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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/body-talk/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Body Talk’\u003c/h2>\n\u003cdiv class=\"event-desc\">A group exhibition of physically-activated spaces and sculptures.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Sept. 27\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">di Rosa\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/body-talk/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Tucked away among vineyards on Napa’s Carneros Highway is \u003ca href=\"http://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener\">di Rosa\u003c/a>, currently presenting \u003cem>\u003ca href=\"http://www.dirosaart.org/body-talk/\" target=\"_blank\" rel=\"noopener\">Body Talk\u003c/a>\u003c/em>, a group show of six emerging Northern California artists and collectives. Performance, the most ephemeral and bodily of visual art practices, activates much of the artwork on view. On Aug. 1, the opening reception for \u003cem>Body Talk\u003c/em> included performances across the exhibition space, and the closing reception on Sept. 26 will again enliven the work. This emphasis on live performance might make visiting the static gallery space feel incomplete, but this tension is worth exploring.\u003c/p>\n\u003cp>Manners’ \u003cem>Basic Edition\u003c/em> (2015) and \u003ca href=\"http://bonanzasf.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Bonanza\u003c/a>’s \u003cem>they know better\u003c/em> (2015), take up entire ceiling-to-floor corners of the space, evoking colorful, minimalist playgrounds. This reference to \u003cem>play\u003c/em> is not incidental; these particular spaces were designed with imaginative physical movement in mind. Curator Amy Owen describes the premise behind \u003cem>Body Talk\u003c/em> as a gathering of artwork that attends to physical movement, including performance, dance and aerobics, in contrast to our digitally-oriented lives. This theme is in response to society’s “disembodied” reliance on technology, in which the act of swiping left might be to the closest to exercise we get.\u003c/p>\n\u003cfigure id=\"attachment_10918769\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10918769\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Manners.jpg\" alt=\"Sophia Wang activates Manners’ 'Basic Edition,' at the opening of 'Body Talk,' Aug. 1, 2015. (Photo: Israel Valencia/di Rosa)\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Manners.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Manners-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Sophia Wang activates Manners’ ‘Basic Edition,’ at the opening of ‘Body Talk,’ Aug. 1, 2015. (Photo: Israel Valencia/di Rosa)\u003c/figcaption>\u003c/figure>\n\u003cp>In Manners’ corner, hand-drawn gridded paper covers the floor and extends up to the rafters. Scattered yellow cubes and a flat wood sculpture, roughly shaped into a bent human form, stand within the space. Fabric tubes, also gridded, hang from above. Manners is a collaboration between \u003ca href=\"http://www.airspace-sf.com/brontez-purnell-dance-company/\" target=\"_blank\" rel=\"noopener\">Sophia Wang\u003c/a> and \u003ca href=\"http://www.lisarcralle.com/\" target=\"_blank\" rel=\"noopener\">Lisa Rybovich Crallé\u003c/a>, artists who created \u003cem>\u003ca href=\"https://www.facebook.com/HeavyHeavyBreathing?fref=ts\" target=\"_blank\" rel=\"noopener\">Heavy Breathing\u003c/a>\u003c/em>, a series of workshops held across the Bay Area this summer that merge critical theory with fitness classes. This conceptually-linked installation likewise anticipates movement; Wang performed on site at the opening reception. Without access to documentation of that performance, di Rosa visitors are left wondering and imagining what types of dance or exercise could take place here.\u003c/p>\n\u003cp>Across the room, the collective Bonanza (Conrad Guevara, Lindsay Tully and Lana Williams) assembles eclectic sculptural pieces and gel window-coverings to create an unusually serene environment. A teal-tinged skylight illuminates a simple wooden platform, and irregular rectangle-shaped canvases held up by concrete cylinders sit on the floor. Although the exhibition brochure references the malleability of stretching and yoga poses, the peacefulness of this artificial environment holds its own weight.\u003c/p>\n\u003cfigure id=\"attachment_10918856\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10918856\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Bonanza640.jpg\" alt=\"Bonanza, 'they know better' (installation view, detail), 2015. (Photo: Wilfred J. Jones/di Rosa)\" width=\"640\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Bonanza640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Bonanza640-400x263.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bonanza, ‘they know better’ (installation view, detail), 2015. (Photo: Wilfred J. Jones/di Rosa)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Exercising Grill \u003c/em>(2011) by \u003ca href=\"http://www.madslynnerup.com/\" target=\"_blank\" rel=\"noopener\">Mads Lynnerup\u003c/a> similarly merits traditional contemplation on its own aesthetic value, but expects a bodily engagement. The steel structure of squares, rectangles and parallel lines is firmly mounted to the wall. The work is meant to be climbed upon (by commissioned professionals), as demonstrated by nearby video footage. One wonders if this is artistically-designed workout equipment or a vehicle for endurance-based performance. And then, what’s the actual difference between the two?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In contrast to the artwork that might require bodies, \u003ca href=\"http://www.maycwilson.com/\" target=\"_blank\" rel=\"noopener\">May Wilson\u003c/a>’s sculptures playfully create an uncanny liveliness. A fleshy vinyl tube suspends from the rafters in \u003cem>Staunch \u003c/em>(2015), companion to a homely “creature” that stands on three bowed legs. Made of woven pink felt, the torso or head of this apparition slouches forward precariously. One half-expects it to lurch forward with a shuffling gait, or reveal a Muppet-like face underneath the folds.\u003c/p>\n\u003cfigure id=\"attachment_10918857\" class=\"wp-caption alignright\" style=\"max-width: 482px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10918857\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Mads640.jpg\" alt=\"Mads Lynnerup, 'Exercising Grill' (installation view), 2011. (Photo: Wilfred J. Jones/di Rosa. Courtesy Lora Reynolds Gallery)\" width=\"482\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mads640.jpg 482w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mads640-400x531.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mads640-452x600.jpg 452w\" sizes=\"(max-width: 482px) 100vw, 482px\">\u003cfigcaption class=\"wp-caption-text\">Mads Lynnerup, ‘Exercising Grill’ (installation view), 2011. (Photo: Wilfred J. Jones/di Rosa; Courtesy Lora Reynolds Gallery)\u003c/figcaption>\u003c/figure>\n\u003cp>Work less clearly aligned with the exhibition’s theme is \u003cem>Shoulder Babies\u003c/em> (2015) by Christian and Kevin Nagler. In a single-channel video in a separate screening room, the brothers’ piece documents what seems to be a durational performance alongside a Silicon Valley highway. As an extension of Christian Nagler’s ongoing investigation into capitalist economics through exercise and dance, this piece is particularly difficult to follow. As day turns into night, two figures wearing yellow body suits wander, frolic, dance and discourse opaquely. The conversation that is audible offers little insight into the work. Although perhaps intentionally confusing, the video seems like an instance in which performative work loses its punch through edited documentation.\u003c/p>\n\u003cp>The tricky curatorial task of assembling performance work is highlighted by the complete absence of any trace of \u003ca href=\"http://reneearhodes.com:8080/\" target=\"_blank\" rel=\"noopener\">Renée Rhodes\u003c/a> until the closing reception on Sept. 26. Her forthcoming performance, \u003cem>Visitor Center\u003c/em>, is described as a “workshop and series of site-specific performances.” While hosting a one-time performance in conjunction with an exhibition is common practice, in the context of this exhibition the absence is striking.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Throughout \u003cem>Body Talk\u003c/em> is a definite lack of bodies. Even without flesh and blood performers, the clean minimalist aesthetics of Manners and Bonanza trump figurative work, and Wilson’s sculptures are only body-ish. When talking about bodies, how does the absence of actual bodies impact the conversation? \u003cem>Body Talk\u003c/em> is content to leave this question unanswerable, serving more as a sampling of artists who contemplate the temporary, performative and spatial experiences of bodies with restraint. Although much of the artwork stands alone without being activated, it’s clear that witnessing the relevant performances will offer a more enriching experience for viewers.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/body-talk/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Body Talk’\u003c/h2>\n\u003cdiv class=\"event-desc\">A group exhibition of physically-activated spaces and sculptures.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Sept. 27\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">di Rosa\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/body-talk/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Tucked away among vineyards on Napa’s Carneros Highway is \u003ca href=\"http://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener\">di Rosa\u003c/a>, currently presenting \u003cem>\u003ca href=\"http://www.dirosaart.org/body-talk/\" target=\"_blank\" rel=\"noopener\">Body Talk\u003c/a>\u003c/em>, a group show of six emerging Northern California artists and collectives. Performance, the most ephemeral and bodily of visual art practices, activates much of the artwork on view. On Aug. 1, the opening reception for \u003cem>Body Talk\u003c/em> included performances across the exhibition space, and the closing reception on Sept. 26 will again enliven the work. This emphasis on live performance might make visiting the static gallery space feel incomplete, but this tension is worth exploring.\u003c/p>\n\u003cp>Manners’ \u003cem>Basic Edition\u003c/em> (2015) and \u003ca href=\"http://bonanzasf.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Bonanza\u003c/a>’s \u003cem>they know better\u003c/em> (2015), take up entire ceiling-to-floor corners of the space, evoking colorful, minimalist playgrounds. This reference to \u003cem>play\u003c/em> is not incidental; these particular spaces were designed with imaginative physical movement in mind. Curator Amy Owen describes the premise behind \u003cem>Body Talk\u003c/em> as a gathering of artwork that attends to physical movement, including performance, dance and aerobics, in contrast to our digitally-oriented lives. This theme is in response to society’s “disembodied” reliance on technology, in which the act of swiping left might be to the closest to exercise we get.\u003c/p>\n\u003cfigure id=\"attachment_10918769\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10918769\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Manners.jpg\" alt=\"Sophia Wang activates Manners’ 'Basic Edition,' at the opening of 'Body Talk,' Aug. 1, 2015. (Photo: Israel Valencia/di Rosa)\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Manners.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Manners-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Sophia Wang activates Manners’ ‘Basic Edition,’ at the opening of ‘Body Talk,’ Aug. 1, 2015. (Photo: Israel Valencia/di Rosa)\u003c/figcaption>\u003c/figure>\n\u003cp>In Manners’ corner, hand-drawn gridded paper covers the floor and extends up to the rafters. Scattered yellow cubes and a flat wood sculpture, roughly shaped into a bent human form, stand within the space. Fabric tubes, also gridded, hang from above. Manners is a collaboration between \u003ca href=\"http://www.airspace-sf.com/brontez-purnell-dance-company/\" target=\"_blank\" rel=\"noopener\">Sophia Wang\u003c/a> and \u003ca href=\"http://www.lisarcralle.com/\" target=\"_blank\" rel=\"noopener\">Lisa Rybovich Crallé\u003c/a>, artists who created \u003cem>\u003ca href=\"https://www.facebook.com/HeavyHeavyBreathing?fref=ts\" target=\"_blank\" rel=\"noopener\">Heavy Breathing\u003c/a>\u003c/em>, a series of workshops held across the Bay Area this summer that merge critical theory with fitness classes. This conceptually-linked installation likewise anticipates movement; Wang performed on site at the opening reception. Without access to documentation of that performance, di Rosa visitors are left wondering and imagining what types of dance or exercise could take place here.\u003c/p>\n\u003cp>Across the room, the collective Bonanza (Conrad Guevara, Lindsay Tully and Lana Williams) assembles eclectic sculptural pieces and gel window-coverings to create an unusually serene environment. A teal-tinged skylight illuminates a simple wooden platform, and irregular rectangle-shaped canvases held up by concrete cylinders sit on the floor. Although the exhibition brochure references the malleability of stretching and yoga poses, the peacefulness of this artificial environment holds its own weight.\u003c/p>\n\u003cfigure id=\"attachment_10918856\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10918856\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Bonanza640.jpg\" alt=\"Bonanza, 'they know better' (installation view, detail), 2015. (Photo: Wilfred J. Jones/di Rosa)\" width=\"640\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Bonanza640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Bonanza640-400x263.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bonanza, ‘they know better’ (installation view, detail), 2015. (Photo: Wilfred J. Jones/di Rosa)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Exercising Grill \u003c/em>(2011) by \u003ca href=\"http://www.madslynnerup.com/\" target=\"_blank\" rel=\"noopener\">Mads Lynnerup\u003c/a> similarly merits traditional contemplation on its own aesthetic value, but expects a bodily engagement. The steel structure of squares, rectangles and parallel lines is firmly mounted to the wall. The work is meant to be climbed upon (by commissioned professionals), as demonstrated by nearby video footage. One wonders if this is artistically-designed workout equipment or a vehicle for endurance-based performance. And then, what’s the actual difference between the two?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In contrast to the artwork that might require bodies, \u003ca href=\"http://www.maycwilson.com/\" target=\"_blank\" rel=\"noopener\">May Wilson\u003c/a>’s sculptures playfully create an uncanny liveliness. A fleshy vinyl tube suspends from the rafters in \u003cem>Staunch \u003c/em>(2015), companion to a homely “creature” that stands on three bowed legs. Made of woven pink felt, the torso or head of this apparition slouches forward precariously. One half-expects it to lurch forward with a shuffling gait, or reveal a Muppet-like face underneath the folds.\u003c/p>\n\u003cfigure id=\"attachment_10918857\" class=\"wp-caption alignright\" style=\"max-width: 482px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10918857\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Mads640.jpg\" alt=\"Mads Lynnerup, 'Exercising Grill' (installation view), 2011. (Photo: Wilfred J. Jones/di Rosa. Courtesy Lora Reynolds Gallery)\" width=\"482\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mads640.jpg 482w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mads640-400x531.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mads640-452x600.jpg 452w\" sizes=\"(max-width: 482px) 100vw, 482px\">\u003cfigcaption class=\"wp-caption-text\">Mads Lynnerup, ‘Exercising Grill’ (installation view), 2011. (Photo: Wilfred J. Jones/di Rosa; Courtesy Lora Reynolds Gallery)\u003c/figcaption>\u003c/figure>\n\u003cp>Work less clearly aligned with the exhibition’s theme is \u003cem>Shoulder Babies\u003c/em> (2015) by Christian and Kevin Nagler. In a single-channel video in a separate screening room, the brothers’ piece documents what seems to be a durational performance alongside a Silicon Valley highway. As an extension of Christian Nagler’s ongoing investigation into capitalist economics through exercise and dance, this piece is particularly difficult to follow. As day turns into night, two figures wearing yellow body suits wander, frolic, dance and discourse opaquely. The conversation that is audible offers little insight into the work. Although perhaps intentionally confusing, the video seems like an instance in which performative work loses its punch through edited documentation.\u003c/p>\n\u003cp>The tricky curatorial task of assembling performance work is highlighted by the complete absence of any trace of \u003ca href=\"http://reneearhodes.com:8080/\" target=\"_blank\" rel=\"noopener\">Renée Rhodes\u003c/a> until the closing reception on Sept. 26. Her forthcoming performance, \u003cem>Visitor Center\u003c/em>, is described as a “workshop and series of site-specific performances.” While hosting a one-time performance in conjunction with an exhibition is common practice, in the context of this exhibition the absence is striking.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Throughout \u003cem>Body Talk\u003c/em> is a definite lack of bodies. Even without flesh and blood performers, the clean minimalist aesthetics of Manners and Bonanza trump figurative work, and Wilson’s sculptures are only body-ish. When talking about bodies, how does the absence of actual bodies impact the conversation? \u003cem>Body Talk\u003c/em> is content to leave this question unanswerable, serving more as a sampling of artists who contemplate the temporary, performative and spatial experiences of bodies with restraint. Although much of the artwork stands alone without being activated, it’s clear that witnessing the relevant performances will offer a more enriching experience for viewers.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Xandra Ibarra Parodies Stereotypes with Playful Burlesque",
