct cast bronze and hydrocal) offers another reminder of how easily we take for granted the abundance and accessibility of perishable food items, while hunger remains a critical issue in so many parts of the world.\u003c/p>\n\u003cfigure id=\"attachment_11248689\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11248689\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/thorson-fridge-museum-e1453256289683.jpg\" alt=\"Chris Thorson, installation view of 'Recognition.'\" width=\"640\" height=\"480\">\u003cfigcaption class=\"wp-caption-text\">Chris Thorson, installation view of ‘Recognition.’ \u003ccite>(Courtesy: the artist and Napa Valley Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thorson’s work is brilliantly crafted and requires double and triple takes to fully appreciate the introspection and philosophical musings it prompts. Whether we’re looking at a set of keys, a crate of withering apples, a crumpled, musty-looking sweater or a discarded takeout bag, her pieces offer a crucial shift in our perspectives of the things we need, want, easily acquire and just as easily cast aside.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003ci>Recognition\u003c/i>\u003c/b> is on view at the Napa Valley Museum in Yountville through March 20. For more information visit \u003ca href=\"http://napavalleymuseum.org/exhibition/recognition/\" target=\"_blank\" rel=\"noopener\">napavalleymuseum.org\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Upon first glance at the floor of the Spotlight Gallery in the \u003ca href=\"http://napavalleymuseum.org/\" target=\"_blank\" rel=\"noopener\">Napa Valley Museum\u003c/a> in Yountville, we might feel a natural urge to clean up. A scattering of cigarette butts and plastic bags seem carelessly left behind by a crew of busy maintenance workers. Nearby, produce boxes filled with semi-rotten apples and melons create the same instinct — the impulse to quickly discard without a second thought. As a society, we tend to regard anything that isn’t shiny, new and completely intact as worthless and disposable. This is particularly true of unsightly trash or anything, really, that we deem unimportant.\u003c/p>\n\u003cfigure id=\"attachment_11248581\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11248581 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/thorson-cigarettes-1180x885.jpg\" alt=\"Chris Thorson, 'Sleepers' and 'Nice Days,' 2011-15.\" width=\"640\" height=\"480\">\u003cfigcaption class=\"wp-caption-text\">Chris Thorson, ‘Sleepers’ and ‘Nice Days,’ 2011-15. \u003ccite>(Courtesy: the artist and Napa Valley Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upon closer examination of the discarded cigarettes and wads of pastel-colored chewing gum, however, the painstaking detail of artist \u003ca href=\"http://christhorsonstudio.com/\" target=\"_blank\" rel=\"noopener\">Chris Thorson\u003c/a>’s elaborately realistic trompe l’oeil sculptures creates a subtle and then blunt shift in how we think about the ways we contribute to a culture of waste.\u003c/p>\n\u003cp>Thorson’s installations in \u003ci>Recognition\u003c/i> simultaneously create a sensation of repulsion and awe, causing us to peer as close as possible to each careful and unsightly detail. In her piece \u003ci>Bro Palace\u003c/i>, Thorson sets up a space anyone who has spent any time with adolescent boys (or girls) will experience as familiar — dirty socks, a set of keys, an empty ketchup packet, a plastic takeout bag and remote controls are strewn across a bedroom rug. Instead of using dirty clothing collected from a dorm room, each sock in the installation is handmade by Thorson with hydrocal, gouache and pastel; items such as the ketchup packet and a grape vine stripped of its fruit are a combination of cast bronze and enamel.\u003c/p>\n\u003cfigure id=\"attachment_11260367\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11260367\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BroPalace640.jpg\" alt=\"Chris Thorson, detail from 'Bro Palace' installation.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BroPalace640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BroPalace640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Chris Thorson, detail from ‘Bro Palace’ installation. \u003ccite>(Courtesy: the artist and Napa Valley Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thorson’s refrigerator installation, a personal favorite, includes seven rotting and sprouting potatoes (Yukon Golds, Century Russets and Viking Reds) displayed across the top of a minifridge. Added humorous touches include a “High from California” marijuana leaf refrigerator magnet and a magnet with the cast of \u003cem>Buffy the Vampire Slayer\u003c/em>, both affixed to the refrigerator’s small door. Nearby, a plastic shopping bag made of beeswax, organic silk and natural dyes made from plants grown by Thorson herself lies haphazardly on the floor. The potatoes’ eerily realistic appearance (oil paint on direct cast bronze and hydrocal) offers another reminder of how easily we take for granted the abundance and accessibility of perishable food items, while hunger remains a critical issue in so many parts of the world.\u003c/p>\n\u003cfigure id=\"attachment_11248689\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11248689\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/thorson-fridge-museum-e1453256289683.jpg\" alt=\"Chris Thorson, installation view of 'Recognition.'\" width=\"640\" height=\"480\">\u003cfigcaption class=\"wp-caption-text\">Chris Thorson, installation view of ‘Recognition.’ \u003ccite>(Courtesy: the artist and Napa Valley Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thorson’s work is brilliantly crafted and requires double and triple takes to fully appreciate the introspection and philosophical musings it prompts. Whether we’re looking at a set of keys, a crate of withering apples, a crumpled, musty-looking sweater or a discarded takeout bag, her pieces offer a crucial shift in our perspectives of the things we need, want, easily acquire and just as easily cast aside.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003ci>Recognition\u003c/i>\u003c/b> is on view at the Napa Valley Museum in Yountville through March 20. For more information visit \u003ca href=\"http://napavalleymuseum.org/exhibition/recognition/\" target=\"_blank\" rel=\"noopener\">napavalleymuseum.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Showtime's Financial Drama 'Billions' Doubles Down on Machismo",
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"content": "\u003cp>“Money doesn’t talk,” said Bob Dylan. “It swears.” This is almost literally true in the blizzard of books, movies and TV shows about our financial one-percenters. If our wolves of Wall Street love anything more than obscene wealth, it’s obscene language. These guys — and they \u003cem>are\u003c/em> mainly guys — don’t trust anyone who’s shy about dropping F-bombs.\u003c/p>\n\u003cp>Who’s effing who — and how — is one of the governing metaphors of \u003cem>Billions\u003c/em>, a new Showtime series whose opening shot features one of its lead characters trussed up and awaiting a dominatrix. Though my heart sank when I saw this, such an image is truth in advertising. This is a show about power relationships, one that’s positively shameless in its desire to grab you.\u003c/p>\n\u003cp>\u003cem>Billions\u003c/em> is built around the collision of two megalomaniacal power-brokers, both played by actors who specialize in characters you can’t trust. That Pavarotti of prickliness Paul Giamatti is Chuck Rhoades, a well-born U.S. Attorney with just enough conscience that he can’t completely enjoy his vaulting ambition.\u003c/p>\n\u003cp>The calculating Rhoades dreams of being governor, which will be easier if he takes the scalp of a financial high-flier. Enter Bobby “Axe” Axelrod, played by perma-slippery Damian Lewis, far different here than in \u003cem>Homeland\u003c/em>. He’s a hedge-fund maestro who presents himself as a regular guy, but is the kind of thug who remembers, and avenges, slights decades later.\u003c/p>\n\u003cp>At first, Rhoades worries about going after Axe, who’s popular because of his casual dress, blue-collar origins and canny post-9/11 donations. But when Axe courts bad publicity by deciding to buy a staggeringly expensive house, Rhoades thinks it safe to make his move.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But there are complications. For starters, Rhoades’ psychologist wife, Wendy — niftily played by Maggie Siff — is a long-time life coach at Axelrod’s firm. And naturally Axe fights back. His personal fixer, played with a mortician’s sangfroid by Terry Kinney, instantly starts targeting Rhoades’ staff and family.\u003c/p>\n\u003cp>\u003cem>Billions\u003c/em> was created by the screenwriting team of Brian Koppelman and David Levien — who wrote \u003cem>Oceans Thirteen\u003c/em>, among others — along with \u003cem>New York Times\u003c/em> financial columnist Andrew Ross Sorkin. Together they’ve come up with a plot that doesn’t even aspire to the earnestness of an old-fashioned Hollywood morality play. The show’s basically a glossy melodrama.\u003c/p>\n\u003cp>And it offers a melodrama’s pleasures. The action clips right along, with punchy dialogue, twists and machinations, gratuitous premium-cable nudity, and lots of prime acting moments — Lewis showing Axe’s affability melt into ruthlessness, Giamatti’s blend of righteousness and bullying when Rhoades yells at a stranger for not cleaning up after his dog. They’re really good.\u003c/p>\n\u003cp>But their effing machismo lacks inner dimension and often feels generic. We’ve heard these alpha dogs bark many times before. The female roles feel fresher. Axe’s wife, Lara — played by Malin Ackerman — seems like a perky nice girl but she’s a smiler with a knife.\u003c/p>\n\u003cp>The show’s juiciest and most original character is Wendy Rhoades, who hears everyone’s secret feelings. Loyal to both her husband and to Axe — to what extent we can’t be sure — this gifted psychologist plays the deepest game of all. Wendy uses her role as a confessor/advisor to nudge people into doing what she wants. She admits that such manipulation turns her on. It turns us on, too. The show perks up whenever she’s on-screen.\u003c/p>\n\u003cp>When I heard that Andrew Ross Sorkin was involved with \u003cem>Billions\u003c/em>, I hoped he would use his inside knowledge to depict the workings of money and power with the same precision that David Simon brought to \u003cem>The Wire\u003c/em>. In fact, the series doesn’t really care about such authenticity. In a way, this is hardly surprising. It’s hard to explain, for example, what hedge funds do without losing or boring the audience. The thing that’s done it best, \u003ca href=\"http://www.npr.org/2015/12/11/459344815/on-the-money-how-the-big-short-and-its-jerk-heroes-explain-finance\" target=\"_blank\" rel=\"noopener\">\u003cem>The Big Short\u003c/em>\u003c/a>, jumped through all sorts of stylistic hoops to demystify the 2008 sub-prime mortgage crisis and the financial instruments that helped spawn it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You’ll find none of those hoops here. \u003cem> \u003c/em>The show is so eager to keep us watching that it can’t be bothered to show us how the world actually works. An entertaining fantasy, \u003cem>Billions\u003c/em> teaches you as much about the financial world as \u003cem>Empire\u003c/em> teaches you about the music business or \u003cem>House of Cards\u003c/em> does the road to the White House. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fresh Air\u003c/em>\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Showtime%27s+Financial+Drama+%27Billions%27+Doubles+Down+On+Melodrama+And+Machismo&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Money doesn’t talk,” said Bob Dylan. “It swears.” This is almost literally true in the blizzard of books, movies and TV shows about our financial one-percenters. If our wolves of Wall Street love anything more than obscene wealth, it’s obscene language. These guys — and they \u003cem>are\u003c/em> mainly guys — don’t trust anyone who’s shy about dropping F-bombs.\u003c/p>\n\u003cp>Who’s effing who — and how — is one of the governing metaphors of \u003cem>Billions\u003c/em>, a new Showtime series whose opening shot features one of its lead characters trussed up and awaiting a dominatrix. Though my heart sank when I saw this, such an image is truth in advertising. This is a show about power relationships, one that’s positively shameless in its desire to grab you.\u003c/p>\n\u003cp>\u003cem>Billions\u003c/em> is built around the collision of two megalomaniacal power-brokers, both played by actors who specialize in characters you can’t trust. That Pavarotti of prickliness Paul Giamatti is Chuck Rhoades, a well-born U.S. Attorney with just enough conscience that he can’t completely enjoy his vaulting ambition.\u003c/p>\n\u003cp>The calculating Rhoades dreams of being governor, which will be easier if he takes the scalp of a financial high-flier. Enter Bobby “Axe” Axelrod, played by perma-slippery Damian Lewis, far different here than in \u003cem>Homeland\u003c/em>. He’s a hedge-fund maestro who presents himself as a regular guy, but is the kind of thug who remembers, and avenges, slights decades later.\u003c/p>\n\u003cp>At first, Rhoades worries about going after Axe, who’s popular because of his casual dress, blue-collar origins and canny post-9/11 donations. But when Axe courts bad publicity by deciding to buy a staggeringly expensive house, Rhoades thinks it safe to make his move.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But there are complications. For starters, Rhoades’ psychologist wife, Wendy — niftily played by Maggie Siff — is a long-time life coach at Axelrod’s firm. And naturally Axe fights back. His personal fixer, played with a mortician’s sangfroid by Terry Kinney, instantly starts targeting Rhoades’ staff and family.\u003c/p>\n\u003cp>\u003cem>Billions\u003c/em> was created by the screenwriting team of Brian Koppelman and David Levien — who wrote \u003cem>Oceans Thirteen\u003c/em>, among others — along with \u003cem>New York Times\u003c/em> financial columnist Andrew Ross Sorkin. Together they’ve come up with a plot that doesn’t even aspire to the earnestness of an old-fashioned Hollywood morality play. The show’s basically a glossy melodrama.\u003c/p>\n\u003cp>And it offers a melodrama’s pleasures. The action clips right along, with punchy dialogue, twists and machinations, gratuitous premium-cable nudity, and lots of prime acting moments — Lewis showing Axe’s affability melt into ruthlessness, Giamatti’s blend of righteousness and bullying when Rhoades yells at a stranger for not cleaning up after his dog. They’re really good.\u003c/p>\n\u003cp>But their effing machismo lacks inner dimension and often feels generic. We’ve heard these alpha dogs bark many times before. The female roles feel fresher. Axe’s wife, Lara — played by Malin Ackerman — seems like a perky nice girl but she’s a smiler with a knife.\u003c/p>\n\u003cp>The show’s juiciest and most original character is Wendy Rhoades, who hears everyone’s secret feelings. Loyal to both her husband and to Axe — to what extent we can’t be sure — this gifted psychologist plays the deepest game of all. Wendy uses her role as a confessor/advisor to nudge people into doing what she wants. She admits that such manipulation turns her on. It turns us on, too. The show perks up whenever she’s on-screen.\u003c/p>\n\u003cp>When I heard that Andrew Ross Sorkin was involved with \u003cem>Billions\u003c/em>, I hoped he would use his inside knowledge to depict the workings of money and power with the same precision that David Simon brought to \u003cem>The Wire\u003c/em>. In fact, the series doesn’t really care about such authenticity. In a way, this is hardly surprising. It’s hard to explain, for example, what hedge funds do without losing or boring the audience. The thing that’s done it best, \u003ca href=\"http://www.npr.org/2015/12/11/459344815/on-the-money-how-the-big-short-and-its-jerk-heroes-explain-finance\" target=\"_blank\" rel=\"noopener\">\u003cem>The Big Short\u003c/em>\u003c/a>, jumped through all sorts of stylistic hoops to demystify the 2008 sub-prime mortgage crisis and the financial instruments that helped spawn it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You’ll find none of those hoops here. \u003cem> \u003c/em>The show is so eager to keep us watching that it can’t be bothered to show us how the world actually works. An entertaining fantasy, \u003cem>Billions\u003c/em> teaches you as much about the financial world as \u003cem>Empire\u003c/em> teaches you about the music business or \u003cem>House of Cards\u003c/em> does the road to the White House. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fresh Air\u003c/em>\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Showtime%27s+Financial+Drama+%27Billions%27+Doubles+Down+On+Melodrama+And+Machismo&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Shallow Focus Creates Depth Of Feeling In 'Son Of Saul'",
"headTitle": "Shallow Focus Creates Depth Of Feeling In ‘Son Of Saul’ | KQED",
"content": "\u003cp>The camera stays tight on a gaunt, weathered face as we hear a train and the dull roar of exhausted travelers disembarking at the outset of \u003cem>Son of Saul\u003c/em>. The screen is narrow — almost square — so there’s very little space in the image around his head. As a result, we hear but don’t see a band playing as the train’s passengers are herded into a building, then to a large room with benches and wall pegs.\u003c/p>\n\u003cp>The camera stays tight on this man who’s ushering people silently. A red “X” painted on the back of his jacket marks him as a \u003cem>Sonderkommando\u003c/em>, a prisoner who’s being forced to work with the guards. He’s different from the other prisoners, but the rest are out of focus anyway, stripping off all their clothes as an off-screen voice tells them, “You’re exactly the kind of people we need in our workshops. After the shower and hot soup, come directly to me. Remember your hook number.”\u003c/p>\n\u003cp>Then the door clanks shut behind them, and the gaunt man with the “X” on his jacket starts pulling the clothing off all those hooks people were urged to remember.\u003c/p>\n\u003cp>And after a bit, the screaming starts.\u003c/p>\n\u003cp>First-time Hungarian director László Nemes has been telling interviewers that he’d wanted \u003cem>Son of Saul\u003c/em> to be an immersive experience, and it definitely is that. What he’s immersing you in is Auschwitz-Birkenau, \u003cem>\u003cstrong>the\u003c/strong>\u003c/em> Nazi concentration camp, so it’s not an easy sit, but it is a riveting, effective one, and a genuine change from the familiar conventions of most holocaust dramas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The director’s technique is to shoot almost the entire film in severe close-up on his leading man (Géza Röhrig), which has the effect of putting you next to him in Auschwitz. It also, because the director uses very shallow focus, has the effect of making the atrocities around him blurry and indistinct — which sounds as if it would make the film easier to watch, but actually makes it all the more horrific because you can’t focus on what you’re hearing: German officers mocking those on their way to slaughter, ashes shoveled into swollen rivers, killing frenzies for no apparent reason.\u003c/p>\n\u003cp>And filling most of the frame, always, is the man with the “X” on his jacket, who is consumed while we watch him by a single obsession: Though he has been present for thousands of murders, seen many bodies burn in the camp’s crematoria, he is searching for a rabbi to give one body — that of a boy who died before his eyes — what he thinks is a proper Jewish burial.\u003c/p>\n\u003cp>“You’ve betrayed the living to help the dead,” he’s told when his single-mindedness puts a camp uprising in jeopardy. But that’s a moral quandary that doesn’t slow him for a second.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The character’s narrow focus, the director’s shallow focus, add up somehow to profound depth of feeling in \u003cem>Son of Saul\u003c/em>. If there has been a more powerful cinematic experience this year, I didn’t see it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The camera stays tight on a gaunt, weathered face as we hear a train and the dull roar of exhausted travelers disembarking at the outset of \u003cem>Son of Saul\u003c/em>. The screen is narrow — almost square — so there’s very little space in the image around his head. As a result, we hear but don’t see a band playing as the train’s passengers are herded into a building, then to a large room with benches and wall pegs.\u003c/p>\n\u003cp>The camera stays tight on this man who’s ushering people silently. A red “X” painted on the back of his jacket marks him as a \u003cem>Sonderkommando\u003c/em>, a prisoner who’s being forced to work with the guards. He’s different from the other prisoners, but the rest are out of focus anyway, stripping off all their clothes as an off-screen voice tells them, “You’re exactly the kind of people we need in our workshops. After the shower and hot soup, come directly to me. Remember your hook number.”\u003c/p>\n\u003cp>Then the door clanks shut behind them, and the gaunt man with the “X” on his jacket starts pulling the clothing off all those hooks people were urged to remember.\u003c/p>\n\u003cp>And after a bit, the screaming starts.\u003c/p>\n\u003cp>First-time Hungarian director László Nemes has been telling interviewers that he’d wanted \u003cem>Son of Saul\u003c/em> to be an immersive experience, and it definitely is that. What he’s immersing you in is Auschwitz-Birkenau, \u003cem>\u003cstrong>the\u003c/strong>\u003c/em> Nazi concentration camp, so it’s not an easy sit, but it is a riveting, effective one, and a genuine change from the familiar conventions of most holocaust dramas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The director’s technique is to shoot almost the entire film in severe close-up on his leading man (Géza Röhrig), which has the effect of putting you next to him in Auschwitz. It also, because the director uses very shallow focus, has the effect of making the atrocities around him blurry and indistinct — which sounds as if it would make the film easier to watch, but actually makes it all the more horrific because you can’t focus on what you’re hearing: German officers mocking those on their way to slaughter, ashes shoveled into swollen rivers, killing frenzies for no apparent reason.\u003c/p>\n\u003cp>And filling most of the frame, always, is the man with the “X” on his jacket, who is consumed while we watch him by a single obsession: Though he has been present for thousands of murders, seen many bodies burn in the camp’s crematoria, he is searching for a rabbi to give one body — that of a boy who died before his eyes — what he thinks is a proper Jewish burial.\u003c/p>\n\u003cp>“You’ve betrayed the living to help the dead,” he’s told when his single-mindedness puts a camp uprising in jeopardy. But that’s a moral quandary that doesn’t slow him for a second.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The character’s narrow focus, the director’s shallow focus, add up somehow to profound depth of feeling in \u003cem>Son of Saul\u003c/em>. If there has been a more powerful cinematic experience this year, I didn’t see it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Black Salt Collective Agitates the Archive with ‘Visions’ at SOMArts",
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"content": "\u003cp>Opening Thursday night in SOMArts’ main gallery, bright paintings, textiles, video screens and small wooden sculptures arranged altar-like in front of a salmon-colored wall welcome viewers to \u003ci>\u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">Visions Into Infinite Archives\u003c/a>\u003c/i>, a sprawling and thrilling group exhibition organized by the LA and Bay Area-based artists of \u003ca href=\"http://blacksaltcollective.squarespace.com/\" target=\"_blank\" rel=\"noopener\">Black Salt Collective\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11246493\" class=\"wp-caption alignright\" style=\"max-width: 607px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/group-photo.png\" alt=\"Black Salt Collective: Anna Luisa Petrisko, Adee Roberson, Grace Rosario Perkins, Sarah Biscarra-Dilley.\" width=\"607\" height=\"610\" class=\"size-full wp-image-11246493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo.png 607w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo-400x402.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo-597x600.png 597w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo-75x75.png 75w\" sizes=\"(max-width: 607px) 100vw, 607px\">\u003cfigcaption class=\"wp-caption-text\">Black Salt Collective: Anna Luisa Petrisko, Adee Roberson, Grace Rosario Perkins, Sarah Biscarra-Dilley. \u003ccite>(Photo: Ramdasha Bikceem)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show features work by 30 artists of color, including the collaborative and individual work by Black Salt Collective members \u003ca href=\"http://sarahbiscarradilley.com/\" target=\"_blank\" rel=\"noopener\">Sarah Biscarra-Dilley\u003c/a>, \u003ca href=\"http://postmedium.com/gracerosarioperkins\" target=\"_blank\" rel=\"noopener\">Grace Rosario Perkins\u003c/a>, \u003ca href=\"http://www.jeepneysjeepneys.com/\" target=\"_blank\" rel=\"noopener\">Anna Luisa Petrisko\u003c/a> and \u003ca href=\"http://blackpineappleadee.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Adee Roberson\u003c/a>. Each fabric piece, papier-mâché mask, confrontational video or sculptural assemblage in \u003ci>Visions\u003c/i> represents a node in a web of relationships the organizers forged with the show’s artists. Instead of a linear or self-contained official record, the collective’s “archive as exhibition” is open, ever-expanding and deeply personal.\u003c/p>\n\u003cp>“The conceptual basis was to push against the finite and measurable archive that tends to represent people not in their own voices,” says Biscarra-Dilley. For Biscarra-Dilley, who is Chumash, this manifests in an intricately embroidered textile piece hung from SOMArt’s two-story-high rafters. Subtitled \u003ci>It took away her fear and made her strong\u003c/i>, the work includes a portion of text Biscarra-Dilley prefers to keep untranslated, limiting general access and reserving interpretation.\u003c/p>\n\u003cfigure id=\"attachment_11246496\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Jeepneys640.jpg\" alt=\"Jeepneys + some times, 'Let Me Be The One: A history of a decolonized service,' 2015-2016.\" width=\"640\" height=\"427\" class=\"size-full wp-image-11246496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Jeepneys640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Jeepneys640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jeepneys + some times, ‘Let Me Be The One: A history of a decolonized service,’ 2015-2016. \u003ccite>(Photo: Nastya Valentine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Additional individual work from members of the collective appears as a sculpture and video installation by Jeepneys (Petrisko) and \u003ci>some times\u003c/i> (an art project and bar run by LA-based \u003ca href=\"http://meghangordonstudio.com/\" target=\"_blank\" rel=\"noopener\">Meghan Gordon\u003c/a>). In a \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=0fKBhvDjuy0\" target=\"_blank\" rel=\"noopener\">Powers of 10\u003c/a>\u003c/i>-esque zoom-out from a Jeepneys performance at \u003ci>some times\u003c/i> last summer, SOMArts viewers see the performers watching and critiquing their own performance. The entire viewing experience takes place amidst the same brightly-painted stage furniture the performers used at \u003ci>some times\u003c/i>. \u003c/p>\n\u003cp>As a way of “archiving” a performance, especially one deemed potentially unsuccessful, \u003ci>Let Me Be The One: A history of decolonized service\u003c/i> is one of the most inventive (and generative) approaches to documentation I’ve ever seen. In a further meta moment, Jeepneys uses the entire tableau as the setting for an opening night performance.\u003c/p>\n\u003cfigure id=\"attachment_11246497\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/GallupMotelButchering640.jpg\" alt=\"Postcommodity, 'Gallup Motel Butchering,' 2011.\" width=\"640\" height=\"329\" class=\"size-full wp-image-11246497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GallupMotelButchering640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GallupMotelButchering640-400x206.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Postcommodity, ‘Gallup Motel Butchering,’ 2011. \u003ccite>(Courtesy: SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In what’s likely to be the most controversial work in the show, \u003ca href=\"http://postcommodity.com/\" target=\"_blank\" rel=\"noopener\">Postcommodity\u003c/a> (another multi-talented interdisciplinary artist collective) presents \u003ci>Gallup Motel Butchering\u003c/i>. The four-channel video shows a Navajo woman butchering and preparing a sheep for a family feast in the incongruous space of a motel bathroom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Similarly unflinching is Roberson’s massive wall piece, a combination of drum beats rendered as graphic patterns and images of both black women killed by the police and those the artist considers “seers and infinite beings.” \u003c/p>\n\u003cfigure id=\"attachment_11246498\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/CityGirls640.jpg\" alt=\"Paula Wilson, 'City Girls in the Desert,' 2013.\" width=\"427\" height=\"640\" class=\"size-full wp-image-11246498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/CityGirls640.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/CityGirls640-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Paula Wilson, ‘City Girls in the Desert,’ 2013. \u003ccite>(Courtesy: Johan Berggren Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Across the gallery, \u003ca href=\"http://paulajwilson.com/\" target=\"_blank\" rel=\"noopener\">Paula Wilson\u003c/a>’s \u003ci>City Girls in the Desert\u003c/i>, a textile work made up of screen prints, monotypes, machine and hand stitching stretches over 10 feet tall. Look closely for the embedded video screen in one figure’s hand. \u003c/p>\n\u003cp>Perkins’ work is sprinkled throughout the exhibition as papier-mâché masks, collaborations with her father (\u003ca href=\"http://olenperkins.whohook.com/\" target=\"_blank\" rel=\"noopener\">Olen Perkins\u003c/a>, responsible for the wonderful knob-nosed sculpture \u003ci>Snake brain\u003c/i>) and Xerox transfers affixed to the edges of the gallery’s movable walls. These vertical pieces, once united as strips of wallpaper, create a fitting metaphor for \u003ci>Visions Into Infinite Archives\u003c/i> as a whole. With Perkins’ work separated, occupying what is usually unused space, it’s as if a wall opened up to reveal a multitude of vibrant histories, personal narratives and potential futures behind its façade — all emblematic of a network that deserves more attention more often.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ci>Visions Into Infinite Archives\u003c/i>\u003c/strong> runs Jan. 14 – Feb. 10, 2016 at SOMArts in San Francisco. For a full list of accompanying events, including an afternoon of film screenings on Jan. 30, visit \u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">somarts.org\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Opening Thursday night in SOMArts’ main gallery, bright paintings, textiles, video screens and small wooden sculptures arranged altar-like in front of a salmon-colored wall welcome viewers to \u003ci>\u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">Visions Into Infinite Archives\u003c/a>\u003c/i>, a sprawling and thrilling group exhibition organized by the LA and Bay Area-based artists of \u003ca href=\"http://blacksaltcollective.squarespace.com/\" target=\"_blank\" rel=\"noopener\">Black Salt Collective\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11246493\" class=\"wp-caption alignright\" style=\"max-width: 607px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/group-photo.png\" alt=\"Black Salt Collective: Anna Luisa Petrisko, Adee Roberson, Grace Rosario Perkins, Sarah Biscarra-Dilley.\" width=\"607\" height=\"610\" class=\"size-full wp-image-11246493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo.png 607w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo-400x402.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo-597x600.png 597w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo-75x75.png 75w\" sizes=\"(max-width: 607px) 100vw, 607px\">\u003cfigcaption class=\"wp-caption-text\">Black Salt Collective: Anna Luisa Petrisko, Adee Roberson, Grace Rosario Perkins, Sarah Biscarra-Dilley. \u003ccite>(Photo: Ramdasha Bikceem)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show features work by 30 artists of color, including the collaborative and individual work by Black Salt Collective members \u003ca href=\"http://sarahbiscarradilley.com/\" target=\"_blank\" rel=\"noopener\">Sarah Biscarra-Dilley\u003c/a>, \u003ca href=\"http://postmedium.com/gracerosarioperkins\" target=\"_blank\" rel=\"noopener\">Grace Rosario Perkins\u003c/a>, \u003ca href=\"http://www.jeepneysjeepneys.com/\" target=\"_blank\" rel=\"noopener\">Anna Luisa Petrisko\u003c/a> and \u003ca href=\"http://blackpineappleadee.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Adee Roberson\u003c/a>. Each fabric piece, papier-mâché mask, confrontational video or sculptural assemblage in \u003ci>Visions\u003c/i> represents a node in a web of relationships the organizers forged with the show’s artists. Instead of a linear or self-contained official record, the collective’s “archive as exhibition” is open, ever-expanding and deeply personal.