"headTitle": "Xandra Ibarra Parodies Stereotypes with Playful Burlesque | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Ecdysis: The Molting of a Cucarachica’\u003c/h2>\n\u003cdiv class=\"event-desc\">Xandra Ibarra playfully challenges stereotypes.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Sept. 6, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Galería de la Raza\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/ecdysis-the-molting-of-a-cucarachica/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>A giant \u003ci>cucaracha\u003c/i> (cockroach), made of velvet, glitter and synthetic fur, inhabits the center of Galería de la Raza for \u003ca href=\"http://www.lachicaboom.com/\" target=\"_blank\" rel=\"noopener\">Xandra Ibarra\u003c/a>’s solo exhibition \u003ci>Ecdysis: The Molting of a Cucarachica\u003c/i>. The \u003ci>cucaracha\u003c/i>, and its inclination towards metamorphosis, symbolizes the transformations, hidden personas and double meanings found in Ibarra’s work, which bluntly and humorously addresses racial stereotypes and their overt sexualization.\u003c/p>\n\u003cp>A number of videos in the exhibition draw on Ibarra’s burlesque alias La Chica Boom. \u003ci>Spictacle II: Tortillera\u003c/i> (2015) features a woman in a traditional Mexican dress who dances for the camera while flipping corn tortillas. A \u003ci>tortillera\u003c/i> is a person who makes and sells tortillas, but it is also slang for a lesbian. And as the woman sheds her bulky dress, she dispenses with the restrained persona of the tortilla maker. Using layers of her own undergarments, she makes a taco with black lingerie and another with Mexican flag underwear. The woman strips further to reveal an unorthodox repurposing of a hot sauce bottle (rebranded “Tapatía”), used in a final ritualistic action over the decidedly inedible tacos.\u003c/p>\n\u003cfigure id=\"attachment_10903967\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10903967 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/xandra-ibarra-spic-jouissance-label.jpg\" alt=\"Xandra Ibarra, 'Spic Jouissance' (label), 2015. (Photo: the artist)\" width=\"640\" height=\"384\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/xandra-ibarra-spic-jouissance-label.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/xandra-ibarra-spic-jouissance-label-400x240.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Xandra Ibarra, ‘Spic Jouissance’ (label), 2015. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003cp>Forgoing the iconic sombrero-wearing gentleman of Tapatío, the corporate mascot on Ibarra’s bottle is modeled after La Chica Boom, with blue hair and eyeshadow and a teeth-baring grin. Several dozen bottles of this sauce are installed on wooden shelves throughout the gallery. The label seems to caution against using the hot sauce, as it allegedly includes ingredients such as “commodified negation” and toilet water. However, with “cucaracha logic” as a preservative and 60% of the daily recommended serving of pleasure, maybe a little taste wouldn’t hurt.\u003c/p>\n\u003cfigure id=\"attachment_10903964\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10903964 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/peepbox.jpg\" alt=\"Xandra Ibarra and Amber Hawk Swanson, 'Untitled F**king' (installation), 2013. (Photo: the artist)\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/peepbox.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/peepbox-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Xandra Ibarra and Amber Hawk Swanson, ‘Untitled F**king’ (installation), 2013. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003cp>A peepshow next to the hot sauce array features a video piece called \u003ci>Untitled F**king\u003c/i> (2013) made in collaboration with artist Amber Hawk Swanson. Set up like a webcam shoot, Ibarra wears her Tapatía bottle while positioned behind Swanson, who lays on a bed repeating, “Feminism? That’s deep. I think I need a minute to think about that, so… I don’t know.” The 15-minute video uses what Ibarra calls “queer sexual vocabulary” to probe and poke at the limitations and conflicts within feminism, including the relationship between white feminists and feminists of color.\u003c/p>\n\u003cfigure id=\"attachment_10903965\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10903965 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Still_LaCorrida_ibarra.jpg\" alt=\"Xandra Ibarra, 'La Corrida' (still), 2012. (Photo: the artist)\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Still_LaCorrida_ibarra.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Still_LaCorrida_ibarra-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Xandra Ibarra, ‘La Corrida’ (still), 2012. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003cp>The three-minute video \u003ci>La Corrida\u003c/i> (2012) is activated by viewers running on a treadmill in front of a projection screen. In the piece, Ibarra wears black leather boots, lingerie and pasties while jogging on streets and through dirt. She runs with an intensity and sense of purpose that suggest something other than exercise, but she does not appear to be frightened or fleeing. Her trail is the Juárez–El Paso border, a site infamous for decades of violence against women, as well as a symbol of NAFTA and free trade. With resilience, Ibarra tackles this contentious, sun-soaked terrain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003ci>cucaracha\u003c/i> is seen in some photographs, jewelry and installations, but it is not always explicitly present, appearing only in ideas and interpretations. Though the insect is almost universally loathed, it is — in this exhibition — a noble creature. Its strength and perseverance are enviable, and its constant rebirth might just be an example worth following. Ibarra channels these attributes playfully — possibly the only way to channel the \u003ci>cucaracha\u003c/i> — but she does so incisively and critically.\u003c/p>\n\n",
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"excerpt": "The Oakland-based artist playfully channels the 'cucaracha' to confront racial stereotypes at Galeria de la Raza.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Ecdysis: The Molting of a Cucarachica’\u003c/h2>\n\u003cdiv class=\"event-desc\">Xandra Ibarra playfully challenges stereotypes.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Sept. 6, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Galería de la Raza\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/ecdysis-the-molting-of-a-cucarachica/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>A giant \u003ci>cucaracha\u003c/i> (cockroach), made of velvet, glitter and synthetic fur, inhabits the center of Galería de la Raza for \u003ca href=\"http://www.lachicaboom.com/\" target=\"_blank\" rel=\"noopener\">Xandra Ibarra\u003c/a>’s solo exhibition \u003ci>Ecdysis: The Molting of a Cucarachica\u003c/i>. The \u003ci>cucaracha\u003c/i>, and its inclination towards metamorphosis, symbolizes the transformations, hidden personas and double meanings found in Ibarra’s work, which bluntly and humorously addresses racial stereotypes and their overt sexualization.\u003c/p>\n\u003cp>A number of videos in the exhibition draw on Ibarra’s burlesque alias La Chica Boom. \u003ci>Spictacle II: Tortillera\u003c/i> (2015) features a woman in a traditional Mexican dress who dances for the camera while flipping corn tortillas. A \u003ci>tortillera\u003c/i> is a person who makes and sells tortillas, but it is also slang for a lesbian. And as the woman sheds her bulky dress, she dispenses with the restrained persona of the tortilla maker. Using layers of her own undergarments, she makes a taco with black lingerie and another with Mexican flag underwear. The woman strips further to reveal an unorthodox repurposing of a hot sauce bottle (rebranded “Tapatía”), used in a final ritualistic action over the decidedly inedible tacos.\u003c/p>\n\u003cfigure id=\"attachment_10903967\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10903967 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/xandra-ibarra-spic-jouissance-label.jpg\" alt=\"Xandra Ibarra, 'Spic Jouissance' (label), 2015. (Photo: the artist)\" width=\"640\" height=\"384\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/xandra-ibarra-spic-jouissance-label.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/xandra-ibarra-spic-jouissance-label-400x240.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Xandra Ibarra, ‘Spic Jouissance’ (label), 2015. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003cp>Forgoing the iconic sombrero-wearing gentleman of Tapatío, the corporate mascot on Ibarra’s bottle is modeled after La Chica Boom, with blue hair and eyeshadow and a teeth-baring grin. Several dozen bottles of this sauce are installed on wooden shelves throughout the gallery. The label seems to caution against using the hot sauce, as it allegedly includes ingredients such as “commodified negation” and toilet water. However, with “cucaracha logic” as a preservative and 60% of the daily recommended serving of pleasure, maybe a little taste wouldn’t hurt.\u003c/p>\n\u003cfigure id=\"attachment_10903964\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10903964 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/peepbox.jpg\" alt=\"Xandra Ibarra and Amber Hawk Swanson, 'Untitled F**king' (installation), 2013. (Photo: the artist)\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/peepbox.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/peepbox-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Xandra Ibarra and Amber Hawk Swanson, ‘Untitled F**king’ (installation), 2013. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003cp>A peepshow next to the hot sauce array features a video piece called \u003ci>Untitled F**king\u003c/i> (2013) made in collaboration with artist Amber Hawk Swanson. Set up like a webcam shoot, Ibarra wears her Tapatía bottle while positioned behind Swanson, who lays on a bed repeating, “Feminism? That’s deep. I think I need a minute to think about that, so… I don’t know.” The 15-minute video uses what Ibarra calls “queer sexual vocabulary” to probe and poke at the limitations and conflicts within feminism, including the relationship between white feminists and feminists of color.\u003c/p>\n\u003cfigure id=\"attachment_10903965\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10903965 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Still_LaCorrida_ibarra.jpg\" alt=\"Xandra Ibarra, 'La Corrida' (still), 2012. (Photo: the artist)\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Still_LaCorrida_ibarra.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Still_LaCorrida_ibarra-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Xandra Ibarra, ‘La Corrida’ (still), 2012. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003cp>The three-minute video \u003ci>La Corrida\u003c/i> (2012) is activated by viewers running on a treadmill in front of a projection screen. In the piece, Ibarra wears black leather boots, lingerie and pasties while jogging on streets and through dirt. She runs with an intensity and sense of purpose that suggest something other than exercise, but she does not appear to be frightened or fleeing. Her trail is the Juárez–El Paso border, a site infamous for decades of violence against women, as well as a symbol of NAFTA and free trade. With resilience, Ibarra tackles this contentious, sun-soaked terrain.\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>The \u003ci>cucaracha\u003c/i> is seen in some photographs, jewelry and installations, but it is not always explicitly present, appearing only in ideas and interpretations. Though the insect is almost universally loathed, it is — in this exhibition — a noble creature. Its strength and perseverance are enviable, and its constant rebirth might just be an example worth following. Ibarra channels these attributes playfully — possibly the only way to channel the \u003ci>cucaracha\u003c/i> — but she does so incisively and critically.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Midway through Peter Bogdanovich’s enjoyably giddy romantic comedy, a smitten Manhattan playwright (Will Forte) treats a pretty young woman (British actress Imogen Poots) to a lesson in ancient history, when “women were treated like chattel” but “prostitutes were sacred.” You’ll have to see the movie to learn whether the scribe knows that he’s talking to an aspiring actress who moonlights as a lady of the night. And \u003cem>She’s Funny That Way\u003c/em> is worth a look even if you flinch at the prospect of spending more time around older dudes frothing over golden-hearted hookers with middle-school vocal pitch. For one thing, the call girl in question, Izzy, is played by Poots with charm and brio marred only by a Brooklyn accent that’s cooked within an inch of its life. For another, Izzy, who goes by Glo when working, holds the narrative reins. This is her story, and though I can’t defend the worn-out concept — from call girl to movie star with help from sugar dad — she gets to tell it her way. Look and learn, Woody.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qp4gomOKJnY\u003c/p>\n\u003cp>Not that Owen Wilson’s Arnold, freshly arrived from Los Angeles to direct the playwright’s latest effort, is much more than a leerier modification of his addled screenwriter in Allen’s \u003cem>Midnight in Paris\u003c/em>. We’re supposed to find Arnold adorable even though he orders up Glo like pizza for a pre-rehearsal tryst in his hotel room while fielding calls from his family back home. Toggling naughty boy with jolly uncle, Arnold offers Glo $30,000 to follow her bliss. It seems Bogdanovich himself, \u003ca href=\"http://creativescreenwriting.com/shes-funny-that-way-peter-bogdanovich/\" target=\"_blank\" rel=\"noopener\">he says\u003c/a>, did something like this, and depending on where you stand on the jaded scale, Arnold is either an unreconstructed cad or a sincere fellow afflicted with the usual Biblical sins. Turns out he has spread his largesse around other credulous damsels — all of which comes to light when Izzy auditions for a plum role opposite Arnold’s wife Delta (the excellent Kathryn Hahn) in the play.\u003c/p>\n\u003cp>The rest is the expected romp around a glammed-up Manhattan while the plot, mirroring the play, trips over Arnold’s prior conquests and picks up a well-oiled cast of sinners and sinned-against. Notable among them are Rhys Ifans as a leading man with the hots for Delta and Jennifer Aniston, wearing someone else’s hair and pleased as punch for the opportunity to play a nasty therapist with a knack for extravagantly spilling trade secrets where she shouldn’t.\u003c/p>\n\u003cp>Following his early success with \u003cem>The Last Picture Show\u003c/em> and \u003cem>What’s Up, Doc?\u003c/em>, Bogdanovitch has lurched through the very definition of a checkered career as an actor, Hollywood author and director, some of whose flops have matured into cult movies or critical darlings. Arriving almost 15 years after Bogdanovich’s unjustly ignored \u003cem>The Cat’s Meow\u003c/em>, \u003cem>She’s Funny That Way\u003c/em> is a trifle. But it’s a sweetly nostalgic trifle, especially if you’re fond of classic screwball complete with overlapping quippage delivered at breakneck speed. The dizzy script, which is none the worse for having kicked around for years, was written by Bogdanovich with his former wife Louise Stratten. A running joke about squirrels and nuts doesn’t have much traction, but it pays sweet homage to a favorite movie by the great Ernst Lubitsch. Bogdanovich has thrown in cameos for buddies and another ex, all of whom you’ll be pleased to see whether or not their presence is justified. A fond reference to \u003cem>Breakfast at Tiffany’s\u003c/em> feels similarly tossed off, but that’s part of the movie’s raffish charm.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>She’s Funny That Way\u003c/em>comes across as put together with the oh-why-not abandon of a man with not much to lose and an abiding love of Golden Age comedy, whether there remains a market for it or not. What I like about the movie is its seasoned wisdom and kindness about the tragicomic asymmetry of love, or lust, or some combination of the two that, if we’re lucky, gets all of us into trouble at some point in our lives. Izzy may be an innocent who “believes in pink, and in kissing a lot,” and perhaps as a character she doesn’t add up to much more than the sum of male special pleading for the appeal of firm young flesh. But she knows how to look after herself with or without some guy decades her senior running interference, and she’s a good soul with a philosophy only a cynic could sneer at. Wherever you’re happy, she tells a hack interviewer played by Ileana Douglas, that’s your place. Like her, Bogdanovich has knocked about the world of ambition. Like her, too, he may have arrived at the conclusion that playing in his own sandbox is the tops.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Midway through Peter Bogdanovich’s enjoyably giddy romantic comedy, a smitten Manhattan playwright (Will Forte) treats a pretty young woman (British actress Imogen Poots) to a lesson in ancient history, when “women were treated like chattel” but “prostitutes were sacred.” You’ll have to see the movie to learn whether the scribe knows that he’s talking to an aspiring actress who moonlights as a lady of the night. And \u003cem>She’s Funny That Way\u003c/em> is worth a look even if you flinch at the prospect of spending more time around older dudes frothing over golden-hearted hookers with middle-school vocal pitch. For one thing, the call girl in question, Izzy, is played by Poots with charm and brio marred only by a Brooklyn accent that’s cooked within an inch of its life. For another, Izzy, who goes by Glo when working, holds the narrative reins. This is her story, and though I can’t defend the worn-out concept — from call girl to movie star with help from sugar dad — she gets to tell it her way. Look and learn, Woody.\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/Qp4gomOKJnY'\n title='//www.youtube.com/embed/Qp4gomOKJnY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not that Owen Wilson’s Arnold, freshly arrived from Los Angeles to direct the playwright’s latest effort, is much more than a leerier modification of his addled screenwriter in Allen’s \u003cem>Midnight in Paris\u003c/em>. We’re supposed to find Arnold adorable even though he orders up Glo like pizza for a pre-rehearsal tryst in his hotel room while fielding calls from his family back home. Toggling naughty boy with jolly uncle, Arnold offers Glo $30,000 to follow her bliss. It seems Bogdanovich himself, \u003ca href=\"http://creativescreenwriting.com/shes-funny-that-way-peter-bogdanovich/\" target=\"_blank\" rel=\"noopener\">he says\u003c/a>, did something like this, and depending on where you stand on the jaded scale, Arnold is either an unreconstructed cad or a sincere fellow afflicted with the usual Biblical sins. Turns out he has spread his largesse around other credulous damsels — all of which comes to light when Izzy auditions for a plum role opposite Arnold’s wife Delta (the excellent Kathryn Hahn) in the play.\u003c/p>\n\u003cp>The rest is the expected romp around a glammed-up Manhattan while the plot, mirroring the play, trips over Arnold’s prior conquests and picks up a well-oiled cast of sinners and sinned-against. Notable among them are Rhys Ifans as a leading man with the hots for Delta and Jennifer Aniston, wearing someone else’s hair and pleased as punch for the opportunity to play a nasty therapist with a knack for extravagantly spilling trade secrets where she shouldn’t.\u003c/p>\n\u003cp>Following his early success with \u003cem>The Last Picture Show\u003c/em> and \u003cem>What’s Up, Doc?\u003c/em>, Bogdanovitch has lurched through the very definition of a checkered career as an actor, Hollywood author and director, some of whose flops have matured into cult movies or critical darlings. Arriving almost 15 years after Bogdanovich’s unjustly ignored \u003cem>The Cat’s Meow\u003c/em>, \u003cem>She’s Funny That Way\u003c/em> is a trifle. But it’s a sweetly nostalgic trifle, especially if you’re fond of classic screwball complete with overlapping quippage delivered at breakneck speed. The dizzy script, which is none the worse for having kicked around for years, was written by Bogdanovich with his former wife Louise Stratten. A running joke about squirrels and nuts doesn’t have much traction, but it pays sweet homage to a favorite movie by the great Ernst Lubitsch. Bogdanovich has thrown in cameos for buddies and another ex, all of whom you’ll be pleased to see whether or not their presence is justified. A fond reference to \u003cem>Breakfast at Tiffany’s\u003c/em> feels similarly tossed off, but that’s part of the movie’s raffish charm.