\u003c/p>\n\u003cp>“The conceptual basis was to push against the finite and measurable archive that tends to represent people not in their own voices,” says Biscarra-Dilley. For Biscarra-Dilley, who is Chumash, this manifests in an intricately embroidered textile piece hung from SOMArt’s two-story-high rafters. Subtitled \u003ci>It took away her fear and made her strong\u003c/i>, the work includes a portion of text Biscarra-Dilley prefers to keep untranslated, limiting general access and reserving interpretation.\u003c/p>\n\u003cfigure id=\"attachment_11246496\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Jeepneys640.jpg\" alt=\"Jeepneys + some times, 'Let Me Be The One: A history of a decolonized service,' 2015-2016.\" width=\"640\" height=\"427\" class=\"size-full wp-image-11246496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Jeepneys640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Jeepneys640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jeepneys + some times, ‘Let Me Be The One: A history of a decolonized service,’ 2015-2016. \u003ccite>(Photo: Nastya Valentine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Additional individual work from members of the collective appears as a sculpture and video installation by Jeepneys (Petrisko) and \u003ci>some times\u003c/i> (an art project and bar run by LA-based \u003ca href=\"http://meghangordonstudio.com/\" target=\"_blank\" rel=\"noopener\">Meghan Gordon\u003c/a>). In a \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=0fKBhvDjuy0\" target=\"_blank\" rel=\"noopener\">Powers of 10\u003c/a>\u003c/i>-esque zoom-out from a Jeepneys performance at \u003ci>some times\u003c/i> last summer, SOMArts viewers see the performers watching and critiquing their own performance. The entire viewing experience takes place amidst the same brightly-painted stage furniture the performers used at \u003ci>some times\u003c/i>. \u003c/p>\n\u003cp>As a way of “archiving” a performance, especially one deemed potentially unsuccessful, \u003ci>Let Me Be The One: A history of decolonized service\u003c/i> is one of the most inventive (and generative) approaches to documentation I’ve ever seen. In a further meta moment, Jeepneys uses the entire tableau as the setting for an opening night performance.\u003c/p>\n\u003cfigure id=\"attachment_11246497\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/GallupMotelButchering640.jpg\" alt=\"Postcommodity, 'Gallup Motel Butchering,' 2011.\" width=\"640\" height=\"329\" class=\"size-full wp-image-11246497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GallupMotelButchering640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GallupMotelButchering640-400x206.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Postcommodity, ‘Gallup Motel Butchering,’ 2011. \u003ccite>(Courtesy: SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In what’s likely to be the most controversial work in the show, \u003ca href=\"http://postcommodity.com/\" target=\"_blank\" rel=\"noopener\">Postcommodity\u003c/a> (another multi-talented interdisciplinary artist collective) presents \u003ci>Gallup Motel Butchering\u003c/i>. The four-channel video shows a Navajo woman butchering and preparing a sheep for a family feast in the incongruous space of a motel bathroom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Similarly unflinching is Roberson’s massive wall piece, a combination of drum beats rendered as graphic patterns and images of both black women killed by the police and those the artist considers “seers and infinite beings.” \u003c/p>\n\u003cfigure id=\"attachment_11246498\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/CityGirls640.jpg\" alt=\"Paula Wilson, 'City Girls in the Desert,' 2013.\" width=\"427\" height=\"640\" class=\"size-full wp-image-11246498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/CityGirls640.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/CityGirls640-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Paula Wilson, ‘City Girls in the Desert,’ 2013. \u003ccite>(Courtesy: Johan Berggren Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Across the gallery, \u003ca href=\"http://paulajwilson.com/\" target=\"_blank\" rel=\"noopener\">Paula Wilson\u003c/a>’s \u003ci>City Girls in the Desert\u003c/i>, a textile work made up of screen prints, monotypes, machine and hand stitching stretches over 10 feet tall. Look closely for the embedded video screen in one figure’s hand. \u003c/p>\n\u003cp>Perkins’ work is sprinkled throughout the exhibition as papier-mâché masks, collaborations with her father (\u003ca href=\"http://olenperkins.whohook.com/\" target=\"_blank\" rel=\"noopener\">Olen Perkins\u003c/a>, responsible for the wonderful knob-nosed sculpture \u003ci>Snake brain\u003c/i>) and Xerox transfers affixed to the edges of the gallery’s movable walls. These vertical pieces, once united as strips of wallpaper, create a fitting metaphor for \u003ci>Visions Into Infinite Archives\u003c/i> as a whole. With Perkins’ work separated, occupying what is usually unused space, it’s as if a wall opened up to reveal a multitude of vibrant histories, personal narratives and potential futures behind its façade — all emblematic of a network that deserves more attention more often.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ci>Visions Into Infinite Archives\u003c/i>\u003c/strong> runs Jan. 14 – Feb. 10, 2016 at SOMArts in San Francisco. For a full list of accompanying events, including an afternoon of film screenings on Jan. 30, visit \u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">somarts.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Even Bears, Martians and Robots Can't Perk Up the Dull Golden Globes",
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"content": "\u003cp>In recent years, the Golden Globes have been picking up steam as a less stuffy, less predictable awards show than most others. From the marvelous hosting of Tina Fey and Amy Poehler for the past three years to glorious little moments like Emma Thompson \u003ca href=\"http://big.assets.huffingtonpost.com/martini.gif\" target=\"_blank\" rel=\"noopener\">tossing her shoes in the air\u003c/a>, the Globes were starting to get a little bit of air under them — a fun diversion during awards season.\u003c/p>\n\u003cp>It was not to remain so. Sunday night, Ricky Gervais, who hosted the three ceremonies before the Fey/Poehler years, returned. What distinguished Gervais’ previous appearances was the attempt to position him as a dangerous, rebellious, take-no-prisoners host — a tough sell when he was making jokes about things like Hugh Hefner being really old. But for the most part, the Hollywood Foreign Press Association (which gives out these awards) has successfully sold the narrative of Gervais as fearless provocateur, and from the minute he stepped on stage Sunday, it was clear he was going to ride that horse as far as it would take him.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v3JQf-WTLo8\u003c/p>\n\u003cp>His early targets included Caitlyn Jenner (one joke about her car accident followed one that was basically just “transgender people, right?”), Jeffrey Tambor for playing a transgender woman, NBC for having no nominations (true, but there are far more daring things to say about network TV than that NBC didn’t get nominated for any Golden Globes), and the Globes themselves, which he ribbed with a tamer version of a joke he made years ago about how the awards are all bought and paid for. It’s a joke that doesn’t feel particularly daring since he’s basically already made it and been invited back. They clearly don’t mind and he’s already said the same thing years ago, so where’s the risk?\u003c/p>\n\u003cp>Unfortunately, Gervais’ weak monologue was followed by a weird appearance by Channing Tatum and Jonah Hill, who — OK, look. The whole reputation of the Globes is that everybody is bombed the entire time. Either bombed in practice or in spirit — that’s part of the charm. And I would never comment on who is bombed and who is not as a matter of science, but I can say that Hill, wearing a bear head, threw himself into the bombed \u003cem>feeling \u003c/em>of the ceremony in the “some drunk people are hostile and nonsensical” fashion rather than the more enjoyable “some drunk people burble delightfully with enthusiasm” fashion. Whether he was actually bombed or not, you see.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The bear bit was also the beginning of a recurring problem over the course of the evening: at some point, people seemed to forget entirely that they were on network television, and they swore so gratuitously that big chunks of things said on stage were silenced by the censor button, rendering certain appearances rather difficult to interpret. Swearing isn’t necessarily bad in and of itself, but the way it leaves giant gaps in the audio doesn’t make for a very good show at home.\u003c/p>\n\u003cp>One of the most striking things about the evening was that the low points brought out the ability of some of the presenters to instantly lift audience spirits. Andy Samberg, who hosted the Emmys, has become a reliably lovely and funny presence at events like this, and America Ferrera and Eva Longoria did a really funny bit about being confused with other Latina actresses: “Hi, I’m Eva Longoria, not Eva Mendes.” “And hi, I’m America Ferrera, not Gina Rodriguez.” (Ferrera and Rodriguez actually were mistaken for each other by the Globes themselves during the nominations. Mentioning that? That’s a little daring.) It ended with the women addressing each other as “Salma” and “Charo.” Funny!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SHBijKSOI8U\u003c/p>\n\u003cp>At times, though, these awards just seemed a little snakebit, having trouble getting joy where joy should have been easy: What should have been a great moment for Sylvester Stallone (who won a supporting award for \u003cem>Creed\u003c/em>) was marred by his forgetting to thank writer-director Ryan Coogler or anyone in the cast, which he reportedly ran back on stage to correct, but after the TV coverage had already cut away. Aziz Ansari had a very funny bit where he was in the audience reading \u003cem>How to Lose to Jeffrey Tambor with Dignity\u003c/em> when the lead TV comedy actors were announced, but his joke fell victim to the unexpected victory of Gael Garcia Bernal for \u003cem>Mozart in the Jungle\u003c/em> — a very low-profile Amazon show that was also named the best TV comedy.\u003c/p>\n\u003cp>Of course, the advantage that awards shows have is that when you put enough charismatic, enjoyable people on stage, you’ll get good moments. Rachel Bloom of the CW’s \u003cem>Crazy Ex-Girlfriend \u003c/em>was an excited delight as the winning TV comic actress, Oscar Isaac was charming accepting an award for the HBO miniseries \u003cem>Show Me a Hero\u003c/em>, Taraji P. Henson was luminous accepting for \u003cem>Empire\u003c/em>, and Tom Hanks made a predictably fine presenter of the Cecil B. DeMille Award to his \u003cem>Philadelphia \u003c/em>co-star, Denzel Washington, who got a very good career montage out of the deal.\u003c/p>\n\u003cp>Other winners included \u003cem>The Revenant\u003c/em> for outstanding dramatic movie and \u003cem>The Martian \u003c/em>for outstanding comedy/musical (another moment marred by a side issue: in this case, whether \u003cem>The Martian \u003c/em>is actually comedic), Leonardo DiCaprio (\u003cem>The Revenant\u003c/em>) and Brie Larson (\u003cem>Room\u003c/em>) for their lead dramatic roles in film, Jennifer Lawrence (\u003cem>Joy\u003c/em>) and Matt Damon (\u003cem>The Martian\u003c/em>) for their lead roles in comedies (or comedies-ish), and the terrific USA show \u003cem>Mr. Robot \u003c/em>for TV drama series — exactly the kind of slightly offbeat winner the Globes redeem themselves by sometimes crowning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There have been worse awards shows, certainly. But Gervais’ ancient-feeling shtick about Mel Gibson and Brad Pitt and Angelina Jolie’s adopted kids was enough to put the evening at a disadvantage that the awards themselves struggled to overcome.\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=Even+Bears%2C+Martians+And+Robots+Can%27t+Perk+Up+The+Dull+Golden+Globes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In recent years, the Golden Globes have been picking up steam as a less stuffy, less predictable awards show than most others. From the marvelous hosting of Tina Fey and Amy Poehler for the past three years to glorious little moments like Emma Thompson \u003ca href=\"http://big.assets.huffingtonpost.com/martini.gif\" target=\"_blank\" rel=\"noopener\">tossing her shoes in the air\u003c/a>, the Globes were starting to get a little bit of air under them — a fun diversion during awards season.\u003c/p>\n\u003cp>It was not to remain so. Sunday night, Ricky Gervais, who hosted the three ceremonies before the Fey/Poehler years, returned. What distinguished Gervais’ previous appearances was the attempt to position him as a dangerous, rebellious, take-no-prisoners host — a tough sell when he was making jokes about things like Hugh Hefner being really old. But for the most part, the Hollywood Foreign Press Association (which gives out these awards) has successfully sold the narrative of Gervais as fearless provocateur, and from the minute he stepped on stage Sunday, it was clear he was going to ride that horse as far as it would take him.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/v3JQf-WTLo8'\n title='//www.youtube.com/embed/v3JQf-WTLo8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>His early targets included Caitlyn Jenner (one joke about her car accident followed one that was basically just “transgender people, right?”), Jeffrey Tambor for playing a transgender woman, NBC for having no nominations (true, but there are far more daring things to say about network TV than that NBC didn’t get nominated for any Golden Globes), and the Globes themselves, which he ribbed with a tamer version of a joke he made years ago about how the awards are all bought and paid for. It’s a joke that doesn’t feel particularly daring since he’s basically already made it and been invited back. They clearly don’t mind and he’s already said the same thing years ago, so where’s the risk?\u003c/p>\n\u003cp>Unfortunately, Gervais’ weak monologue was followed by a weird appearance by Channing Tatum and Jonah Hill, who — OK, look. The whole reputation of the Globes is that everybody is bombed the entire time. Either bombed in practice or in spirit — that’s part of the charm. And I would never comment on who is bombed and who is not as a matter of science, but I can say that Hill, wearing a bear head, threw himself into the bombed \u003cem>feeling \u003c/em>of the ceremony in the “some drunk people are hostile and nonsensical” fashion rather than the more enjoyable “some drunk people burble delightfully with enthusiasm” fashion. Whether he was actually bombed or not, you see.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The bear bit was also the beginning of a recurring problem over the course of the evening: at some point, people seemed to forget entirely that they were on network television, and they swore so gratuitously that big chunks of things said on stage were silenced by the censor button, rendering certain appearances rather difficult to interpret. Swearing isn’t necessarily bad in and of itself, but the way it leaves giant gaps in the audio doesn’t make for a very good show at home.\u003c/p>\n\u003cp>One of the most striking things about the evening was that the low points brought out the ability of some of the presenters to instantly lift audience spirits. Andy Samberg, who hosted the Emmys, has become a reliably lovely and funny presence at events like this, and America Ferrera and Eva Longoria did a really funny bit about being confused with other Latina actresses: “Hi, I’m Eva Longoria, not Eva Mendes.” “And hi, I’m America Ferrera, not Gina Rodriguez.” (Ferrera and Rodriguez actually were mistaken for each other by the Globes themselves during the nominations. Mentioning that? That’s a little daring.) It ended with the women addressing each other as “Salma” and “Charo.” Funny!\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/SHBijKSOI8U'\n title='//www.youtube.com/embed/SHBijKSOI8U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At times, though, these awards just seemed a little snakebit, having trouble getting joy where joy should have been easy: What should have been a great moment for Sylvester Stallone (who won a supporting award for \u003cem>Creed\u003c/em>) was marred by his forgetting to thank writer-director Ryan Coogler or anyone in the cast, which he reportedly ran back on stage to correct, but after the TV coverage had already cut away. Aziz Ansari had a very funny bit where he was in the audience reading \u003cem>How to Lose to Jeffrey Tambor with Dignity\u003c/em> when the lead TV comedy actors were announced, but his joke fell victim to the unexpected victory of Gael Garcia Bernal for \u003cem>Mozart in the Jungle\u003c/em> — a very low-profile Amazon show that was also named the best TV comedy.\u003c/p>\n\u003cp>Of course, the advantage that awards shows have is that when you put enough charismatic, enjoyable people on stage, you’ll get good moments. Rachel Bloom of the CW’s \u003cem>Crazy Ex-Girlfriend \u003c/em>was an excited delight as the winning TV comic actress, Oscar Isaac was charming accepting an award for the HBO miniseries \u003cem>Show Me a Hero\u003c/em>, Taraji P. Henson was luminous accepting for \u003cem>Empire\u003c/em>, and Tom Hanks made a predictably fine presenter of the Cecil B. DeMille Award to his \u003cem>Philadelphia \u003c/em>co-star, Denzel Washington, who got a very good career montage out of the deal.\u003c/p>\n\u003cp>Other winners included \u003cem>The Revenant\u003c/em> for outstanding dramatic movie and \u003cem>The Martian \u003c/em>for outstanding comedy/musical (another moment marred by a side issue: in this case, whether \u003cem>The Martian \u003c/em>is actually comedic), Leonardo DiCaprio (\u003cem>The Revenant\u003c/em>) and Brie Larson (\u003cem>Room\u003c/em>) for their lead dramatic roles in film, Jennifer Lawrence (\u003cem>Joy\u003c/em>) and Matt Damon (\u003cem>The Martian\u003c/em>) for their lead roles in comedies (or comedies-ish), and the terrific USA show \u003cem>Mr. Robot \u003c/em>for TV drama series — exactly the kind of slightly offbeat winner the Globes redeem themselves by sometimes crowning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There have been worse awards shows, certainly. But Gervais’ ancient-feeling shtick about Mel Gibson and Brad Pitt and Angelina Jolie’s adopted kids was enough to put the evening at a disadvantage that the awards themselves struggled to overcome.\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=Even+Bears%2C+Martians+And+Robots+Can%27t+Perk+Up+The+Dull+Golden+Globes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Tarantino Holes Up A Few Outlaws In 'The Hateful Eight'",
"headTitle": "Tarantino Holes Up A Few Outlaws In ‘The Hateful Eight’ | KQED",
"content": "\u003cp>Depending on your perspective, Quentin Tarantino’s career either comes full circle or spins its wheels with \u003cem>The Hateful Eight\u003c/em>, a three-hour Western pastiche that combines the single-setting theatricality of his first feature, \u003cem>Reservoir Dogs\u003c/em>, with the explosive Civil War politics of his last, \u003cem>Django Unchained\u003c/em>. As cinema’s reigning pastiche artist, Tarantino mixes and matches an array of influences into a remarkably compatible whole, with spaghetti western maestro Ennio Morricone scoring a snowbound chamber piece that evokes John Carpenter’s \u003cem>The Thing\u003c/em> and Agatha Christie’s \u003cem>Ten Little Indians\u003c/em> in equal measure. Everyone old is made new again, which is true not only of the referential texture of \u003cem>The Hateful Eight\u003c/em>, but of the narrow dimensions of Tarantino’s filmic universe, which keeps finding new ways to refresh old themes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6_UI1GzaWv0\u003c/p>\n\u003cp>A natural follow-up to \u003cem>Django Unchained\u003c/em>, a racially charged revenge tale set two years before the Civil War, \u003cem>The Hateful Eight\u003c/em> surveys a collection of outlaws and ne’er-do-wells holed up in a Wyoming cabin in the years after the war, where the same tensions are sublimated rather than dissipated. In fact, the first 100 minutes or so—the length of an average feature—marinate in that tension with only brief, occasional spasms of violence, suggesting the uneasy peace that’s settled over the country from the Reconstruction Era to the present. As with the warehouse in \u003cem>Reservoir Dogs\u003c/em>, where thieves convene with an informant in their midst, the cabin runs hot with suspicion and dubious Clint Eastwood squints, but Tarantino is content to let it linger for a while. This is America as he understands it, and this isolated outpost is his \u003cem>Ship of Fools\u003c/em>.\u003c/p>\n\u003cp>Tarantino takes his sweet time ramping up, careful to give each character enough room for a proper introduction. In what will amount to a rare exterior scene, the action begins in a stagecoach where John “The Hangman” Ruth (Kurt Russell), a bounty hunter known for keeping his targets alive, is escorting black-eyed fugitive Daisy Domergue (Jennifer Jason Leigh) to the town of Red Rock to face execution. As a blizzard encroaches, the pair make room for two more strangers: Major Marquis Warren (Samuel L. Jackson), a former Union soldier and fellow bounty hunter whose tough reputation precedes him, and Chris Mannix (Walton Goggins), a southerner who claimed to be Red Rock’s incoming sheriff.\u003c/p>\n\u003cp>When the quartet arrive for an extended stay at Minnie’s Haberdashery, they encounter another group of men with questionable agendas, including Red Rock’s British hangman (Tim Roth), Minnie’s Mexican caretaker (Demián Bichir), a snarling black hat (Michael Madsen), and foul former general of the Confederacy (Bruce Dern). The allegiances among these men—and Daisy, perhaps the linchpin of the whole drama—are unclear, but Major Warren’s race gives their simmering animosity a focus and he in turn works to leverage an ugly situation to his advantage. Eventually, a trigger is squeezed and the exceedingly bloody reckoning begins in earnest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Photographed in Super Panavision 70mm—the “roadshow” version of which includes an overture, an intermission, and other such blasts from spectacles past—\u003cem>The Hateful Eight\u003c/em> may seem like a willfully perverse candidate for the large format, since the Rocky Mountain expanses can barely be glimpsed through the haberdashery window. It seems likely that timing, as much as vision, inspired Tarantino to commit to an old-fashioned cinematic experience—with his beloved celluloid fading, 70mm is his way of raging against the dying of the Xenon light. But applied to such an intimate setting, the richness and depth of 70mm serve to heighten the tension considerably, as Tarantino keeps adding intrigue between various sets of characters. Samuel L. Jackson presides confidently over this Agatha Christie scenario, but there are potential eruptions all over the frame.