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>With the issue of immigration so hotly contested, it seems everyone has opinions about who and why and what continues to bring thousands of immigrants into the United States each year. Often overlooked in this debate are the personal stories of those immigrants and the horrors many face while detained along the U.S.-Mexico border.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://visionsfromtheinside.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Visions from the Inside\u003c/a>\u003c/em>, a new collaborative project between \u003ca href=\"http://culturestrike.org/\" target=\"_blank\" rel=\"noopener\">CultureStrike\u003c/a>, \u003ca href=\"http://mariposassinfronteras.org/\" target=\"_blank\" rel=\"noopener\">Mariposas Sin Fronteras\u003c/a>, \u003ca href=\"http://endfamilydetention.com/category/blog/letters-from-inside/\" target=\"_blank\" rel=\"noopener\">End Family Detention\u003c/a> and detainees at the Karnes Detention Center, highlights these narratives. Fifteen artists transform letters written by women and children in the detention center into visual art.\u003c/p>\n\u003cp>From July 27 through Aug. 14, the project posted a new piece of art and a letter excerpt on its Tumblr, spreading the stories across social media platforms to raise awareness and humanize the migrant experience.\u003c/p>\n\u003cp>The pieces are heavy. The fear and isolation — as well as the resilience and hope — are felt in each one.\u003c/p>\n\u003cfigure id=\"attachment_10899914\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10899914 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Visions-Mata-Ruda-1180x1180.jpg\" alt=\"Mata Ruda. (Photo: Visions from the Inside)\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Mata-Ruda-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Mata-Ruda-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Mata-Ruda-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Mata-Ruda-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Mata-Ruda-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Mata-Ruda-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Mata-Ruda-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Mata-Ruda-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Mata-Ruda-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Mata-Ruda.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mata Ruda. (Photo: Visions from the Inside)\u003c/figcaption>\u003c/figure>\n\u003cp>Many of the works depict the stress and fear of parenting behind bars. Mata Ruda’s black and white composition expresses this beautifully by incorporating an excerpt and a drawing of a broken heart from a detainee’s letter: “Me siento frustrada, desesperada, y preocupada.” (I feel frustrated, desperate, and worried.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jess X Chen’s piece embodies the pain a Honduran woman experiences while separated from family members just across the border in Los Angeles. “I am trusting my God who will quickly end this nightmare,” the letter excerpt reads. The painting exudes grief; the mother and children reach out across the sky for one another.\u003c/p>\n\u003cfigure id=\"attachment_10899990\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10899990 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Visions-Jess-X-Chen-1180x1180.jpg\" alt=\"Jess X Chen. (Photo: Visions from the Inside)\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Jess-X-Chen-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Jess-X-Chen-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Jess-X-Chen-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Jess-X-Chen-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Jess-X-Chen-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Jess-X-Chen-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Jess-X-Chen-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Jess-X-Chen-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Jess-X-Chen-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Jess-X-Chen.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jess X Chen. (Photo: Visions from the Inside)\u003c/figcaption>\u003c/figure>\n\u003cp>The painting with perhaps the strongest impact is Zeke Peña’s image of an imprisoned mother and child gazing through a jail cell window surrounded by the American flag. The accompanying letter excerpt reads: “I do not think it is fair to see my son incarcerated here when he could be free…”\u003c/p>\n\u003cp>And the stories go on.\u003c/p>\n\u003cp>Last year an estimated 60,000 women with children made the harrowing journey from Mexico and Central America across the U.S. border. Several thousand additional minors unaccompanied by adult family members also made their way to the U.S. This influx in immigration prompted the Obama administration to expand the family detention programs largely disbanded in 2009; since July 1, 2015 at least 2,600 women and children have been detained at immigration centers in Texas alone.\u003c/p>\n\u003cp>These detention centers — like the Karnes County Residential Center, where several women have filed complaints of sexual abuse — are run by private prison contractors. Recently, a number of the centers have come under \u003ca href=\"http://www.nytimes.com/2015/07/26/us/detained-immigrant-children-judge-dolly-gee-ruling.html?_r=0\" target=\"_blank\" rel=\"noopener\">harsh scrutiny\u003c/a> for potential human rights violations. The Obama administration was recently given 90 days to release the detainees at these centers or to show “just cause” in order to keep holding them.\u003c/p>\n\u003cfigure id=\"attachment_10899991\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10899991 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Visions-Rommy-Torrico-1180x1180.jpg\" alt=\"Rommy Torrico. (Photo: Visions from the Inside)\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Rommy-Torrico-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Rommy-Torrico-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Rommy-Torrico-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Rommy-Torrico-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Rommy-Torrico-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Rommy-Torrico-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Rommy-Torrico-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Rommy-Torrico-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Rommy-Torrico-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Rommy-Torrico.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rommy Torrico. (Photo: Visions from the Inside)\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the harsh conditions the women live under while in detention, \u003cem>Visions from the Inside\u003c/em>, an important and critical collection of artwork, represents them as remarkably strong. They are shown with the strength to fight for their children, to endure dangerous journeys most of us couldn’t dream of and to risk everything for their families’ futures — aspects of immigration that should be spoken of more often. \u003cem>Visions from the Inside\u003c/em> opens the doors to this necessary conversation and gives the viewer real life stories of the human beings who are all too often viewed as statistics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A banner across a painting by Breena Nuñez reads: “We are human, just like you.” This simple, yet poignant statement embodies the heart of this project.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the issue of immigration so hotly contested, it seems everyone has opinions about who and why and what continues to bring thousands of immigrants into the United States each year. Often overlooked in this debate are the personal stories of those immigrants and the horrors many face while detained along the U.S.-Mexico border.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://visionsfromtheinside.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Visions from the Inside\u003c/a>\u003c/em>, a new collaborative project between \u003ca href=\"http://culturestrike.org/\" target=\"_blank\" rel=\"noopener\">CultureStrike\u003c/a>, \u003ca href=\"http://mariposassinfronteras.org/\" target=\"_blank\" rel=\"noopener\">Mariposas Sin Fronteras\u003c/a>, \u003ca href=\"http://endfamilydetention.com/category/blog/letters-from-inside/\" target=\"_blank\" rel=\"noopener\">End Family Detention\u003c/a> and detainees at the Karnes Detention Center, highlights these narratives. Fifteen artists transform letters written by women and children in the detention center into visual art.\u003c/p>\n\u003cp>From July 27 through Aug. 14, the project posted a new piece of art and a letter excerpt on its Tumblr, spreading the stories across social media platforms to raise awareness and humanize the migrant experience.\u003c/p>\n\u003cp>The pieces are heavy. The fear and isolation — as well as the resilience and hope — are felt in each one.\u003c/p>\n\u003cfigure id=\"attachment_10899914\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10899914 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Visions-Mata-Ruda-1180x1180.jpg\" alt=\"Mata Ruda. (Photo: Visions from the Inside)\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Mata-Ruda-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Mata-Ruda-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Mata-Ruda-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Mata-Ruda-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Mata-Ruda-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Mata-Ruda-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Mata-Ruda-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Mata-Ruda-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Mata-Ruda-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Mata-Ruda.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mata Ruda. (Photo: Visions from the Inside)\u003c/figcaption>\u003c/figure>\n\u003cp>Many of the works depict the stress and fear of parenting behind bars. Mata Ruda’s black and white composition expresses this beautifully by incorporating an excerpt and a drawing of a broken heart from a detainee’s letter: “Me siento frustrada, desesperada, y preocupada.” (I feel frustrated, desperate, and worried.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jess X Chen’s piece embodies the pain a Honduran woman experiences while separated from family members just across the border in Los Angeles. “I am trusting my God who will quickly end this nightmare,” the letter excerpt reads. The painting exudes grief; the mother and children reach out across the sky for one another.\u003c/p>\n\u003cfigure id=\"attachment_10899990\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10899990 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Visions-Jess-X-Chen-1180x1180.jpg\" alt=\"Jess X Chen. (Photo: Visions from the Inside)\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Jess-X-Chen-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Jess-X-Chen-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Jess-X-Chen-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Jess-X-Chen-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Jess-X-Chen-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Jess-X-Chen-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Jess-X-Chen-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Jess-X-Chen-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Jess-X-Chen-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Jess-X-Chen.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jess X Chen. (Photo: Visions from the Inside)\u003c/figcaption>\u003c/figure>\n\u003cp>The painting with perhaps the strongest impact is Zeke Peña’s image of an imprisoned mother and child gazing through a jail cell window surrounded by the American flag. The accompanying letter excerpt reads: “I do not think it is fair to see my son incarcerated here when he could be free…”\u003c/p>\n\u003cp>And the stories go on.\u003c/p>\n\u003cp>Last year an estimated 60,000 women with children made the harrowing journey from Mexico and Central America across the U.S. border. Several thousand additional minors unaccompanied by adult family members also made their way to the U.S. This influx in immigration prompted the Obama administration to expand the family detention programs largely disbanded in 2009; since July 1, 2015 at least 2,600 women and children have been detained at immigration centers in Texas alone.\u003c/p>\n\u003cp>These detention centers — like the Karnes County Residential Center, where several women have filed complaints of sexual abuse — are run by private prison contractors. Recently, a number of the centers have come under \u003ca href=\"http://www.nytimes.com/2015/07/26/us/detained-immigrant-children-judge-dolly-gee-ruling.html?_r=0\" target=\"_blank\" rel=\"noopener\">harsh scrutiny\u003c/a> for potential human rights violations. The Obama administration was recently given 90 days to release the detainees at these centers or to show “just cause” in order to keep holding them.\u003c/p>\n\u003cfigure id=\"attachment_10899991\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10899991 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Visions-Rommy-Torrico-1180x1180.jpg\" alt=\"Rommy Torrico. (Photo: Visions from the Inside)\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Rommy-Torrico-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Rommy-Torrico-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Rommy-Torrico-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Rommy-Torrico-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Rommy-Torrico-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Rommy-Torrico-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Rommy-Torrico-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Rommy-Torrico-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Rommy-Torrico-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Visions-Rommy-Torrico.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rommy Torrico. (Photo: Visions from the Inside)\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the harsh conditions the women live under while in detention, \u003cem>Visions from the Inside\u003c/em>, an important and critical collection of artwork, represents them as remarkably strong. They are shown with the strength to fight for their children, to endure dangerous journeys most of us couldn’t dream of and to risk everything for their families’ futures — aspects of immigration that should be spoken of more often. \u003cem>Visions from the Inside\u003c/em> opens the doors to this necessary conversation and gives the viewer real life stories of the human beings who are all too often viewed as statistics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A banner across a painting by Breena Nuñez reads: “We are human, just like you.” This simple, yet poignant statement embodies the heart of this project.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Paul Graham's Photos Tell Expansive Story of Everyday America",
"headTitle": "Paul Graham’s Photos Tell Expansive Story of Everyday America | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/paul-graham-the-whiteness-of-the-whale/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Paul Graham: The Whiteness of the Whale’\u003c/h2>\n\u003cdiv class=\"event-desc\">Over a decade of work by the New York-based photographer.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Feb. 29, 2016\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Pier 24 Photography\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/paul-graham-the-whiteness-of-the-whale/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>At Pier 24 Photography, three series of works taken by British photograph Paul Graham across the United States since 1998 come together in \u003cem>The Whiteness of the Whale\u003c/em>.\u003cem> \u003c/em>Each series utilizes the mechanics of photography to address issues of perception and observation. In Graham’s work, the formal functions of photography stand in for light, awareness and time to link with depictions of racial inequity, despair, everyday struggle and the mundane.\u003c/p>\n\u003cp>The series\u003ci> American Night\u003c/i> (1998-2002) grapples with light as a metaphor for what is hidden and what is highlighted in society. Crisp and colorful photographs document McMansions around the U.S. and the shiny SUVs parked in front of them. Interspersed throughout the gallery are nearly-whited-out photographs of distressed urban outskirts in places like Detroit, Memphis and Los Angeles. The light erases detail — though parking lots, golden arches and power lines can be made out, often with a single figure dwarfed by his or her surroundings and circumstances.\u003c/p>\n\u003cfigure id=\"attachment_10899514\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10899514 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/American_Night_03.jpg\" alt=\"Paul Graham, Installation view of 'The Whiteness of the Whale,' 2015. (Photo: Pier 24 Photography, San Francisco)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/American_Night_03.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/American_Night_03-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Paul Graham, Installation view of ‘The Whiteness of the Whale,’ 2015. (Photo: Pier 24 Photography, San Francisco)\u003c/figcaption>\u003c/figure>\n\u003cp>A number of sequences of commonplace moments comprise \u003ci>a shimmer of possibility\u003c/i> (2004-06), depicting the passage of time created by the camera’s shutter. In \u003ci>California\u003c/i> (2005-06) a homeless man rifles through his belongings in front of a Jack in the Box. The sequence is paired with a young girl traveling down a sidewalk before abruptly stopping, spreading out her own belongings, and eating a fast food meal. Both subjects are seen carrying their possessions in public, thinly connected to each other by the thread of fast food.\u003c/p>\n\u003cp>\u003ci>New York & North Dakota\u003c/i> (2005) brings together two even more dissimilar scenes. An array of photos follows a woman through a brief, but seemingly trying, moment in her life. She is first seen walking with a slight hunch on a sidewalk before grasping her head as if to cope with some stressful situation. She stops in front of a building to smoke a cigarette, and in the final shot she is back on a busy sidewalk, clasping her head.\u003c/p>\n\u003cfigure id=\"attachment_10899521\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10899521 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Shimmer_ND_NYC_Detail_02.jpg\" alt=\"Paul Graham, 'New York & North Dakota' (detail) from the series 'a shimmer of possibility,' 2005 (Photo: Pace and Pace/MacGill Gallery, New York)\" width=\"640\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Shimmer_ND_NYC_Detail_02.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Shimmer_ND_NYC_Detail_02-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Paul Graham, ‘New York & North Dakota’ (detail) from the series ‘a shimmer of possibility,’ 2005 (Photo: Pace and Pace/MacGill Gallery, New York)\u003c/figcaption>\u003c/figure>\n\u003cp>Above this sequence is a series documenting a beautiful North Dakota sunset. Peaceful orange, purple and blue clouds hang over the New York woman’s head, clashing with her anxiety.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>The Present\u003c/i> (2009-11) was shot entirely in New York City, Graham’s adopted hometown. In this body of street photographs, focus serves as a tool for exploring awareness. Each piece is composed of two or three photographs taken seconds apart. By focusing on different subjects, objects or locations, two images of an almost identical time and place conjure strikingly distinct stories.\u003c/p>\n\u003cp>One memorable piece first focuses on a crying woman in a pink shirt emblazoned with a winking smiley face. A number of pedestrians surround her, but her anguish commands the viewer’s attention. Seconds later a group of three individuals emerge from out-of-focus obscurity; their self-confident saunter, raised heads and sunglasses render the scene casual and leisurely. These conflicting moments share time and space without interacting, their cohabitation made jarring by the photographer’s selective focus.\u003c/p>\n\u003cfigure id=\"attachment_10899513\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10899513 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/The_Present_34th-Street.jpg\" alt=\"Paul Graham, '34th Street, 4th June 2010, 3.12.58 pm' from the series 'The Present,' 2010. (Photo: Pace and Pace/MacGill Gallery, New York)\" width=\"640\" height=\"236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/The_Present_34th-Street.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/The_Present_34th-Street-400x148.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Paul Graham, ’34th Street, 4th June 2010, 3.12.58 pm’ from the series ‘The Present,’ 2010. (Photo: Pace and Pace/MacGill Gallery, New York)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Graham’s three bodies of work document very different places in America with very different conceptual and formal approaches. But even within the enormity of \u003cem>The Whiteness of the Whale\u003c/em>, the works collaborate to create a cohesive decade-long travelogue. Graham’s depiction of America is not comprehensive — perspectives and stories are notably absent — but of the perspectives he chooses to examine, his photographs bring life to those stories.\u003c/p>\n\n",