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Hateful Eight\u003c/em> veers into dicey territory at times, particularly with Leigh’s Domergue, who absorbs the lion’s share of the physical and verbal abuse, however skilled she is at snarling insults through bloody rictus grins. Add to that Tarantino’s liberal deployment of racial epithets and extravagant violence—Greg Nicotero of \u003cem>The Walking Dead\u003c/em> fame gets second billing for his effects—and the viewership for this one narrows to the self-selected. Yet Tarantino can still spin a great yarn (and yarn within yarns), and his cast makes a meal of the dialogue, with favorites like Jackson and Roth returning to old form and newcomers getting a showcase, particularly Goggins, who excels at charismatic hicks, and Leigh, who converts violence into a form of knockabout comedy. \u003cem>The Hateful Eight\u003c/em> is a big, shambling, audacious inversion of the Western, held together by Tarantino’s sincere conviction that beyond his high juvenilia, American audiences might recognize their own fractious nation.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Depending on your perspective, Quentin Tarantino’s career either comes full circle or spins its wheels with \u003cem>The Hateful Eight\u003c/em>, a three-hour Western pastiche that combines the single-setting theatricality of his first feature, \u003cem>Reservoir Dogs\u003c/em>, with the explosive Civil War politics of his last, \u003cem>Django Unchained\u003c/em>. As cinema’s reigning pastiche artist, Tarantino mixes and matches an array of influences into a remarkably compatible whole, with spaghetti western maestro Ennio Morricone scoring a snowbound chamber piece that evokes John Carpenter’s \u003cem>The Thing\u003c/em> and Agatha Christie’s \u003cem>Ten Little Indians\u003c/em> in equal measure. Everyone old is made new again, which is true not only of the referential texture of \u003cem>The Hateful Eight\u003c/em>, but of the narrow dimensions of Tarantino’s filmic universe, which keeps finding new ways to refresh old themes.\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/6_UI1GzaWv0'\n title='//www.youtube.com/embed/6_UI1GzaWv0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A natural follow-up to \u003cem>Django Unchained\u003c/em>, a racially charged revenge tale set two years before the Civil War, \u003cem>The Hateful Eight\u003c/em> surveys a collection of outlaws and ne’er-do-wells holed up in a Wyoming cabin in the years after the war, where the same tensions are sublimated rather than dissipated. In fact, the first 100 minutes or so—the length of an average feature—marinate in that tension with only brief, occasional spasms of violence, suggesting the uneasy peace that’s settled over the country from the Reconstruction Era to the present. As with the warehouse in \u003cem>Reservoir Dogs\u003c/em>, where thieves convene with an informant in their midst, the cabin runs hot with suspicion and dubious Clint Eastwood squints, but Tarantino is content to let it linger for a while. This is America as he understands it, and this isolated outpost is his \u003cem>Ship of Fools\u003c/em>.\u003c/p>\n\u003cp>Tarantino takes his sweet time ramping up, careful to give each character enough room for a proper introduction. In what will amount to a rare exterior scene, the action begins in a stagecoach where John “The Hangman” Ruth (Kurt Russell), a bounty hunter known for keeping his targets alive, is escorting black-eyed fugitive Daisy Domergue (Jennifer Jason Leigh) to the town of Red Rock to face execution. As a blizzard encroaches, the pair make room for two more strangers: Major Marquis Warren (Samuel L. Jackson), a former Union soldier and fellow bounty hunter whose tough reputation precedes him, and Chris Mannix (Walton Goggins), a southerner who claimed to be Red Rock’s incoming sheriff.\u003c/p>\n\u003cp>When the quartet arrive for an extended stay at Minnie’s Haberdashery, they encounter another group of men with questionable agendas, including Red Rock’s British hangman (Tim Roth), Minnie’s Mexican caretaker (Demián Bichir), a snarling black hat (Michael Madsen), and foul former general of the Confederacy (Bruce Dern). The allegiances among these men—and Daisy, perhaps the linchpin of the whole drama—are unclear, but Major Warren’s race gives their simmering animosity a focus and he in turn works to leverage an ugly situation to his advantage. Eventually, a trigger is squeezed and the exceedingly bloody reckoning begins in earnest.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Photographed in Super Panavision 70mm—the “roadshow” version of which includes an overture, an intermission, and other such blasts from spectacles past—\u003cem>The Hateful Eight\u003c/em> may seem like a willfully perverse candidate for the large format, since the Rocky Mountain expanses can barely be glimpsed through the haberdashery window. It seems likely that timing, as much as vision, inspired Tarantino to commit to an old-fashioned cinematic experience—with his beloved celluloid fading, 70mm is his way of raging against the dying of the Xenon light. But applied to such an intimate setting, the richness and depth of 70mm serve to heighten the tension considerably, as Tarantino keeps adding intrigue between various sets of characters. Samuel L. Jackson presides confidently over this Agatha Christie scenario, but there are potential eruptions all over the frame.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Hateful Eight\u003c/em> veers into dicey territory at times, particularly with Leigh’s Domergue, who absorbs the lion’s share of the physical and verbal abuse, however skilled she is at snarling insults through bloody rictus grins. Add to that Tarantino’s liberal deployment of racial epithets and extravagant violence—Greg Nicotero of \u003cem>The Walking Dead\u003c/em> fame gets second billing for his effects—and the viewership for this one narrows to the self-selected. Yet Tarantino can still spin a great yarn (and yarn within yarns), and his cast makes a meal of the dialogue, with favorites like Jackson and Roth returning to old form and newcomers getting a showcase, particularly Goggins, who excels at charismatic hicks, and Leigh, who converts violence into a form of knockabout comedy. \u003cem>The Hateful Eight\u003c/em> is a big, shambling, audacious inversion of the Western, held together by Tarantino’s sincere conviction that beyond his high juvenilia, American audiences might recognize their own fractious nation.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Female Forces of Resistance in Moving Film 'Mustang'",
"headTitle": "Female Forces of Resistance in Moving Film ‘Mustang’ | KQED",
"content": "\u003cp>\u003cem>Mustang\u003c/em>, the first feature-length film from Turkish-French director Deniz Gamze Ergüven, at first glance resembles Sofia Coppola’s \u003cem>The Virgin Suicides\u003c/em>, set on the coast of rural Turkey instead of suburban Grosse Pointe, Michigan. Both films feature five sisters (\u003cem>Virgin\u003c/em>’s all-American blondes traded for \u003cem>Mustang\u003c/em>’s Middle Eastern brunettes) whose social isolation and enforced confinement incite rebellions.\u003c/p>\n\u003cp>2015 also saw the release of \u003cem>Room\u003c/em>, starring Brie Larson, and the Netflix series \u003cem>Unbreakable Kimmy Schmidt\u003c/em>. Both feature young women who find their way to freedom after being held physically and psychologically captive by men. Why is this theme, one in which a man maintains control over women through some form of containment, a recurring one?\u003c/p>\n\u003cp>https://youtu.be/r_JXyi1EGJk\u003c/p>\n\u003cp>During the Q&A after a recent screening of her film in Los Angeles, Ergüven responded to a comment from the moderator by saying, “How frightening girls and women could be for men: they are so free, so exuberant, so wild. There’s something that you can’t hold, that you can’t control. It’s so much easier to constrain women than make them fall in love with you.” \u003c/p>\n\u003cp>Men use rage to intimidate and dominate whereas female rage, when it is unleashed, is a force of resistance. At least that’s how Lale (played by Günes Sensoy), the youngest sister in Ergüven’s film, begins to challenge the fate her family has in store for her.\u003c/p>\n\u003cfigure id=\"attachment_11184837\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Mustang640.jpg\" alt=\"Still from 'Mustang.'\" width=\"640\" height=\"296\" class=\"size-full wp-image-11184837\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Mustang640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Mustang640-400x185.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Mustang.’ \u003ccite>(Photo: Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The five orphaned sisters in \u003ci>Mustang\u003c/i> live with their grandmother and uncle high up in the hill country. Their house overlooks the sea, and it’s in the waves on the shoreline below that the plot is set in motion. After school, the girls, whose approximate age range runs from Lale’s nine to the eldest at seventeen, walk home with a few boys their age. It’s hot out and they all decide to swim and play in the waves, fully-clothed in their uniforms. Ergüven captures the joy in that moment of youthful freedom. When the sisters’ purity is questioned for this expression of adolescent exuberance, they’re punished and locked inside the house like princesses in a fairy tale. \u003c/p>\n\u003cfigure id=\"attachment_11184841\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Director400.jpg\" alt=\"'Mustang' director Deniz Gamze Ergüven.\" width=\"400\" height=\"438\" class=\"size-full wp-image-11184841\">\u003cfigcaption class=\"wp-caption-text\">‘Mustang’ director Deniz Gamze Ergüven. \u003ccite>(Photo: Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The director was deliberate in choosing this remote setting, “The fact that they were in this house, which is completely looking over the immensity of the sea, which is just in front of them, was extremely important. We could feel the freedom at the tip of their fingers, just behind those walls.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This imprisonment coincides with the first signs of their sexuality, and the only acceptable destination for that sexuality is arranged marriage. Otherwise, the girls’ virginity is at risk. Ergüven elaborated on this point, saying, “It’s impossible for a girl not to be a virgin. It still exists very widely, this idea of the importance of the virginity of a woman at the time of her marriage.