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"excerpt": "At Pier 24, a decade of documentary and street photography explores the American condition.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/paul-graham-the-whiteness-of-the-whale/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Paul Graham: The Whiteness of the Whale’\u003c/h2>\n\u003cdiv class=\"event-desc\">Over a decade of work by the New York-based photographer.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Feb. 29, 2016\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Pier 24 Photography\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/paul-graham-the-whiteness-of-the-whale/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>At Pier 24 Photography, three series of works taken by British photograph Paul Graham across the United States since 1998 come together in \u003cem>The Whiteness of the Whale\u003c/em>.\u003cem> \u003c/em>Each series utilizes the mechanics of photography to address issues of perception and observation. In Graham’s work, the formal functions of photography stand in for light, awareness and time to link with depictions of racial inequity, despair, everyday struggle and the mundane.\u003c/p>\n\u003cp>The series\u003ci> American Night\u003c/i> (1998-2002) grapples with light as a metaphor for what is hidden and what is highlighted in society. Crisp and colorful photographs document McMansions around the U.S. and the shiny SUVs parked in front of them. Interspersed throughout the gallery are nearly-whited-out photographs of distressed urban outskirts in places like Detroit, Memphis and Los Angeles. The light erases detail — though parking lots, golden arches and power lines can be made out, often with a single figure dwarfed by his or her surroundings and circumstances.\u003c/p>\n\u003cfigure id=\"attachment_10899514\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10899514 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/American_Night_03.jpg\" alt=\"Paul Graham, Installation view of 'The Whiteness of the Whale,' 2015. (Photo: Pier 24 Photography, San Francisco)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/American_Night_03.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/American_Night_03-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Paul Graham, Installation view of ‘The Whiteness of the Whale,’ 2015. (Photo: Pier 24 Photography, San Francisco)\u003c/figcaption>\u003c/figure>\n\u003cp>A number of sequences of commonplace moments comprise \u003ci>a shimmer of possibility\u003c/i> (2004-06), depicting the passage of time created by the camera’s shutter. In \u003ci>California\u003c/i> (2005-06) a homeless man rifles through his belongings in front of a Jack in the Box. The sequence is paired with a young girl traveling down a sidewalk before abruptly stopping, spreading out her own belongings, and eating a fast food meal. Both subjects are seen carrying their possessions in public, thinly connected to each other by the thread of fast food.\u003c/p>\n\u003cp>\u003ci>New York & North Dakota\u003c/i> (2005) brings together two even more dissimilar scenes. An array of photos follows a woman through a brief, but seemingly trying, moment in her life. She is first seen walking with a slight hunch on a sidewalk before grasping her head as if to cope with some stressful situation. She stops in front of a building to smoke a cigarette, and in the final shot she is back on a busy sidewalk, clasping her head.\u003c/p>\n\u003cfigure id=\"attachment_10899521\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10899521 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Shimmer_ND_NYC_Detail_02.jpg\" alt=\"Paul Graham, 'New York & North Dakota' (detail) from the series 'a shimmer of possibility,' 2005 (Photo: Pace and Pace/MacGill Gallery, New York)\" width=\"640\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Shimmer_ND_NYC_Detail_02.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Shimmer_ND_NYC_Detail_02-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Paul Graham, ‘New York & North Dakota’ (detail) from the series ‘a shimmer of possibility,’ 2005 (Photo: Pace and Pace/MacGill Gallery, New York)\u003c/figcaption>\u003c/figure>\n\u003cp>Above this sequence is a series documenting a beautiful North Dakota sunset. Peaceful orange, purple and blue clouds hang over the New York woman’s head, clashing with her anxiety.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>The Present\u003c/i> (2009-11) was shot entirely in New York City, Graham’s adopted hometown. In this body of street photographs, focus serves as a tool for exploring awareness. Each piece is composed of two or three photographs taken seconds apart. By focusing on different subjects, objects or locations, two images of an almost identical time and place conjure strikingly distinct stories.\u003c/p>\n\u003cp>One memorable piece first focuses on a crying woman in a pink shirt emblazoned with a winking smiley face. A number of pedestrians surround her, but her anguish commands the viewer’s attention. Seconds later a group of three individuals emerge from out-of-focus obscurity; their self-confident saunter, raised heads and sunglasses render the scene casual and leisurely. These conflicting moments share time and space without interacting, their cohabitation made jarring by the photographer’s selective focus.\u003c/p>\n\u003cfigure id=\"attachment_10899513\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10899513 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/The_Present_34th-Street.jpg\" alt=\"Paul Graham, '34th Street, 4th June 2010, 3.12.58 pm' from the series 'The Present,' 2010. (Photo: Pace and Pace/MacGill Gallery, New York)\" width=\"640\" height=\"236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/The_Present_34th-Street.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/The_Present_34th-Street-400x148.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Paul Graham, ’34th Street, 4th June 2010, 3.12.58 pm’ from the series ‘The Present,’ 2010. (Photo: Pace and Pace/MacGill Gallery, New York)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Graham’s three bodies of work document very different places in America with very different conceptual and formal approaches. But even within the enormity of \u003cem>The Whiteness of the Whale\u003c/em>, the works collaborate to create a cohesive decade-long travelogue. Graham’s depiction of America is not comprehensive — perspectives and stories are notably absent — but of the perspectives he chooses to examine, his photographs bring life to those stories.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Straight Outta Compton' is a Commercial for Dr. Dre",
"headTitle": "‘Straight Outta Compton’ is a Commercial for Dr. Dre | KQED",
"content": "\u003cp>After watching \u003cem>Straight Outta Compton\u003c/em>, you might have left the movie theater thinking Dr. Dre was a pretty great guy. And why not — after all, during the end credits, instead of a standard where-are-they-now montage of all five members of N.W.A., the only one we hear about is Dre, with testimonials from Kendrick Lamar, Eminem and others touting his greatness in hip-hop production and his business savvy in \u003ca href=\"http://www.nydailynews.com/entertainment/dr-dre-sells-beats-apple-3-billion-article-1.1808975\" target=\"_blank\" rel=\"noopener\">selling Beats by Dre to Apple for $3 billion\u003c/a>.\u003c/p>\n\u003cp>Leaving the theater, this seemed off to me, and while walking home, I recounted the other ways the movie painted Dre — a \u003cem>Forbes\u003c/em>-listed corporate mogul with a $700 million personal brand to protect — in an unusually positive moral light: his noble stance in leaving Suge Knight, royalties be damned; his repeated promises to do right by his child to his mother; his tearful breakdown and self-guilt at his brother’s death; his equally emotive farewell to Eazy-E.\u003c/p>\n\u003cp>All of this fawning depiction is overcompensation, I thought to myself, since the \u003ca href=\"http://www.rollingstone.com/music/news/beating-up-the-charts-19910808\" target=\"_blank\" rel=\"noopener\">very well-known incident of Dr. Dre repeatedly slamming a female journalist’s head against the wall and then throwing her body to the ground and kicking her ribs\u003c/a> was conspicuously nowhere to be found in the film.\u003c/p>\n\u003cp>Today, that journalist, Dee Barnes, has spoken up on \u003cem>Straight Outta Compton\u003c/em> in a post for Gawker titled ‘\u003ca href=\"http://gawker.com/heres-whats-missing-from-straight-outta-compton-me-and-1724735910\" target=\"_blank\" rel=\"noopener\">Here’s What’s Missing From Straight Outta Compton: Me and the Other Women Dr. Dre Beat Up\u003c/a>.’ You can and should read her entire post \u003ca href=\"http://gawker.com/heres-whats-missing-from-straight-outta-compton-me-and-1724735910\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, which includes a chilling description of the assault:\u003c/p>\n\u003cblockquote>\u003cp>…when Dre was trying to choke me on the floor of the women’s room in Po Na Na Souk, a thought flashed through my head: “Oh my god. He’s trying to kill me.” He had me trapped in that bathroom; he held the door closed with his leg. It was surreal. “Is this happening?” I thought.\u003c/p>\u003c/blockquote>\n\u003cp>Barnes goes on to explain why she’s glad the assault wasn’t depicted on-screen:\u003c/p>\n\u003cblockquote>\u003cp>That event isn’t depicted in \u003cem>Straight Outta Compton\u003c/em>, but I don’t think it should have been, either. The truth is too ugly for a general audience. I didn’t want to see a depiction of me getting beat up, just like I didn’t want to see a depiction of Dre beating up Michel’le, his one-time girlfriend who \u003ca href=\"http://jezebel.com/dr-dres-ex-has-an-idea-why-his-abusive-past-didnt-make-1724644896\" target=\"_blank\" rel=\"noopener\">recently summed up their relationship this way\u003c/a>: “I was just a quiet girlfriend who got beat on and told to sit down and shut up.”\u003c/p>\n\u003cp>But what should have been addressed is that it occurred. \u003c/p>\u003c/blockquote>\n\u003cp>Dre’s attack on Barnes came after an interview segment aired on \u003cem>Pump it Up\u003c/em>, the show Barnes hosted, which was edited to include inflammatory comments by Ice Cube to the remaining members of N.W.A. Barnes has long explained that she had nothing to do with the editing, but today, she goes on to reveal that a certain key player was involved:\u003c/p>\n\u003cblockquote>\u003cp>I was a pawn in the game. I was in it, but so was a true opportunist: the director of \u003cem>Straight Outta Compton\u003c/em>, F. Gary Gray.\u003c/p>\n\u003cp>That’s right. F. Gary Gray, the man whose film made $60 million last weekend as it erased my attack from history, was also behind the camera to film the moment that launched that very attack. He was my cameraman for \u003cem>Pump It Up\u003c/em>! You may have noticed that Gary has been reluctant to address N.W.A.’s misogyny and Dre’s attack on me in interviews. I think a huge reason that Gary doesn’t want to address it is because then he’d have to explain his part in history. He’s obviously uncomfortable for a reason.\n\u003c/p>\u003c/blockquote>\n\u003cp>There you have it: F. Gary Gray was Dee Barnes’ cameraman for the interview that incited Dr. Dre to violently attack an innocent woman, and F. Gary Gray is the director of the film that eliminates this incident from the story.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Beats by Dre are \u003ca href=\"https://www.youtube.com/watch?v=ZsxQxS0AdBY\" target=\"_blank\" rel=\"noopener\">notoriously terrible headphones\u003c/a>. Dre’s son didn’t meet his father \u003ca href=\"http://nextshark.com/dr-dre-son-curtis-young/\" target=\"_blank\" rel=\"noopener\">until he was 20 years old\u003c/a>. Dre’s production on \u003cem>Straight Outta Compton\u003c/em> was composed from \u003ca href=\"http://www.whosampled.com/N.W.A/\" target=\"_blank\" rel=\"noopener\">the most common, unoriginal breaks in hip-hop\u003c/a>. And Dr. Dre, a producer on the film along with F. Gary Gray, suppressed any mention in the movie of his assault on Dee Barnes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>‘Staright Outta Compton’ is a commercial for Dr. Dre.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After watching \u003cem>Straight Outta Compton\u003c/em>, you might have left the movie theater thinking Dr. Dre was a pretty great guy. And why not — after all, during the end credits, instead of a standard where-are-they-now montage of all five members of N.W.A., the only one we hear about is Dre, with testimonials from Kendrick Lamar, Eminem and others touting his greatness in hip-hop production and his business savvy in \u003ca href=\"http://www.nydailynews.com/entertainment/dr-dre-sells-beats-apple-3-billion-article-1.1808975\" target=\"_blank\" rel=\"noopener\">selling Beats by Dre to Apple for $3 billion\u003c/a>.\u003c/p>\n\u003cp>Leaving the theater, this seemed off to me, and while walking home, I recounted the other ways the movie painted Dre — a \u003cem>Forbes\u003c/em>-listed corporate mogul with a $700 million personal brand to protect — in an unusually positive moral light: his noble stance in leaving Suge Knight, royalties be damned; his repeated promises to do right by his child to his mother; his tearful breakdown and self-guilt at his brother’s death; his equally emotive farewell to Eazy-E.\u003c/p>\n\u003cp>All of this fawning depiction is overcompensation, I thought to myself, since the \u003ca href=\"http://www.rollingstone.com/music/news/beating-up-the-charts-19910808\" target=\"_blank\" rel=\"noopener\">very well-known incident of Dr. Dre repeatedly slamming a female journalist’s head against the wall and then throwing her body to the ground and kicking her ribs\u003c/a> was conspicuously nowhere to be found in the film.\u003c/p>\n\u003cp>Today, that journalist, Dee Barnes, has spoken up on \u003cem>Straight Outta Compton\u003c/em> in a post for Gawker titled ‘\u003ca href=\"http://gawker.com/heres-whats-missing-from-straight-outta-compton-me-and-1724735910\" target=\"_blank\" rel=\"noopener\">Here’s What’s Missing From Straight Outta Compton: Me and the Other Women Dr. Dre Beat Up\u003c/a>.’ You can and should read her entire post \u003ca href=\"http://gawker.com/heres-whats-missing-from-straight-outta-compton-me-and-1724735910\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, which includes a chilling description of the assault:\u003c/p>\n\u003cblockquote>\u003cp>…when Dre was trying to choke me on the floor of the women’s room in Po Na Na Souk, a thought flashed through my head: “Oh my god. He’s trying to kill me.” He had me trapped in that bathroom; he held the door closed with his leg. It was surreal. “Is this happening?” I thought.\u003c/p>\u003c/blockquote>\n\u003cp>Barnes goes on to explain why she’s glad the assault wasn’t depicted on-screen:\u003c/p>\n\u003cblockquote>\u003cp>That event isn’t depicted in \u003cem>Straight Outta Compton\u003c/em>, but I don’t think it should have been, either. The truth is too ugly for a general audience. I didn’t want to see a depiction of me getting beat up, just like I didn’t want to see a depiction of Dre beating up Michel’le, his one-time girlfriend who \u003ca href=\"http://jezebel.com/dr-dres-ex-has-an-idea-why-his-abusive-past-didnt-make-1724644896\" target=\"_blank\" rel=\"noopener\">recently summed up their relationship this way\u003c/a>: “I was just a quiet girlfriend who got beat on and told to sit down and shut up.”\u003c/p>\n\u003cp>But what should have been addressed is that it occurred. \u003c/p>\u003c/blockquote>\n\u003cp>Dre’s attack on Barnes came after an interview segment aired on \u003cem>Pump it Up\u003c/em>, the show Barnes hosted, which was edited to include inflammatory comments by Ice Cube to the remaining members of N.W.A. Barnes has long explained that she had nothing to do with the editing, but today, she goes on to reveal that a certain key player was involved:\u003c/p>\n\u003cblockquote>\u003cp>I was a pawn in the game. I was in it, but so was a true opportunist: the director of \u003cem>Straight Outta Compton\u003c/em>, F. Gary Gray.\u003c/p>\n\u003cp>That’s right. F. Gary Gray, the man whose film made $60 million last weekend as it erased my attack from history, was also behind the camera to film the moment that launched that very attack. He was my cameraman for \u003cem>Pump It Up\u003c/em>! You may have noticed that Gary has been reluctant to address N.W.A.’s misogyny and Dre’s attack on me in interviews. I think a huge reason that Gary doesn’t want to address it is because then he’d have to explain his part in history. He’s obviously uncomfortable for a reason.\n\u003c/p>\u003c/blockquote>\n\u003cp>There you have it: F. Gary Gray was Dee Barnes’ cameraman for the interview that incited Dr. Dre to violently attack an innocent woman, and F. Gary Gray is the director of the film that eliminates this incident from the story.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Beats by Dre are \u003ca href=\"https://www.youtube.com/watch?v=ZsxQxS0AdBY\" target=\"_blank\" rel=\"noopener\">notoriously terrible headphones\u003c/a>. Dre’s son didn’t meet his father \u003ca href=\"http://nextshark.com/dr-dre-son-curtis-young/\" target=\"_blank\" rel=\"noopener\">until he was 20 years old\u003c/a>. Dre’s production on \u003cem>Straight Outta Compton\u003c/em> was composed from \u003ca href=\"http://www.whosampled.com/N.W.A/\" target=\"_blank\" rel=\"noopener\">the most common, unoriginal breaks in hip-hop\u003c/a>. And Dr. Dre, a producer on the film along with F. Gary Gray, suppressed any mention in the movie of his assault on Dee Barnes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>‘Staright Outta Compton’ is a commercial for Dr. Dre.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Taylor Swift, Regular Super Normal Girl Like You and Me, Plays Levi's Stadium",
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"content": "\u003cp>There is very little to say about Taylor Swift that has not already been said about Taylor Swift — in thinkpieces, in profiles, in the daily analysis of her Twitter feed that passes for “celebrity journalism” in 2015. But try as you might to get to the heart of why 25-year-old Taylor Alison Swift is the biggest pop star in the world right now, you won’t really understand it until you see her perform live.\u003c/p>\n\u003cp>This is not to say that her vocal performance at Levi’s Stadium on Aug. 14, the first of two nights she played at the squeaky-clean new venue this weekend, exactly blew me away. Nor did any of the visual elements of the stage show, although her team of hard-working, hard-sweating male backup dancers deserve a nod. I like a lot of Taylor Swift’s music and I find her fascinating as a phenomenon, I should say upfront. But the thing I did not comprehend until I saw Taylor Swift in a glittery blue two-piece, perched atop a runway that had morphed into a giant swinging crane, maneuvering over a crowd of 50,000 screaming fans who all paid $150 to $1500 to be there and begging them to believe that \u003cem>no really, I’m a big dork, totally insecure, super normal and just like you\u003c/em>, is that Taylor Swift has maybe pulled off the biggest trick in the history of pop music. It’s a coup of the highest degree to be able to make a surprised face and have it communicate that you can’t believe all these people are here to see little old you while you are flying over them, literally dancing on a sparkly pedestal in the center of an enormous football field.\u003c/p>\n\u003cfigure id=\"attachment_10900527\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10900527\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/TayEmbed-e1439793159480.jpg\" alt=\"Taylor Swift performs at Levi's Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\" width=\"640\" height=\"480\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs at Levi’s Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>“This part of the country has always been really special to me,” she said early in the evening, smile spreading across her face, which would have been a more convincing comment if she had referred to it as the Bay Area and not “Santa Clara, California!” at least a half-dozen times over the course of her two-hour set. Still, the attempt to make us all feel special ran strong through her stage banter, which took the form of confessional, sometimes rambling pseudo-diary entries: about how if someone’s not texting you back within a reasonable time frame you deserve better (sure!); about how it’s important, when you find happiness, to just enjoy it and not be fearful about when it’s going to end. A monologue about how much she appreciates that her fans feel comfortable enough to share their lives with her via social media turned into the following: “So I just want to give a big shout out to all the people here who have anything to do with tech!” Woooo. Eat your hearts out, \u003ca href=\"http://gizmodo.com/meet-the-truthers-who-think-taylor-swift-plotted-with-a-1713491244\" target=\"_blank\" rel=\"noopener\">Apple Music truthers\u003c/a>. The woman knows how to stay on brand.\u003c/p>\n\u003cp>As for the songs: This was the \u003cem>1989\u003c/em> tour, a party for the album which signaled that Swift’s crossover from country to pure pop is complete, and she performed nearly the entire hook-filled, \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/6576210/taylor-swift-bad-blood-max-martin-20th-number-1-hot-100\" target=\"_blank\" rel=\"noopener\">Max Martin-coated album\u003c/a>, opening with “Welcome to New York” as the city’s skyline appeared behind her. As pop stars go, Swift has always been a strong songwriter, even if stadium shows don’t exactly lend themselves to highlighting it. “Blank Space” sounded good because “Blank Space” is an exceedingly good pop song. “I Knew You Were Trouble,” off 2012’s \u003cem>Red\u003c/em>, got the most exciting reboot, with super-heavy electric guitar and industrial levels of reverb turning it into something like metal; in an alternate universe it could have been played off a truckbed by the crazy guitar guy in \u003cem>Mad Max: Fury Road\u003c/em>. “Love Story,” which she explained she wanted to reinterpret to make it blend with the other tracks on \u003cem>1989\u003c/em>, fared much worse, sounding more like a discarded, downtempo Abba tune than a reinvented country-pop one. The rapping breakdown on “Shake It Off” was even more embarrassing live than it is in the music video, which I didn’t know was possible. “Out of the Woods” continues to be the most underrated song on the record, helped here tremendously by a chorus of live backup vocalists, not as tremendously by highly literal visuals (oh look we’re in the woods and now we’re, um, out of them).\u003c/p>\n\u003cfigure id=\"attachment_10900528\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10900528\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/TayMJ.jpg\" alt=\"Taylor Swift performs at Levi's Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs at Levi’s Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED) \u003ccite>(Emma Silvers/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In general, the visuals provided by the crowd, each of us dutifully wearing the multi-colored light-up bracelets that had been taped to our seats, provided the most interesting scenery of the night. They were more interesting, certainly, than anything Swift’s \u003ca href=\"http://www.buzzfeed.com/annehelenpetersen/kaylor-forever\" target=\"_blank\" rel=\"noopener\">carefully curated gaggle of famous friends\u003c/a> had to say about her in a series of pre-taped interviews that ran on giant screens during set breaks and costume changes. “A typical hang with Taylor? Well, there’s always food — Chinese takeout that you eat way too much of, baked goods,” giggled supermodel Cara Delevingne, prompting more than one of us to flip her the bird, I’m guessing. The members of Haim talked about Swift’s cats, while Lena Dunham, Jaime King, and Selena Gomez all shared their own “she’s totally just a regular girl” type of anecdotes that totally just felt, well, forced. If you’re really just a regular girl, why am I watching supermodels on giant screens insisting that you’re really just a regular girl?\u003c/p>\n\u003cfigure id=\"attachment_10900529\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10900529\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/TayPLot-e1439793280237.jpg\" alt=\"Taylor Swift fans in the parking lot at Levi's Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\" width=\"640\" height=\"490\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift fans in the parking lot at Levi’s Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, of course, it doesn’t matter what any music or culture critic has to say about Taylor Swift, because for those who belong to Taylor Swift’s empire — and there are zero barriers to entry — the distinction between “super normal real girl Taylor Swift” and “years of market research smushed into the shape of a leggy blonde billionaire named Taylor Swift” is a false dichotomy. If you are a 13-year-old girl right now, you have grown up following your favorite musicians on Twitter and hoping they will reply to you, and thinking celebrities owe you their private lives via Instagram, and Taylor Swift is without a doubt the best at this particular game. Throw in an understanding of how to skirt the line between family-friendly tween idol and legitimate sex symbol, a remarkable control of branding, some perfectly general lyrics about self-esteem and relationships — and, yes, hard work — and you’ve got yourself a truly exceptional pop star.\u003c/p>\n\u003cp>What could be realer than that?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Friday night, between perfectly polished songs from her album '1989,' Taylor Swift continued her hat trick of appearing completely perplexed at her own massive popularity.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is very little to say about Taylor Swift that has not already been said about Taylor Swift — in thinkpieces, in profiles, in the daily analysis of her Twitter feed that passes for “celebrity journalism” in 2015. But try as you might to get to the heart of why 25-year-old Taylor Alison Swift is the biggest pop star in the world right now, you won’t really understand it until you see her perform live.\u003c/p>\n\u003cp>This is not to say that her vocal performance at Levi’s Stadium on Aug. 14, the first of two nights she played at the squeaky-clean new venue this weekend, exactly blew me away. Nor did any of the visual elements of the stage show, although her team of hard-working, hard-sweating male backup dancers deserve a nod. I like a lot of Taylor Swift’s music and I find her fascinating as a phenomenon, I should say upfront. But the thing I did not comprehend until I saw Taylor Swift in a glittery blue two-piece, perched atop a runway that had morphed into a giant swinging crane, maneuvering over a crowd of 50,000 screaming fans who all paid $150 to $1500 to be there and begging them to believe that \u003cem>no really, I’m a big dork, totally insecure, super normal and just like you\u003c/em>, is that Taylor Swift has maybe pulled off the biggest trick in the history of pop music. It’s a coup of the highest degree to be able to make a surprised face and have it communicate that you can’t believe all these people are here to see little old you while you are flying over them, literally dancing on a sparkly pedestal in the center of an enormous football field.\u003c/p>\n\u003cfigure id=\"attachment_10900527\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10900527\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/TayEmbed-e1439793159480.jpg\" alt=\"Taylor Swift performs at Levi's Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\" width=\"640\" height=\"480\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs at Levi’s Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>“This part of the country has always been really special to me,” she said early in the evening, smile spreading across her face, which would have been a more convincing comment if she had referred to it as the Bay Area and not “Santa Clara, California!” at least a half-dozen times over the course of her two-hour set. Still, the attempt to make us all feel special ran strong through her stage banter, which took the form of confessional, sometimes rambling pseudo-diary entries: about how if someone’s not texting you back within a reasonable time frame you deserve better (sure!); about how it’s important, when you find happiness, to just enjoy it and not be fearful about when it’s going to end. A monologue about how much she appreciates that her fans feel comfortable enough to share their lives with her via social media turned into the following: “So I just want to give a big shout out to all the people here who have anything to do with tech!” Woooo. Eat your hearts out, \u003ca href=\"http://gizmodo.com/meet-the-truthers-who-think-taylor-swift-plotted-with-a-1713491244\" target=\"_blank\" rel=\"noopener\">Apple Music truthers\u003c/a>. The woman knows how to stay on brand.\u003c/p>\n\u003cp>As for the songs: This was the \u003cem>1989\u003c/em> tour, a party for the album which signaled that Swift’s crossover from country to pure pop is complete, and she performed nearly the entire hook-filled, \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/6576210/taylor-swift-bad-blood-max-martin-20th-number-1-hot-100\" target=\"_blank\" rel=\"noopener\">Max Martin-coated album\u003c/a>, opening with “Welcome to New York” as the city’s skyline appeared behind her. As pop stars go, Swift has always been a strong songwriter, even if stadium shows don’t exactly lend themselves to highlighting it. “Blank Space” sounded good because “Blank Space” is an exceedingly good pop song. “I Knew You Were Trouble,” off 2012’s \u003cem>Red\u003c/em>, got the most exciting reboot, with super-heavy electric guitar and industrial levels of reverb turning it into something like metal; in an alternate universe it could have been played off a truckbed by the crazy guitar guy in \u003cem>Mad Max: Fury Road\u003c/em>. “Love Story,” which she explained she wanted to reinterpret to make it blend with the other tracks on \u003cem>1989\u003c/em>, fared much worse, sounding more like a discarded, downtempo Abba tune than a reinvented country-pop one. The rapping breakdown on “Shake It Off” was even more embarrassing live than it is in the music video, which I didn’t know was possible. “Out of the Woods” continues to be the most underrated song on the record, helped here tremendously by a chorus of live backup vocalists, not as tremendously by highly literal visuals (oh look we’re in the woods and now we’re, um, out of them).\u003c/p>\n\u003cfigure id=\"attachment_10900528\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10900528\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/TayMJ.jpg\" alt=\"Taylor Swift performs at Levi's Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs at Levi’s Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED) \u003ccite>(Emma Silvers/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In general, the visuals provided by the crowd, each of us dutifully wearing the multi-colored light-up bracelets that had been taped to our seats, provided the most interesting scenery of the night. They were more interesting, certainly, than anything Swift’s \u003ca href=\"http://www.buzzfeed.com/annehelenpetersen/kaylor-forever\" target=\"_blank\" rel=\"noopener\">carefully curated gaggle of famous friends\u003c/a> had to say about her in a series of pre-taped interviews that ran on giant screens during set breaks and costume changes. “A typical hang with Taylor? Well, there’s always food — Chinese takeout that you eat way too much of, baked goods,” giggled supermodel Cara Delevingne, prompting more than one of us to flip her the bird, I’m guessing. The members of Haim talked about Swift’s cats, while Lena Dunham, Jaime King, and Selena Gomez all shared their own “she’s totally just a regular girl” type of anecdotes that totally just felt, well, forced. If you’re really just a regular girl, why am I watching supermodels on giant screens insisting that you’re really just a regular girl?\u003c/p>\n\u003cfigure id=\"attachment_10900529\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10900529\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/TayPLot-e1439793280237.jpg\" alt=\"Taylor Swift fans in the parking lot at Levi's Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\" width=\"640\" height=\"490\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift fans in the parking lot at Levi’s Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, of course, it doesn’t matter what any music or culture critic has to say about Taylor Swift, because for those who belong to Taylor Swift’s empire — and there are zero barriers to entry — the distinction between “super normal real girl Taylor Swift” and “years of market research smushed into the shape of a leggy blonde billionaire named Taylor Swift” is a false dichotomy. If you are a 13-year-old girl right now, you have grown up following your favorite musicians on Twitter and hoping they will reply to you, and thinking celebrities owe you their private lives via Instagram, and Taylor Swift is without a doubt the best at this particular game. Throw in an understanding of how to skirt the line between family-friendly tween idol and legitimate sex symbol, a remarkable control of branding, some perfectly general lyrics about self-esteem and relationships — and, yes, hard work — and you’ve got yourself a truly exceptional pop star.\u003c/p>\n\u003cp>What could be realer than that?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Violins, Valedictorians, and Video Games: Felicia Day's New Memoir",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-collectors-nile-sunset-annex-the-many-hats/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Felicia Day\u003c/h2>\n\u003cdiv class=\"event-desc\">Internet-famous actress discusses new book.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 20\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Jewish Community Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.jccsf.org/arts-ideas/lectures/arts-entertainment/felicia-day\" target=\"_blank\" rel=\"noopener\">Event Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 21\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Book Passage Ferry Building\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.bookpassage.com/event/felicia-day-youre-never-weird-internet-almost\" target=\"_blank\" rel=\"noopener\">Event Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>We’re living in the era of the female celebrity memoir. Everyone from Amy Poehler to Lena Dunham to Amanda Palmer has written one, usually with a message about saying yes to opportunities. Now, it’s Felicia Day’s turn, with \u003cem>You’re Never Weird On The Internet (Almost)\u003c/em> (Touchstone; $25.99).\u003c/p>\n\u003cp>Day, who appears at multiple book events in the Bay Area this month, is internet famous. While many might not know her work, she’s popular online for her roles in Joss Whedon projects like \u003cem>Dr. Horrible’s Sing-Along Blog\u003c/em> and for creating the web series \u003cem>The Guild\u003c/em>.\u003c/p>\n\u003cp>In her memoir, Day uses the same nervous, funny voice used in her online videos. One second she’s on the verge of a freakout, the next she’s doing cartwheels on the page with all-caps and exclamation points. The book is peppered with Photoshopped images and humorous insights into her childhood: “Growing up without being judged by other kids allowed me to be okay with liking things no one else liked,” she writes. “How else could a twelve-year-old girl be so well versed in dragon lore and film noir?”