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Marriage is the raison d’être of the American rom-com. In contrast, the tragedy of \u003cem>Mustang\u003c/em> is in watching the sisters separated from each other, trading one prison for another. Seeing Lale’s determination to escape the strictures of a patriarchal society brings to mind another radical female lead: Minnie from this summer’s \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2015/08/13/diary-tells-a-coming-of-age-tale-rarely-seen-on-film/\">The Diary of a Teenage Girl\u003c/a>\u003c/em>. In that film, the character owns and enjoys her newfound sexuality. Like Minnie, Lale represents a new generation of girls who refuse to be punished for feeling joy. With this film, Ergüven creates a moving leap forward in the evolution of female self-determination.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Mustang\u003c/em>, the first feature-length film from Turkish-French director Deniz Gamze Ergüven, at first glance resembles Sofia Coppola’s \u003cem>The Virgin Suicides\u003c/em>, set on the coast of rural Turkey instead of suburban Grosse Pointe, Michigan. Both films feature five sisters (\u003cem>Virgin\u003c/em>’s all-American blondes traded for \u003cem>Mustang\u003c/em>’s Middle Eastern brunettes) whose social isolation and enforced confinement incite rebellions.\u003c/p>\n\u003cp>2015 also saw the release of \u003cem>Room\u003c/em>, starring Brie Larson, and the Netflix series \u003cem>Unbreakable Kimmy Schmidt\u003c/em>. Both feature young women who find their way to freedom after being held physically and psychologically captive by men. Why is this theme, one in which a man maintains control over women through some form of containment, a recurring one?\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/r_JXyi1EGJk'\n title='//www.youtube.com/embed/r_JXyi1EGJk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>During the Q&A after a recent screening of her film in Los Angeles, Ergüven responded to a comment from the moderator by saying, “How frightening girls and women could be for men: they are so free, so exuberant, so wild. There’s something that you can’t hold, that you can’t control. It’s so much easier to constrain women than make them fall in love with you.” \u003c/p>\n\u003cp>Men use rage to intimidate and dominate whereas female rage, when it is unleashed, is a force of resistance. At least that’s how Lale (played by Günes Sensoy), the youngest sister in Ergüven’s film, begins to challenge the fate her family has in store for her.\u003c/p>\n\u003cfigure id=\"attachment_11184837\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Mustang640.jpg\" alt=\"Still from 'Mustang.'\" width=\"640\" height=\"296\" class=\"size-full wp-image-11184837\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Mustang640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Mustang640-400x185.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Mustang.’ \u003ccite>(Photo: Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The five orphaned sisters in \u003ci>Mustang\u003c/i> live with their grandmother and uncle high up in the hill country. Their house overlooks the sea, and it’s in the waves on the shoreline below that the plot is set in motion. After school, the girls, whose approximate age range runs from Lale’s nine to the eldest at seventeen, walk home with a few boys their age. It’s hot out and they all decide to swim and play in the waves, fully-clothed in their uniforms. Ergüven captures the joy in that moment of youthful freedom. When the sisters’ purity is questioned for this expression of adolescent exuberance, they’re punished and locked inside the house like princesses in a fairy tale. \u003c/p>\n\u003cfigure id=\"attachment_11184841\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Director400.jpg\" alt=\"'Mustang' director Deniz Gamze Ergüven.\" width=\"400\" height=\"438\" class=\"size-full wp-image-11184841\">\u003cfigcaption class=\"wp-caption-text\">‘Mustang’ director Deniz Gamze Ergüven. \u003ccite>(Photo: Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The director was deliberate in choosing this remote setting, “The fact that they were in this house, which is completely looking over the immensity of the sea, which is just in front of them, was extremely important. We could feel the freedom at the tip of their fingers, just behind those walls.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This imprisonment coincides with the first signs of their sexuality, and the only acceptable destination for that sexuality is arranged marriage. Otherwise, the girls’ virginity is at risk. Ergüven elaborated on this point, saying, “It’s impossible for a girl not to be a virgin. It still exists very widely, this idea of the importance of the virginity of a woman at the time of her marriage.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Marriage is the raison d’être of the American rom-com. In contrast, the tragedy of \u003cem>Mustang\u003c/em> is in watching the sisters separated from each other, trading one prison for another. Seeing Lale’s determination to escape the strictures of a patriarchal society brings to mind another radical female lead: Minnie from this summer’s \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2015/08/13/diary-tells-a-coming-of-age-tale-rarely-seen-on-film/\">The Diary of a Teenage Girl\u003c/a>\u003c/em>. In that film, the character owns and enjoys her newfound sexuality. Like Minnie, Lale represents a new generation of girls who refuse to be punished for feeling joy. With this film, Ergüven creates a moving leap forward in the evolution of female self-determination.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Littoral Drift' Delivers Chaos with a Dash of Control at SF Camerawork",
"headTitle": "‘Littoral Drift’ Delivers Chaos with a Dash of Control at SF Camerawork | KQED",
"content": "\u003cp>Photographer Meghann Riepenhoff makes her San Francisco debut with \u003cem>\u003ca href=\"http://www.sfcamerawork.org/exhibitions/\" target=\"_blank\" rel=\"noopener\">Littoral Drift\u003c/a>\u003c/em>, a gorgeous installation of \u003ca href=\"https://www.getty.edu/conservation/publications_resources/pdf_publications/pdf/atlas_cyanotype.pdf\" target=\"_blank\" rel=\"noopener\">cyanotypes\u003c/a> now on view at SF Camerawork. The exhibition explores intriguing ideas of permanence (both photographic and geologic), mutability and how failure can produce the most magical outcomes.\u003c/p>\n\u003cfigure id=\"attachment_11168564\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11168564\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/LittoralDrift640.jpg\" alt=\"Meghann Riepenhoff, 'Littoral Drift Nearshore #209' (Springridge Road, Bainbridge Island, WA 02.12.2015, Fletcher Bay Water Poured and Fletcher Bay and Fay Bainbridge Silt Scattered), 2015.\" width=\"640\" height=\"403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LittoralDrift640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LittoralDrift640-400x252.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Meghann Riepenhoff, ‘Littoral Drift Nearshore #209’ (Springridge Road, Bainbridge Island, WA 02.12.2015, Fletcher Bay Water Poured and Fletcher Bay and Fay Bainbridge Silt Scattered), 2015. \u003ccite>(Photo courtesy of the artist and EUQINOMprojects, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Riepenhoff lays sheets of chemically-treated paper on ocean shores — she’s worked along the Pacific and Atlantic coasts from Sausalito to South Carolina to Washington’s Bainbridge Island — and secures the pages with rocks, branches or sand, whatever’s on hand. The water seeps, falls or crashes onto the paper and mixes with available sunlight to activate the photosensitive chemicals of the cyanotype. These waves are part of “\u003ca href=\"http://www.brighthub.com/environment/science-environmental/articles/122016.aspx\">littoral drift\u003c/a>,” an ecological term that describes the movement of sand and silt along a shoreline.\u003c/p>\n\u003cp>The direct positive prints Riepenhoff creates without a camera were long-ago named for their luxurious cyan-blue. That deep hue and its tonal variations — pale blue, gray and an acrid yellow captured at Mono Lake — are all chemical responses to pH levels and and other impurities found in the water. While the process was discovered in 1842 by English polymath \u003ca href=\"http://www.getty.edu/art/collection/artists/1881/sir-john-frederick-william-herschel-british-1792-1871/\">Sir John Herschel\u003c/a>, one of the most celebrated cyanotype practitioners was \u003ca href=\"http://www.getty.edu/art/collection/artists/1507/anna-atkins-british-1799-1871/\">Anna Atkins\u003c/a>, a 19th-century botanist and photographer. Atkins brought scientific illustration into the realm of visual art, challenging male domination of both fields. Like her predecessor, Meghann Riepenhoff’s work is fueled by an irrepressible curiosity about the natural world.\u003c/p>\n\u003cfigure id=\"attachment_11168563\" class=\"wp-caption alignright\" style=\"max-width: 429px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11168563\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Hanging640.jpg\" alt=\"Meghann Riepenhoff, 'Littoral Drift #216' (Recto/Verso, Ft. Ward Beach, Bainbridge Island, WA 04.22.15, Twenty-three Minutes in Tidal Stream, Wind Tossed), 2015.\" width=\"429\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Hanging640.jpg 429w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Hanging640-400x597.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Hanging640-402x600.jpg 402w\" sizes=\"(max-width: 429px) 100vw, 429px\">\u003cfigcaption class=\"wp-caption-text\">Meghann Riepenhoff, ‘Littoral Drift #216’ (Recto/Verso, Ft. Ward Beach, Bainbridge Island, WA 04.22.15, Twenty-three Minutes in Tidal Stream, Wind Tossed), 2015. \u003ccite>(Photo courtesy of the artist and EUQINOMprojects, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Littoral Drift Nearshore #209\u003c/i> (2015), a mammoth grid of 63 sheets of paper, anchors the exhibition at SF Camerawork. From a distance, the installation reads as an overhead view of turbulent blue waters topped by whitecaps. As you get closer to the grid, those whitecaps turn out to be the points where ocean waves crashed so hard onto the paper that the emulsion was literally blasted away. In contrast to the elegant vertical diptych \u003ci>Littoral Drift #216\u003c/i> (2015), which captures a gentle tidal stream on Bainbridge Island, the gridded piece demonstrates the unmistakable power and violent potential of water.\u003c/p>\n\u003cp>The exhibition is generously organized, with ample space between prints allowing the viewer to observe the surface of each object. Up close, salt crystals blossom as the treated paper continues to interact with residual elements of the seawater. On some pieces, sand and trace sediments give the print surfaces a granular appearance. A group of small, framed pieces stand out from other works hung with minimally visible hardware. These simple installation choices enhance the presentation of each piece, and beautifully offset the physically demanding aspect of Riepenhoff’s practice, which includes wading into water to retrieve giant sheets of paper that have been pulled from her hands by unpredictable tides.