\u003c/p>\n\u003cp>But Day isn’t weird so much as interesting. A home-schooled Southerner who moved around a lot, she describes a laissez-faire childhood that included computer games, fantasy books, and visiting Civil War memorial sites. (“It’s super fun to roll down a grassy hill where thousands of Confederate bodies are buried,” she writes.) She’s also smart, almost preciously so; upon learning she had to pass her SATs to get into college, she completed 100 practice tests over five days and got an almost perfect score. She enrolled in college at age 16 with a double major in math and violin, and graduated as valedictorian.\u003c/p>\n\u003cfigure id=\"attachment_10896303\" class=\"wp-caption alignright\" style=\"max-width: 425px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10896303\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/final-cover.jpg\" alt=\"Felicia Day's new memoir.\" width=\"425\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/final-cover.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/final-cover-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/final-cover-398x600.jpg 398w\" sizes=\"(max-width: 425px) 100vw, 425px\">\u003cfigcaption class=\"wp-caption-text\">Felicia Day’s new memoir.\u003c/figcaption>\u003c/figure>\n\u003cp>Not that Day wants you to know these things. Her accomplishments are buried underneath self-deprecating humor that seems almost pathological. Here’s how she tells you about her musical skills: “Surprisingly, people didn’t invite the sixteen-year-old violin prodigy to keggers.” Hang on, she was a \u003cem>violin prodigy\u003c/em>? Talk about burying the lede.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To hear Day tell it, she spent her entire acting career doing commercials and playing bit parts as a secretary. There’s little mention of her work in \u003cem>Buffy the Vampire Slayer\u003c/em> or \u003cem>Dr. Horrible’s Sing-Along Blog\u003c/em>. If you want insider Joss Whedon information, you’re out of luck here (though Whedon does write a flattering forward for the book).\u003c/p>\n\u003cp>What Day \u003cem>does\u003c/em> go into detail about is her addiction to the video game \u003cem>World of Warcraft\u003c/em>. At the height of her addiction, Day played the game to the determent of everything else. “I stopped going to acting classes. I stopped performing improv. Or doing plays. Or socializing with real-life human beings.” As is often the case with this book, Day glosses over the effect this addiction had on her life and career, or what it meant to her on a deeper level. But she does open up about how it led to her making \u003cem>The Guild\u003c/em>. She takes the reader through the initial idea for the series, her struggles writing it, making and promoting the first video, and how all that DIY grit led to her carving out a more satisfying career for herself.\u003c/p>\n\u003cp>The book ends with a chapter on GamerGate, the ongoing controversy about video-game reviewing that’s led to several women being attacked online. Day was one of them, and the situation sounds terrifying. It started when one of her musical videos elicited a “tidal wave of bile.” There were “hundreds and hundreds of comments, the depravity of which even jaded little me had never seen.” When she posted an essay about the situation, trolls reacted by putting her address online. Soon people were sitting in cars outside her house. There were weird phone calls. She received certified letters that said, “I know where you live.” She worried someone would hurt her dog. “I will never feel 100-percent safe in my own home again,” she writes, pinpointing the real-life cost of misogynistic internet bullying.\u003c/p>\n\u003cp>GamerGate made Day worry about the state of the internet. Instead of a place where people can be themselves and connect with others, she’s concerned the internet “was really a place where people could steep themselves in their own worldview until they became willfully blind to everything else.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a chilling point. Too often people seem to forget that when they’re arguing online, there’s another human on the other end of the computer connection. \u003cem>You’re Never Weird On The Internet (Almost)\u003c/em> reminds us that even internet celebrities have feelings too.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-collectors-nile-sunset-annex-the-many-hats/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Felicia Day\u003c/h2>\n\u003cdiv class=\"event-desc\">Internet-famous actress discusses new book.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 20\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Jewish Community Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.jccsf.org/arts-ideas/lectures/arts-entertainment/felicia-day\" target=\"_blank\" rel=\"noopener\">Event Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 21\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Book Passage Ferry Building\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.bookpassage.com/event/felicia-day-youre-never-weird-internet-almost\" target=\"_blank\" rel=\"noopener\">Event Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>We’re living in the era of the female celebrity memoir. Everyone from Amy Poehler to Lena Dunham to Amanda Palmer has written one, usually with a message about saying yes to opportunities. Now, it’s Felicia Day’s turn, with \u003cem>You’re Never Weird On The Internet (Almost)\u003c/em> (Touchstone; $25.99).\u003c/p>\n\u003cp>Day, who appears at multiple book events in the Bay Area this month, is internet famous. While many might not know her work, she’s popular online for her roles in Joss Whedon projects like \u003cem>Dr. Horrible’s Sing-Along Blog\u003c/em> and for creating the web series \u003cem>The Guild\u003c/em>.\u003c/p>\n\u003cp>In her memoir, Day uses the same nervous, funny voice used in her online videos. One second she’s on the verge of a freakout, the next she’s doing cartwheels on the page with all-caps and exclamation points. The book is peppered with Photoshopped images and humorous insights into her childhood: “Growing up without being judged by other kids allowed me to be okay with liking things no one else liked,” she writes. “How else could a twelve-year-old girl be so well versed in dragon lore and film noir?”\u003c/p>\n\u003cp>But Day isn’t weird so much as interesting. A home-schooled Southerner who moved around a lot, she describes a laissez-faire childhood that included computer games, fantasy books, and visiting Civil War memorial sites. (“It’s super fun to roll down a grassy hill where thousands of Confederate bodies are buried,” she writes.) She’s also smart, almost preciously so; upon learning she had to pass her SATs to get into college, she completed 100 practice tests over five days and got an almost perfect score. She enrolled in college at age 16 with a double major in math and violin, and graduated as valedictorian.\u003c/p>\n\u003cfigure id=\"attachment_10896303\" class=\"wp-caption alignright\" style=\"max-width: 425px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10896303\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/final-cover.jpg\" alt=\"Felicia Day's new memoir.\" width=\"425\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/final-cover.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/final-cover-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/final-cover-398x600.jpg 398w\" sizes=\"(max-width: 425px) 100vw, 425px\">\u003cfigcaption class=\"wp-caption-text\">Felicia Day’s new memoir.\u003c/figcaption>\u003c/figure>\n\u003cp>Not that Day wants you to know these things. Her accomplishments are buried underneath self-deprecating humor that seems almost pathological. Here’s how she tells you about her musical skills: “Surprisingly, people didn’t invite the sixteen-year-old violin prodigy to keggers.” Hang on, she was a \u003cem>violin prodigy\u003c/em>? Talk about burying the lede.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To hear Day tell it, she spent her entire acting career doing commercials and playing bit parts as a secretary. There’s little mention of her work in \u003cem>Buffy the Vampire Slayer\u003c/em> or \u003cem>Dr. Horrible’s Sing-Along Blog\u003c/em>. If you want insider Joss Whedon information, you’re out of luck here (though Whedon does write a flattering forward for the book).\u003c/p>\n\u003cp>What Day \u003cem>does\u003c/em> go into detail about is her addiction to the video game \u003cem>World of Warcraft\u003c/em>. At the height of her addiction, Day played the game to the determent of everything else. “I stopped going to acting classes. I stopped performing improv. Or doing plays. Or socializing with real-life human beings.” As is often the case with this book, Day glosses over the effect this addiction had on her life and career, or what it meant to her on a deeper level. But she does open up about how it led to her making \u003cem>The Guild\u003c/em>. She takes the reader through the initial idea for the series, her struggles writing it, making and promoting the first video, and how all that DIY grit led to her carving out a more satisfying career for herself.\u003c/p>\n\u003cp>The book ends with a chapter on GamerGate, the ongoing controversy about video-game reviewing that’s led to several women being attacked online. Day was one of them, and the situation sounds terrifying. It started when one of her musical videos elicited a “tidal wave of bile.” There were “hundreds and hundreds of comments, the depravity of which even jaded little me had never seen.” When she posted an essay about the situation, trolls reacted by putting her address online. Soon people were sitting in cars outside her house. There were weird phone calls. She received certified letters that said, “I know where you live.” She worried someone would hurt her dog. “I will never feel 100-percent safe in my own home again,” she writes, pinpointing the real-life cost of misogynistic internet bullying.\u003c/p>\n\u003cp>GamerGate made Day worry about the state of the internet. Instead of a place where people can be themselves and connect with others, she’s concerned the internet “was really a place where people could steep themselves in their own worldview until they became willfully blind to everything else.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a chilling point. Too often people seem to forget that when they’re arguing online, there’s another human on the other end of the computer connection. \u003cem>You’re Never Weird On The Internet (Almost)\u003c/em> reminds us that even internet celebrities have feelings too.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In 'Straight Outta Compton,' Hip-Hop Legends Get The Biopic Treatment",
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"content": "\u003cp>“I can make you legit.”\u003c/p>\n\u003cp>That’s the promise Jerry Heller, a veteran rock manager, makes to Eric “Eazy-E” Wright in an early scene in \u003cem>Straight Outta Compton\u003c/em>, a mostly exhilarating biopic about L.A. hip-hop legends N.W.A. The phrase missing from the end of that first sentence is “…with the white people who hold all the power in the music industry.” It doesn’t need to be said. Even with talents as electric as Andre Young and O’Shea Jackson — future icons we’d come to know as Dr. Dre and Ice Cube, respectively — N.W.A. cannot cross over to the mainstream without getting past white gatekeepers. And if that means signing on with a backroom operator like Heller, the trade-off seems reasonable to five young men looking for a way out of the ghetto. They can renegotiate later.\u003c/p>\n\u003cp>Named after N.W.A.’s breakthrough album, the sprawling \u003cem>Straight Outta Compton\u003c/em> is about many things: A watershed moment in music history, past and present racial tensions connecting Rodney King’s L.A. to Michael Brown’s Ferguson, the power of “reality rap” to tell uncomfortable truths and incite controversy. But above all, the film celebrates the All-American values of hard work and entrepreneurship. It pays tribute to black artists who made \u003cem>themselves\u003c/em> legit, years after millions of album sales and sold-out arena shows failed to bring them real control of their careers. How do we know they’re legit now? Dr. Dre and Ice Cube produced this major-studio movie as a monument to their achievements.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-F5WcFPDzko\u003c/p>\n\u003cp>There’s no getting around the self-mythologizing aspect of a biopic produced by its subjects and the way it papers over less heroic facts about these men, like \u003ca href=\"http://gawker.com/remember-when-dr-dre-bashed-a-female-journalists-face-1721368450\">Dre’s assault on journalist Dee Barnes\u003c/a>. It would not be that cynical to call \u003cem>Straight Outta Compton\u003c/em> an act of brand extension or a gauche attempt by hip-hop royalty to shape their cultural legacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Director F. Gary Gray, whose ties to Ice Cube go back to their 1995 comedy hit \u003cem>Friday\u003c/em>, starts with Eazy (Jason Mitchell) running drugs in Compton before taking his experience and business acumen into a more legitimate field. Looking for money to realize their musical ambitions, Dre (Corey Hawkins), a virtuosic club DJ, and Ice Cube (O’Shea Jackson, Jr., Cube’s real-life son), a ferocious lyricist and rapper, turn to Eazy for funding and get more than they bargained for. Along with two other members, MC Ren (Aldis Hodge) and DJ Yella (Neil Brown, Jr.), they find some success in launching the Ruthless Records label, but it isn’t until Eazy strikes a deal with Heller that N.W.A. can get the distribution and promotion necessary to propel them to crossover superstardom.\u003c/p>\n\u003cp>The recording of the \u003cem>Straight Outta Compton\u003c/em> album and the cross-country bacchanal that followed is by far the strongest section of the film. Gray and his exuberant young cast seize on the joys of creative collaboration and the purity of art as an end in itself, before larger cultural forces take hold and yank them in unwelcome directions. The tour crackles with thrilling volatility, with the highs of live shows and hotel-room orgies checked by the lows of media scolds and First Amendment conflicts over the rage-filled anthem “F–k The Police.” Even when they’re tossed into a paddy wagon in Detroit for allegedly instigating a riot, they’re able to see it all as a grand cross-country adventure.\u003c/p>\n\u003cp>Once the group splinters off into rival factions, due mainly to Eazy and Heller’s partnership freezing the others out, \u003cem>Straight Outta Compton\u003c/em> sags a little from a formlessness which plagues most artist biopics. In two-and-a-half hours, the film dutifully ticks off the musicians’ greatest moments: The founding of Death Row Records with the pathological Suge Knight (played by cigar-chomping fury by R. Marcos Taylor), the solo successes of Cube’s \u003cem>AmeriKKKa’s Most Wanted\u003c/em> and Dre’s \u003cem>The Chronic\u003c/em>, the “eureka” moment of Dre and Snoop Dogg stumbling on the keyboard riff for “Nuthin’ But a ‘G’ Thang.” As in life, getting back to N.W.A. proves difficult for the movie to do.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But if any film should be forgiven its excesses, it’s \u003cem>Straight Outta Compton\u003c/em>, which is about the clashes and camaraderie among men whose unruliness sparked a cultural moment that was beyond their ability — and their willingness — to contain. Their story is too big for a single movie, but Gray’s high-gloss abridgment latches on powerfully to their hard-won independence and self-actualization, suggesting that true freedom is more difficult to achieve than success. For the members of N.W.A., escaping the slums is easier than getting out of a contract.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I can make you legit.”\u003c/p>\n\u003cp>That’s the promise Jerry Heller, a veteran rock manager, makes to Eric “Eazy-E” Wright in an early scene in \u003cem>Straight Outta Compton\u003c/em>, a mostly exhilarating biopic about L.A. hip-hop legends N.W.A. The phrase missing from the end of that first sentence is “…with the white people who hold all the power in the music industry.” It doesn’t need to be said. Even with talents as electric as Andre Young and O’Shea Jackson — future icons we’d come to know as Dr. Dre and Ice Cube, respectively — N.W.A. cannot cross over to the mainstream without getting past white gatekeepers. And if that means signing on with a backroom operator like Heller, the trade-off seems reasonable to five young men looking for a way out of the ghetto. They can renegotiate later.\u003c/p>\n\u003cp>Named after N.W.A.’s breakthrough album, the sprawling \u003cem>Straight Outta Compton\u003c/em> is about many things: A watershed moment in music history, past and present racial tensions connecting Rodney King’s L.A. to Michael Brown’s Ferguson, the power of “reality rap” to tell uncomfortable truths and incite controversy. But above all, the film celebrates the All-American values of hard work and entrepreneurship. It pays tribute to black artists who made \u003cem>themselves\u003c/em> legit, years after millions of album sales and sold-out arena shows failed to bring them real control of their careers. How do we know they’re legit now? Dr. Dre and Ice Cube produced this major-studio movie as a monument to their achievements.\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/-F5WcFPDzko'\n title='//www.youtube.com/embed/-F5WcFPDzko'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s no getting around the self-mythologizing aspect of a biopic produced by its subjects and the way it papers over less heroic facts about these men, like \u003ca href=\"http://gawker.com/remember-when-dr-dre-bashed-a-female-journalists-face-1721368450\">Dre’s assault on journalist Dee Barnes\u003c/a>. It would not be that cynical to call \u003cem>Straight Outta Compton\u003c/em> an act of brand extension or a gauche attempt by hip-hop royalty to shape their cultural legacy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Director F. Gary Gray, whose ties to Ice Cube go back to their 1995 comedy hit \u003cem>Friday\u003c/em>, starts with Eazy (Jason Mitchell) running drugs in Compton before taking his experience and business acumen into a more legitimate field. Looking for money to realize their musical ambitions, Dre (Corey Hawkins), a virtuosic club DJ, and Ice Cube (O’Shea Jackson, Jr., Cube’s real-life son), a ferocious lyricist and rapper, turn to Eazy for funding and get more than they bargained for. Along with two other members, MC Ren (Aldis Hodge) and DJ Yella (Neil Brown, Jr.), they find some success in launching the Ruthless Records label, but it isn’t until Eazy strikes a deal with Heller that N.W.A. can get the distribution and promotion necessary to propel them to crossover superstardom.\u003c/p>\n\u003cp>The recording of the \u003cem>Straight Outta Compton\u003c/em> album and the cross-country bacchanal that followed is by far the strongest section of the film. Gray and his exuberant young cast seize on the joys of creative collaboration and the purity of art as an end in itself, before larger cultural forces take hold and yank them in unwelcome directions. The tour crackles with thrilling volatility, with the highs of live shows and hotel-room orgies checked by the lows of media scolds and First Amendment conflicts over the rage-filled anthem “F–k The Police.” Even when they’re tossed into a paddy wagon in Detroit for allegedly instigating a riot, they’re able to see it all as a grand cross-country adventure.\u003c/p>\n\u003cp>Once the group splinters off into rival factions, due mainly to Eazy and Heller’s partnership freezing the others out, \u003cem>Straight Outta Compton\u003c/em> sags a little from a formlessness which plagues most artist biopics. In two-and-a-half hours, the film dutifully ticks off the musicians’ greatest moments: The founding of Death Row Records with the pathological Suge Knight (played by cigar-chomping fury by R. Marcos Taylor), the solo successes of Cube’s \u003cem>AmeriKKKa’s Most Wanted\u003c/em> and Dre’s \u003cem>The Chronic\u003c/em>, the “eureka” moment of Dre and Snoop Dogg stumbling on the keyboard riff for “Nuthin’ But a ‘G’ Thang.” As in life, getting back to N.W.A. proves difficult for the movie to do.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But if any film should be forgiven its excesses, it’s \u003cem>Straight Outta Compton\u003c/em>, which is about the clashes and camaraderie among men whose unruliness sparked a cultural moment that was beyond their ability — and their willingness — to contain. Their story is too big for a single movie, but Gray’s high-gloss abridgment latches on powerfully to their hard-won independence and self-actualization, suggesting that true freedom is more difficult to achieve than success. For the members of N.W.A., escaping the slums is easier than getting out of a contract.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Diary’ Tells a Coming-of-Age Tale Rarely Seen on Film",