\u003c/p>\n\u003cfigure id=\"attachment_11168565\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11168565\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/TidalDraw640.jpg\" alt=\"Meghann Riepenhoff, 'Littoral Drift #241' (Recto/Verso, Fay Bainbridge Beach, Bainbridge Island, WA 05.27.2015, Tidal Draw in Tidal Flats,Two Minutes), 2015.\" width=\"640\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/TidalDraw640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/TidalDraw640-400x321.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Meghann Riepenhoff, ‘Littoral Drift #241’ (Recto/Verso, Fay Bainbridge Beach, Bainbridge Island, WA 05.27.2015, Tidal Draw in Tidal Flats,Two Minutes), 2015. \u003ccite>(Photo courtesy of the artist and EUQINOMprojects, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When kept in darkness, blue portions of a cyanotype grow darker, something that is already happening to the pieces at SF Camerawork. As Riepenhoff notes in the interview with Pier 24 Associate Director Allie Haeusslein that is featured in the exhibition catalog, the life cycle of cyanotypes beautifully refute ideas of photographic permanence, the idea that any moment can be “caught” on film and affixed permanently.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Riepenhoff’s process and the fascinating chemistry of her work are documented in an artist book commissioned for the show. Riepenhoff bound photosensitive sheets, one for each day of the exhibition, and every day a gallery representative dons cotton gloves to turn a new unexposed page. Whatever sunlight streams through the skylight above the book then acts on the treated sheets. This chemical reaction is also filmed; the footage will be released at the end of the exhibition on the gallery’s website. The project is an exciting experience for viewers (even if they can’t touch it), providing a visual record of a seductively simple yet demanding photographic technique.\u003c/p>\n\u003cp>\u003ci>Littoral Drift\u003c/i> began as an experiment, an accident really, when Riepenhoff attempted to photograph bioluminescent jellyfish, but miscalculated the lunar cycle during which they were visible. Now she sees such failure as a generative opportunity, and we reap the rewards.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Littoral Drift\u003c/b>\u003c/i> is on view at SF Camerawork through Feb. 3, 2016. For more information, visit \u003ca href=\"http://www.sfcamerawork.org/exhibitions/\" target=\"_blank\" rel=\"noopener\">sfcamerawork.org\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Meghann Riepenhoff's cyanotypes capture crashing waves, but aren't the permanent photographic records we're used to seeing.",
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"description": "Meghann Riepenhoff's cyanotypes capture crashing waves, but aren't the permanent photographic records we're used to seeing.",
"title": "'Littoral Drift' Delivers Chaos with a Dash of Control at SF Camerawork | KQED",
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"headline": "'Littoral Drift' Delivers Chaos with a Dash of Control at SF Camerawork",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Photographer Meghann Riepenhoff makes her San Francisco debut with \u003cem>\u003ca href=\"http://www.sfcamerawork.org/exhibitions/\" target=\"_blank\" rel=\"noopener\">Littoral Drift\u003c/a>\u003c/em>, a gorgeous installation of \u003ca href=\"https://www.getty.edu/conservation/publications_resources/pdf_publications/pdf/atlas_cyanotype.pdf\" target=\"_blank\" rel=\"noopener\">cyanotypes\u003c/a> now on view at SF Camerawork. The exhibition explores intriguing ideas of permanence (both photographic and geologic), mutability and how failure can produce the most magical outcomes.\u003c/p>\n\u003cfigure id=\"attachment_11168564\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11168564\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/LittoralDrift640.jpg\" alt=\"Meghann Riepenhoff, 'Littoral Drift Nearshore #209' (Springridge Road, Bainbridge Island, WA 02.12.2015, Fletcher Bay Water Poured and Fletcher Bay and Fay Bainbridge Silt Scattered), 2015.\" width=\"640\" height=\"403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LittoralDrift640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LittoralDrift640-400x252.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Meghann Riepenhoff, ‘Littoral Drift Nearshore #209’ (Springridge Road, Bainbridge Island, WA 02.12.2015, Fletcher Bay Water Poured and Fletcher Bay and Fay Bainbridge Silt Scattered), 2015. \u003ccite>(Photo courtesy of the artist and EUQINOMprojects, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Riepenhoff lays sheets of chemically-treated paper on ocean shores — she’s worked along the Pacific and Atlantic coasts from Sausalito to South Carolina to Washington’s Bainbridge Island — and secures the pages with rocks, branches or sand, whatever’s on hand. The water seeps, falls or crashes onto the paper and mixes with available sunlight to activate the photosensitive chemicals of the cyanotype. These waves are part of “\u003ca href=\"http://www.brighthub.com/environment/science-environmental/articles/122016.aspx\">littoral drift\u003c/a>,” an ecological term that describes the movement of sand and silt along a shoreline.\u003c/p>\n\u003cp>The direct positive prints Riepenhoff creates without a camera were long-ago named for their luxurious cyan-blue. That deep hue and its tonal variations — pale blue, gray and an acrid yellow captured at Mono Lake — are all chemical responses to pH levels and and other impurities found in the water. While the process was discovered in 1842 by English polymath \u003ca href=\"http://www.getty.edu/art/collection/artists/1881/sir-john-frederick-william-herschel-british-1792-1871/\">Sir John Herschel\u003c/a>, one of the most celebrated cyanotype practitioners was \u003ca href=\"http://www.getty.edu/art/collection/artists/1507/anna-atkins-british-1799-1871/\">Anna Atkins\u003c/a>, a 19th-century botanist and photographer. Atkins brought scientific illustration into the realm of visual art, challenging male domination of both fields. Like her predecessor, Meghann Riepenhoff’s work is fueled by an irrepressible curiosity about the natural world.\u003c/p>\n\u003cfigure id=\"attachment_11168563\" class=\"wp-caption alignright\" style=\"max-width: 429px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11168563\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Hanging640.jpg\" alt=\"Meghann Riepenhoff, 'Littoral Drift #216' (Recto/Verso, Ft. Ward Beach, Bainbridge Island, WA 04.22.15, Twenty-three Minutes in Tidal Stream, Wind Tossed), 2015.\" width=\"429\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Hanging640.jpg 429w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Hanging640-400x597.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Hanging640-402x600.jpg 402w\" sizes=\"(max-width: 429px) 100vw, 429px\">\u003cfigcaption class=\"wp-caption-text\">Meghann Riepenhoff, ‘Littoral Drift #216’ (Recto/Verso, Ft. Ward Beach, Bainbridge Island, WA 04.22.15, Twenty-three Minutes in Tidal Stream, Wind Tossed), 2015. \u003ccite>(Photo courtesy of the artist and EUQINOMprojects, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Littoral Drift Nearshore #209\u003c/i> (2015), a mammoth grid of 63 sheets of paper, anchors the exhibition at SF Camerawork. From a distance, the installation reads as an overhead view of turbulent blue waters topped by whitecaps. As you get closer to the grid, those whitecaps turn out to be the points where ocean waves crashed so hard onto the paper that the emulsion was literally blasted away. In contrast to the elegant vertical diptych \u003ci>Littoral Drift #216\u003c/i> (2015), which captures a gentle tidal stream on Bainbridge Island, the gridded piece demonstrates the unmistakable power and violent potential of water.\u003c/p>\n\u003cp>The exhibition is generously organized, with ample space between prints allowing the viewer to observe the surface of each object. Up close, salt crystals blossom as the treated paper continues to interact with residual elements of the seawater. On some pieces, sand and trace sediments give the print surfaces a granular appearance. A group of small, framed pieces stand out from other works hung with minimally visible hardware. These simple installation choices enhance the presentation of each piece, and beautifully offset the physically demanding aspect of Riepenhoff’s practice, which includes wading into water to retrieve giant sheets of paper that have been pulled from her hands by unpredictable tides.\u003c/p>\n\u003cfigure id=\"attachment_11168565\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11168565\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/TidalDraw640.jpg\" alt=\"Meghann Riepenhoff, 'Littoral Drift #241' (Recto/Verso, Fay Bainbridge Beach, Bainbridge Island, WA 05.27.2015, Tidal Draw in Tidal Flats,Two Minutes), 2015.\" width=\"640\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/TidalDraw640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/TidalDraw640-400x321.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Meghann Riepenhoff, ‘Littoral Drift #241’ (Recto/Verso, Fay Bainbridge Beach, Bainbridge Island, WA 05.27.2015, Tidal Draw in Tidal Flats,Two Minutes), 2015. \u003ccite>(Photo courtesy of the artist and EUQINOMprojects, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When kept in darkness, blue portions of a cyanotype grow darker, something that is already happening to the pieces at SF Camerawork. As Riepenhoff notes in the interview with Pier 24 Associate Director Allie Haeusslein that is featured in the exhibition catalog, the life cycle of cyanotypes beautifully refute ideas of photographic permanence, the idea that any moment can be “caught” on film and affixed permanently.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Riepenhoff’s process and the fascinating chemistry of her work are documented in an artist book commissioned for the show. Riepenhoff bound photosensitive sheets, one for each day of the exhibition, and every day a gallery representative dons cotton gloves to turn a new unexposed page. Whatever sunlight streams through the skylight above the book then acts on the treated sheets. This chemical reaction is also filmed; the footage will be released at the end of the exhibition on the gallery’s website. The project is an exciting experience for viewers (even if they can’t touch it), providing a visual record of a seductively simple yet demanding photographic technique.\u003c/p>\n\u003cp>\u003ci>Littoral Drift\u003c/i> began as an experiment, an accident really, when Riepenhoff attempted to photograph bioluminescent jellyfish, but miscalculated the lunar cycle during which they were visible. Now she sees such failure as a generative opportunity, and we reap the rewards.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Littoral Drift\u003c/b>\u003c/i> is on view at SF Camerawork through Feb. 3, 2016. For more information, visit \u003ca href=\"http://www.sfcamerawork.org/exhibitions/\" target=\"_blank\" rel=\"noopener\">sfcamerawork.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
"link": "/californiareportmagazine",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"rss": "https://feeds.npr.org/510308/podcast.xml"
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
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