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"content": "\u003cp>It’s 1976 in San Francisco and Minnie Goetze is 15 years old, artistically inclined, full of feelings and interested in sex. She’s a fictional character. But in some ways she is every girl who ever kept a diary, felt misunderstood, worried she’d never be loved and went looking for that love in all the wrong places.\u003c/p>\n\u003cp>\u003ci>The Diary of a Teenage Girl\u003c/i>, opening tomorrow in San Francisco and starring Kristen Wiig, Alexander Skarsgård and newcomer Bel Powley, is a skillful adaptation of Phoebe Gloeckner’s semi-autobiographical \u003ca href=\"http://www.ravenblond.com/diary.html\" target=\"_blank\" rel=\"noopener\">“account in words and pictures”\u003c/a> by writer and first-time director Marielle Heller.\u003c/p>\n\u003cfigure id=\"attachment_10893123\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10893123\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/HellerWeb.jpg\" alt=\"Director Marielle Heller. (Photo: Sam Emerson/Sony Pictures Classics)\" width=\"640\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/HellerWeb.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/HellerWeb-400x299.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Director Marielle Heller. (Photo: Sam Emerson/Sony Pictures Classics) \u003ccite>(Photo: Sam Emerson/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I read it I was like, oh, boys must’ve felt this way when they read \u003ci>Catcher in the Rye\u003c/i>,” Heller says. Gloeckner’s story and the film begin without preamble at Minnie’s first sexual experience. It’s the start of a dramatic and tumultuous affair with Monroe (Skarsgård), her mother’s 34-year-old boyfriend and, according to Minnie, “the handsomest man in the world.”\u003c/p>\n\u003cp>The main character’s typewritten diary in Gloeckner’s book translates on screen to cassette tape audio recordings, kept hidden in a box under the teenager’s bed. Minnie’s drawings bound off her sketchbook pages thanks to the work of animator \u003ca href=\"http://saragunnarsdottir.com/\" target=\"_blank\" rel=\"noopener\">Sara Gunnarsdottir\u003c/a>, filling the movie with Aline Kominsky-esque animations of big-bottomed women and vertiginous San Francisco streets.\u003c/p>\n\u003cfigure id=\"attachment_10893121\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10893121\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/BelWeb.jpg\" alt=\"Bel Powley as Minnie Goetze. (Photo: Sam Emerson/Sony Pictures Classics)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BelWeb.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BelWeb-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bel Powley as Minnie Goetze. (Photo: Sam Emerson/Sony Pictures Classics)\u003c/figcaption>\u003c/figure>\n\u003cp>Minnie narrates the film with her vacillating emotions (she goes from “maybe I should kill myself” to “I should paint a picture” in 60 seconds flat), young-person logic (“school is essentially pointless”) and pitch-perfect humor. She cuts class, smokes weed, drops acid, goes to midnight screenings of \u003ci>The Rocky Horror Picture Show\u003c/i>, visits comic book stores and gazes out over a foggy Dolores Park, preoccupied with boys, men, love, sex and herself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In other words, she is a teenage girl — the likes of which we rarely see on screen. She’s not precociously witty (see \u003cem>Juno\u003c/em>), woefully under-rendered (see Denise in \u003cem>Can’t Hardly Wait\u003c/em>) or the object of someone else’s sexual fantasy (see Nadia in \u003ci>American Pie, \u003c/i>Linda in \u003cem>Fast Times at Ridgemont High \u003c/em>or Jennifer Love Hewitt in anything, ever). “I felt this need to almost protect Minnie, to protect the genuine honesty of her voice and how true she is to herself,” Heller says. “She exists without shame, she’s really curious and she says all of the things that everyone else thinks but is too afraid to say.”\u003c/p>\n\u003cfigure id=\"attachment_10893125\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10893125\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Monroe.jpg\" alt=\"Alexander Skarsgård as Monroe. (Photo: Sam Emerson/Sony Pictures Classics)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Monroe.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Monroe-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Skarsgård as Monroe. (Photo: Sam Emerson/Sony Pictures Classics)\u003c/figcaption>\u003c/figure>\n\u003cp>Bel Powley, who plays Minnie in the film, says Heller provides this platform. “People are too afraid to say it because people don’t make movies or write novels or anything about it, so it’s a vicious cycle,” she says. Minnie’s ability to see and speak the truth, to relate her story in text and graphic form, is her lifeline out of the darker corners in Gloeckner’s book, which include forays into prostitution, violence and heavy drug use.\u003c/p>\n\u003cp>While \u003ci>The Diary of a Teenage Girl\u003c/i> has plenty of explicit scenes, the relationship between Minnie and Monroe is less uneven than it would seem. Mostly ignored by her mother (Wiig), labeled “intense” by a male classmate and only encouraged intellectually by an estranged and mostly clueless ex-step-father (Christopher Meloni), Minnie is a loner experimenting with sex, drugs and questionable decision-making. Skarsgård’s Monroe is an emotionally stunted giant rather than the lecherous predator we might expect, but the fallout of their relationship is real and damaging.\u003c/p>\n\u003cfigure id=\"attachment_10893124\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10893124\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/MinnieMom.jpg\" alt=\"Kristen Wiig as Charlotte Goetze and Bel Powley as Minnie Goetze. (Photo: Sam Emerson/Sony Pictures Classics)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MinnieMom.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MinnieMom-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Wiig as Charlotte Goetze and Bel Powley as Minnie Goetze. (Photo: Sam Emerson/Sony Pictures Classics)\u003c/figcaption>\u003c/figure>\n\u003cp>In classic teenager mode, Minnie thinks she knows better than all the adults around her. And in her case, this is actually true. The film’s lessons (and I use this term loosely — because \u003ci>The Diary of a Teenage Girl\u003c/i> is no heavy-handed moralizing tale) aren’t just for the female audiences who will identify with — or simply recognize — Minnie. Personal growth is difficult. Wrangling emotions into artistic output is important. Mistakes need to be made.\u003c/p>\n\u003cp>Heller’s film won’t fill the gaping hole that exists within the coming-of-age canon. But it may alter the way its audiences expect to see teenage female characters depicted. It’s a small and welcome victory “for all the girls when they have grown,” the subject of Gloeckner’s dedication and the film’s closing line.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=G2M9kqb5wVw\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s 1976 in San Francisco and Minnie Goetze is 15 years old, artistically inclined, full of feelings and interested in sex. She’s a fictional character. But in some ways she is every girl who ever kept a diary, felt misunderstood, worried she’d never be loved and went looking for that love in all the wrong places.\u003c/p>\n\u003cp>\u003ci>The Diary of a Teenage Girl\u003c/i>, opening tomorrow in San Francisco and starring Kristen Wiig, Alexander Skarsgård and newcomer Bel Powley, is a skillful adaptation of Phoebe Gloeckner’s semi-autobiographical \u003ca href=\"http://www.ravenblond.com/diary.html\" target=\"_blank\" rel=\"noopener\">“account in words and pictures”\u003c/a> by writer and first-time director Marielle Heller.\u003c/p>\n\u003cfigure id=\"attachment_10893123\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10893123\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/HellerWeb.jpg\" alt=\"Director Marielle Heller. (Photo: Sam Emerson/Sony Pictures Classics)\" width=\"640\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/HellerWeb.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/HellerWeb-400x299.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Director Marielle Heller. (Photo: Sam Emerson/Sony Pictures Classics) \u003ccite>(Photo: Sam Emerson/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I read it I was like, oh, boys must’ve felt this way when they read \u003ci>Catcher in the Rye\u003c/i>,” Heller says. Gloeckner’s story and the film begin without preamble at Minnie’s first sexual experience. It’s the start of a dramatic and tumultuous affair with Monroe (Skarsgård), her mother’s 34-year-old boyfriend and, according to Minnie, “the handsomest man in the world.”\u003c/p>\n\u003cp>The main character’s typewritten diary in Gloeckner’s book translates on screen to cassette tape audio recordings, kept hidden in a box under the teenager’s bed. Minnie’s drawings bound off her sketchbook pages thanks to the work of animator \u003ca href=\"http://saragunnarsdottir.com/\" target=\"_blank\" rel=\"noopener\">Sara Gunnarsdottir\u003c/a>, filling the movie with Aline Kominsky-esque animations of big-bottomed women and vertiginous San Francisco streets.\u003c/p>\n\u003cfigure id=\"attachment_10893121\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10893121\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/BelWeb.jpg\" alt=\"Bel Powley as Minnie Goetze. (Photo: Sam Emerson/Sony Pictures Classics)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BelWeb.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BelWeb-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bel Powley as Minnie Goetze. (Photo: Sam Emerson/Sony Pictures Classics)\u003c/figcaption>\u003c/figure>\n\u003cp>Minnie narrates the film with her vacillating emotions (she goes from “maybe I should kill myself” to “I should paint a picture” in 60 seconds flat), young-person logic (“school is essentially pointless”) and pitch-perfect humor. She cuts class, smokes weed, drops acid, goes to midnight screenings of \u003ci>The Rocky Horror Picture Show\u003c/i>, visits comic book stores and gazes out over a foggy Dolores Park, preoccupied with boys, men, love, sex and herself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In other words, she is a teenage girl — the likes of which we rarely see on screen. She’s not precociously witty (see \u003cem>Juno\u003c/em>), woefully under-rendered (see Denise in \u003cem>Can’t Hardly Wait\u003c/em>) or the object of someone else’s sexual fantasy (see Nadia in \u003ci>American Pie, \u003c/i>Linda in \u003cem>Fast Times at Ridgemont High \u003c/em>or Jennifer Love Hewitt in anything, ever). “I felt this need to almost protect Minnie, to protect the genuine honesty of her voice and how true she is to herself,” Heller says. “She exists without shame, she’s really curious and she says all of the things that everyone else thinks but is too afraid to say.”\u003c/p>\n\u003cfigure id=\"attachment_10893125\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10893125\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Monroe.jpg\" alt=\"Alexander Skarsgård as Monroe. (Photo: Sam Emerson/Sony Pictures Classics)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Monroe.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Monroe-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Skarsgård as Monroe. (Photo: Sam Emerson/Sony Pictures Classics)\u003c/figcaption>\u003c/figure>\n\u003cp>Bel Powley, who plays Minnie in the film, says Heller provides this platform. “People are too afraid to say it because people don’t make movies or write novels or anything about it, so it’s a vicious cycle,” she says. Minnie’s ability to see and speak the truth, to relate her story in text and graphic form, is her lifeline out of the darker corners in Gloeckner’s book, which include forays into prostitution, violence and heavy drug use.\u003c/p>\n\u003cp>While \u003ci>The Diary of a Teenage Girl\u003c/i> has plenty of explicit scenes, the relationship between Minnie and Monroe is less uneven than it would seem. Mostly ignored by her mother (Wiig), labeled “intense” by a male classmate and only encouraged intellectually by an estranged and mostly clueless ex-step-father (Christopher Meloni), Minnie is a loner experimenting with sex, drugs and questionable decision-making. Skarsgård’s Monroe is an emotionally stunted giant rather than the lecherous predator we might expect, but the fallout of their relationship is real and damaging.\u003c/p>\n\u003cfigure id=\"attachment_10893124\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10893124\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/MinnieMom.jpg\" alt=\"Kristen Wiig as Charlotte Goetze and Bel Powley as Minnie Goetze. (Photo: Sam Emerson/Sony Pictures Classics)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MinnieMom.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MinnieMom-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Wiig as Charlotte Goetze and Bel Powley as Minnie Goetze. (Photo: Sam Emerson/Sony Pictures Classics)\u003c/figcaption>\u003c/figure>\n\u003cp>In classic teenager mode, Minnie thinks she knows better than all the adults around her. And in her case, this is actually true. The film’s lessons (and I use this term loosely — because \u003ci>The Diary of a Teenage Girl\u003c/i> is no heavy-handed moralizing tale) aren’t just for the female audiences who will identify with — or simply recognize — Minnie. Personal growth is difficult. Wrangling emotions into artistic output is important. Mistakes need to be made.\u003c/p>\n\u003cp>Heller’s film won’t fill the gaping hole that exists within the coming-of-age canon. But it may alter the way its audiences expect to see teenage female characters depicted. It’s a small and welcome victory “for all the girls when they have grown,” the subject of Gloeckner’s dedication and the film’s closing line.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/G2M9kqb5wVw'\n title='//www.youtube.com/embed/G2M9kqb5wVw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Artists Become ‘Collectors’ in Two Shows at Haines Gallery",
"headTitle": "Artists Become ‘Collectors’ in Two Shows at Haines Gallery | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-collectors-nile-sunset-annex-the-many-hats/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘The Collectors’ & ‘Nile Sunset Annex: The Many Hats’\u003c/h2>\n\u003cdiv class=\"event-desc\">Two exhibitions showcase artists’ collections.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Aug. 29\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Haines Gallery\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-collectors-nile-sunset-annex-the-many-hats/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The act of collecting is sometimes driven by an impulse to acquire, a reluctance to forfeit, or a desire to preserve. Whatever the impetus, every collection is more than the sum of its parts, divulging information about a person, a place, or time past. The exhibitions \u003ci>The Collectors\u003c/i> and \u003ci>Nile Sunset Annex: The Many Hats\u003c/i>, at Haines Gallery in San Francisco, explore a variety of collections, the intentions behind them and the stories they tell.\u003c/p>\n\u003cp>\u003ci>The Collectors\u003c/i> showcases three artists whose practices rely on archiving and accumulating. Nigel Poor’s series of photographs, \u003ci>Found\u003c/i> (1998), toes the line between eerie and mundane with snapshots of the streets of San Francisco in the late-1990s. A wall of framed black-and-white images document objects found while walking the city’s streets, each one labeled with the date and location of its discovery. A headless plastic doll found at Precita and Shotwell lays face down in a gutter, discarded by a child and waiting for someone new to confer significance upon it.\u003c/p>\n\u003cfigure id=\"attachment_10887627\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10887627\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Rob-Craigie-Rozel-Point.jpg\" alt=\"Rob Craigie, 'This Is It,' 2004. (Photo: Haines Gallery)\" width=\"480\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Rob-Craigie-Rozel-Point.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Rob-Craigie-Rozel-Point-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Rob-Craigie-Rozel-Point-450x600.jpg 450w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Rob Craigie, ‘This Is It,’ 2004. (Photo: Haines Gallery)\u003c/figcaption>\u003c/figure>\n\u003cp>Rob Craigie’s installation displays some of the artist’s personal collections of found materials, from marbles to Tuvaluan stamps. A collection of Robert Smithson–related objects includes a poster of one of the late artist’s works, a 1970 VHS tape about the Smithson’s \u003ci>Spiral Jetty\u003c/i>, and a map of Rozel Point, \u003ci>Spiral Jetty\u003c/i>’s location on the Great Salt Lake. A large jar of salt crystals, presumably gathered near the famous earthwork, sits atop the map. One who has never visited \u003ci>Spiral Jetty\u003c/i> can imagine the contours of the lake’s coastline and the salt crystals that compose the work. This collections offers the viewer far more than a single photograph might.\u003c/p>\n\u003cp>\u003ci>Stockpile\u003c/i> (2011) is Allison Smith’s enormous, precariously stacked pyramid of unfinished wood furniture and objects. Unlike Poor and Craigie, Smith’s assemblage is not comprised of objects found randomly or collected organically. The furniture, barrels and spinning wheels were created with intention by the artist and are meant to evoke craftwork of colonial America. This imposing piece shows collections need not accumulate over time, but can be manufactured and guided from the outset.\u003c/p>\n\u003cfigure id=\"attachment_10887626\" class=\"wp-caption alignright\" style=\"max-width: 520px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10887626\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Nigel-Poor-Precita-Shotwell-400x493.jpg\" alt=\"Nigel Poor, 'Precita & Shotwell, SF, CA, 9/11/98,' 1998. (Photo: Haines Gallery)\" width=\"520\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Nigel-Poor-Precita-Shotwell-400x493.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Nigel-Poor-Precita-Shotwell-487x600.jpg 487w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Nigel-Poor-Precita-Shotwell.jpg 640w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003cfigcaption class=\"wp-caption-text\">Nigel Poor, ‘Precita & Shotwell, SF, CA, 9/11/98,’ 1998. (Photo: Haines Gallery)\u003c/figcaption>\u003c/figure>\n\u003cp>Artists Taha Belal and Jenifer Evans run Nile Sunset Annex, a contemporary art space inside an apartment in a leafy Cairo neighborhood. Since 2013, Nile Sunset Annex has invited a dozen artists, from Egypt and abroad, to exhibit in this spare-room gallery. Belal and Evans acquire one piece of work from each exhibition, constituting what they call Cairo’s only public contemporary art collection.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With \u003ci>Nile Sunset Annex: The Many Hats\u003c/i>, Belal and Evans bring the Annex to the back room of Haines Gallery, representing their exhibitions with 1:5-scale versions of the pieces in their collection. Each work is displayed on a shelf alongside exhibition documentation, ranging from postcards to vinyl records, printed publications to websites.\u003c/p>\n\u003cp>A frowning Raggedy Ann–like doll slumps on one of these shelves next to a postcard depicting the original 15-foot fabric and leather sculpture by Paul Simon Richards, crammed into the Nile Sunset Annex. Walid Elsawi’s two-foot-long lightbox painted with the words “I don’t care about the concept” is rendered so small the text is indelicately scrawled in with a marker.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Individual artworks are not the subject of this exhibition, but the space and community they depict are. In this way, \u003ci>The Many Hats\u003c/i> is like \u003ci>The Collectors\u003c/i>; the specific objects that make up each collection are of some interest, but they are overshadowed by the people, places and stories they represent.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-collectors-nile-sunset-annex-the-many-hats/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘The Collectors’ & ‘Nile Sunset Annex: The Many Hats’\u003c/h2>\n\u003cdiv class=\"event-desc\">Two exhibitions showcase artists’ collections.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Aug. 29\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Haines Gallery\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-collectors-nile-sunset-annex-the-many-hats/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The act of collecting is sometimes driven by an impulse to acquire, a reluctance to forfeit, or a desire to preserve. Whatever the impetus, every collection is more than the sum of its parts, divulging information about a person, a place, or time past. The exhibitions \u003ci>The Collectors\u003c/i> and \u003ci>Nile Sunset Annex: The Many Hats\u003c/i>, at Haines Gallery in San Francisco, explore a variety of collections, the intentions behind them and the stories they tell.\u003c/p>\n\u003cp>\u003ci>The Collectors\u003c/i> showcases three artists whose practices rely on archiving and accumulating. Nigel Poor’s series of photographs, \u003ci>Found\u003c/i> (1998), toes the line between eerie and mundane with snapshots of the streets of San Francisco in the late-1990s. A wall of framed black-and-white images document objects found while walking the city’s streets, each one labeled with the date and location of its discovery. A headless plastic doll found at Precita and Shotwell lays face down in a gutter, discarded by a child and waiting for someone new to confer significance upon it.\u003c/p>\n\u003cfigure id=\"attachment_10887627\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10887627\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Rob-Craigie-Rozel-Point.jpg\" alt=\"Rob Craigie, 'This Is It,' 2004. (Photo: Haines Gallery)\" width=\"480\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Rob-Craigie-Rozel-Point.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Rob-Craigie-Rozel-Point-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Rob-Craigie-Rozel-Point-450x600.jpg 450w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Rob Craigie, ‘This Is It,’ 2004. (Photo: Haines Gallery)\u003c/figcaption>\u003c/figure>\n\u003cp>Rob Craigie’s installation displays some of the artist’s personal collections of found materials, from marbles to Tuvaluan stamps. A collection of Robert Smithson–related objects includes a poster of one of the late artist’s works, a 1970 VHS tape about the Smithson’s \u003ci>Spiral Jetty\u003c/i>, and a map of Rozel Point, \u003ci>Spiral Jetty\u003c/i>’s location on the Great Salt Lake. A large jar of salt crystals, presumably gathered near the famous earthwork, sits atop the map. One who has never visited \u003ci>Spiral Jetty\u003c/i> can imagine the contours of the lake’s coastline and the salt crystals that compose the work. This collections offers the viewer far more than a single photograph might.\u003c/p>\n\u003cp>\u003ci>Stockpile\u003c/i> (2011) is Allison Smith’s enormous, precariously stacked pyramid of unfinished wood furniture and objects. Unlike Poor and Craigie, Smith’s assemblage is not comprised of objects found randomly or collected organically. The furniture, barrels and spinning wheels were created with intention by the artist and are meant to evoke craftwork of colonial America. This imposing piece shows collections need not accumulate over time, but can be manufactured and guided from the outset.\u003c/p>\n\u003cfigure id=\"attachment_10887626\" class=\"wp-caption alignright\" style=\"max-width: 520px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10887626\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Nigel-Poor-Precita-Shotwell-400x493.jpg\" alt=\"Nigel Poor, 'Precita & Shotwell, SF, CA, 9/11/98,' 1998. (Photo: Haines Gallery)\" width=\"520\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Nigel-Poor-Precita-Shotwell-400x493.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Nigel-Poor-Precita-Shotwell-487x600.jpg 487w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Nigel-Poor-Precita-Shotwell.jpg 640w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003cfigcaption class=\"wp-caption-text\">Nigel Poor, ‘Precita & Shotwell, SF, CA, 9/11/98,’ 1998. (Photo: Haines Gallery)\u003c/figcaption>\u003c/figure>\n\u003cp>Artists Taha Belal and Jenifer Evans run Nile Sunset Annex, a contemporary art space inside an apartment in a leafy Cairo neighborhood. Since 2013, Nile Sunset Annex has invited a dozen artists, from Egypt and abroad, to exhibit in this spare-room gallery. Belal and Evans acquire one piece of work from each exhibition, constituting what they call Cairo’s only public contemporary art collection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With \u003ci>Nile Sunset Annex: The Many Hats\u003c/i>, Belal and Evans bring the Annex to the back room of Haines Gallery, representing their exhibitions with 1:5-scale versions of the pieces in their collection. Each work is displayed on a shelf alongside exhibition documentation, ranging from postcards to vinyl records, printed publications to websites.\u003c/p>\n\u003cp>A frowning Raggedy Ann–like doll slumps on one of these shelves next to a postcard depicting the original 15-foot fabric and leather sculpture by Paul Simon Richards, crammed into the Nile Sunset Annex. Walid Elsawi’s two-foot-long lightbox painted with the words “I don’t care about the concept” is rendered so small the text is indelicately scrawled in with a marker.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Individual artworks are not the subject of this exhibition, but the space and community they depict are. In this way, \u003ci>The Many Hats\u003c/i> is like \u003ci>The Collectors\u003c/i>; the specific objects that make up each collection are of some interest, but they are overshadowed by the people, places and stories they represent.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Outside Lands Review: Sunday’s Music Highlights and Photo Gallery",
"headTitle": "Outside Lands Review: Sunday’s Music Highlights and Photo Gallery | KQED",
"content": "\u003cp>Sunday in Golden Gate Park felt like a gentle hangover from Friday and Saturday’s mayhem. Where was everybody? Maybe home in bed, because the fields were very, very sparse. For those who attended, it was a relaxing, cool-down day.\u003c/p>\n\u003cp>Check our Outside Lands recaps from \u003ca href=\"http://ww2.kqed.org/arts/2015/08/08/outside-lands-fridays-best-highlights-and-photos-2015/\" target=\"_blank\" rel=\"noopener\">Friday\u003c/a> and from \u003ca href=\"http://ww2.kqed.org/arts/2015/08/09/outside-lands-review-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">Saturday\u003c/a>, and read more for Sunday’s highlights.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo slideshow.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10890847\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-1180x787.jpg\" alt=\"Elton John performing at Outside Lands on Sunday.\" width=\"640\" height=\"427\" class=\"size-large wp-image-10890847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Elton John performs at Outside Lands on Aug. 9, 2015. (Photo: Wendy Goodfriend/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>1. Elton John\u003c/h3>\n\u003cp>Elton John is an artist with a deep, deep catalog of hits, and nearly every song he started Sunday night garnered a knowing cheer from the crowd. Even if you don’t think you know his stuff, you do. Outside Lands has booked these big “legacy” headliners in the past few years — Paul McCartney, Stevie Wonder, Tom Petty — and it’s a good move, especially on closing night, and especially with someone who can get a giant field singing along to “Honky Cat,” “Benny and the Jets,” “Candle in the Wind” and so, so many others; you already essentially know the setlist and so does the rest of the world. Case in point would be the person standing next to me on Sunday, a graffiti artist who listens to rap music and has neck tattoos, and who surprised me throughout the set with lyrical prowess and obscure trivia about Elton John. He even sang harmonies on “Tiny Dancer”! Elton John is \u003cem>that\u003c/em> universal. (Also: shout out to the fan who brought a Buzz Lightyear Mylar balloon and \u003ca href=\"https://vine.co/v/ew33VODTtlL\" target=\"_blank\" rel=\"noopener\">released it into the sky during “Rocket Man.”\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_10888736\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.SexualBand-1180x787.jpg\" alt=\"(Photo: Gabe Meline/KQED)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10888736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Sexual Chocolate\u003c/h3>\n\u003cp>In the late ’80s, saxophonist Karl Denson appeared in Eddie Murphy’s classic comedy \u003cem>Coming to America\u003c/em> as a member of a \u003ca href=\"https://www.youtube.com/watch?v=KzANAr1V82c\" target=\"_blank\" rel=\"noopener\">hilarious fictional band called Sexual Chocolate\u003c/a>. Denson’s been asked about it from fans and interviewers, over and over, for years, never living it down. So what did he do Sunday? Assembled a band clad in powder-blue tuxedos and performed as Sexual Chocolate, that’s what. While Donald Wressell from Guittard Chocolate crafted a semi-phallic sculpture to the side of the stage, lead vocalist Ziek McCarter — fresh from a gig with his band Con Brio at Stern Grove, just hours before — crooned Whitney Houston’s “Greatest Love of All,” Smokey Robinson’s “Ooh Baby Baby,” and even the over-the-top theme to the \u003ca href=\"https://www.youtube.com/watch?v=CGrasobHcKA\" target=\"_blank\" rel=\"noopener\">Soul Glo commercial\u003c/a> featured in the movie. McCarter actually hit those high notes! The whole thing was nuts.\u003c/p>\n\u003cfigure id=\"attachment_10888721\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.Deacon1-1180x787.jpg\" alt=\"(Photo: Gabe Meline/KQED)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10888721\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Dan Deacon\u003c/h3>\n\u003cp>Dan Deacon began his set by announcing he did mushrooms the night before, telling everyone to raise a hand to the sky, and then to imagine forcing out all their inhibitions. If you weren’t on board with this plan, he said, “the \u003ca href=\"https://www.youtube.com/watch?v=pB-5XG-DbAA\" target=\"_blank\" rel=\"noopener\">guy that steals songs from Tom Petty\u003c/a> is playing in the next field over.” Deacon’s a perfect festival act who utilizes the crowd sometimes for gigantic organized dance parties — as he did Sunday — and sometimes for licking lollipops triggered to samples on his laptop, as he did Saturday. If you want to overthink the man, he manages to tie together the conceptualism of John Cage and the spastic electronics of Squarepusher to create a wholly life-affirming experience. If you want to dance your ass off, well, he’s there for you, too. \u003ca href=\"https://instagram.com/p/6L0CXCSSRC/\" target=\"_blank\" rel=\"noopener\">Watch his crowd go from zero to lit in 10 seconds flat here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"10888734,10888737,10888729,10888727,10888736,10888720,10888719,10888728,10888731,10888721,10888722,10888723,10888724,10888725,10888726,10888730,10888732,10888718,10888733,10888735\"]\u003c/p>\n\n",
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"excerpt": "Elton John closed out a sparse Sunday in Golden Gate Park, with Dan Deacon's dance party and the resurrection of Sexual Chocolate as added features.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sunday in Golden Gate Park felt like a gentle hangover from Friday and Saturday’s mayhem. Where was everybody? Maybe home in bed, because the fields were very, very sparse. For those who attended, it was a relaxing, cool-down day.\u003c/p>\n\u003cp>Check our Outside Lands recaps from \u003ca href=\"http://ww2.kqed.org/arts/2015/08/08/outside-lands-fridays-best-highlights-and-photos-2015/\" target=\"_blank\" rel=\"noopener\">Friday\u003c/a> and from \u003ca href=\"http://ww2.kqed.org/arts/2015/08/09/outside-lands-review-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">Saturday\u003c/a>, and read more for Sunday’s highlights.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo slideshow.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10890847\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-1180x787.jpg\" alt=\"Elton John performing at Outside Lands on Sunday.\" width=\"640\" height=\"427\" class=\"size-large wp-image-10890847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Elton John performs at Outside Lands on Aug. 9, 2015. (Photo: Wendy Goodfriend/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>1. Elton John\u003c/h3>\n\u003cp>Elton John is an artist with a deep, deep catalog of hits, and nearly every song he started Sunday night garnered a knowing cheer from the crowd. Even if you don’t think you know his stuff, you do. Outside Lands has booked these big “legacy” headliners in the past few years — Paul McCartney, Stevie Wonder, Tom Petty — and it’s a good move, especially on closing night, and especially with someone who can get a giant field singing along to “Honky Cat,” “Benny and the Jets,” “Candle in the Wind” and so, so many others; you already essentially know the setlist and so does the rest of the world. Case in point would be the person standing next to me on Sunday, a graffiti artist who listens to rap music and has neck tattoos, and who surprised me throughout the set with lyrical prowess and obscure trivia about Elton John. He even sang harmonies on “Tiny Dancer”! Elton John is \u003cem>that\u003c/em> universal. (Also: shout out to the fan who brought a Buzz Lightyear Mylar balloon and \u003ca href=\"https://vine.co/v/ew33VODTtlL\" target=\"_blank\" rel=\"noopener\">released it into the sky during “Rocket Man.”\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_10888736\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.SexualBand-1180x787.jpg\" alt=\"(Photo: Gabe Meline/KQED)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10888736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Sexual Chocolate\u003c/h3>\n\u003cp>In the late ’80s, saxophonist Karl Denson appeared in Eddie Murphy’s classic comedy \u003cem>Coming to America\u003c/em> as a member of a \u003ca href=\"https://www.youtube.com/watch?v=KzANAr1V82c\" target=\"_blank\" rel=\"noopener\">hilarious fictional band called Sexual Chocolate\u003c/a>. Denson’s been asked about it from fans and interviewers, over and over, for years, never living it down. So what did he do Sunday? Assembled a band clad in powder-blue tuxedos and performed as Sexual Chocolate, that’s what. While Donald Wressell from Guittard Chocolate crafted a semi-phallic sculpture to the side of the stage, lead vocalist Ziek McCarter — fresh from a gig with his band Con Brio at Stern Grove, just hours before — crooned Whitney Houston’s “Greatest Love of All,” Smokey Robinson’s “Ooh Baby Baby,” and even the over-the-top theme to the \u003ca href=\"https://www.youtube.com/watch?v=CGrasobHcKA\" target=\"_blank\" rel=\"noopener\">Soul Glo commercial\u003c/a> featured in the movie. McCarter actually hit those high notes! The whole thing was nuts.\u003c/p>\n\u003cfigure id=\"attachment_10888721\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.Deacon1-1180x787.jpg\" alt=\"(Photo: Gabe Meline/KQED)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10888721\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Dan Deacon\u003c/h3>\n\u003cp>Dan Deacon began his set by announcing he did mushrooms the night before, telling everyone to raise a hand to the sky, and then to imagine forcing out all their inhibitions. If you weren’t on board with this plan, he said, “the \u003ca href=\"https://www.youtube.com/watch?v=pB-5XG-DbAA\" target=\"_blank\" rel=\"noopener\">guy that steals songs from Tom Petty\u003c/a> is playing in the next field over.” Deacon’s a perfect festival act who utilizes the crowd sometimes for gigantic organized dance parties — as he did Sunday — and sometimes for licking lollipops triggered to samples on his laptop, as he did Saturday. If you want to overthink the man, he manages to tie together the conceptualism of John Cage and the spastic electronics of Squarepusher to create a wholly life-affirming experience. If you want to dance your ass off, well, he’s there for you, too. \u003ca href=\"https://instagram.com/p/6L0CXCSSRC/\" target=\"_blank\" rel=\"noopener\">Watch his crowd go from zero to lit in 10 seconds flat here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
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