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"content": "\u003cp>A new book is out chronicling the history of the San Francisco Cacophony Society, a Dada-inspired art collective from the ’80s and ’90s that claims responsibility for the early organization of Burning Man, Chuck Palahniuk’s \u003ci>Fight Club\u003c/i>, a performance art run for Mayor of San Francisco and a menagerie of other pranks pulled over the years. The society describes itself as “a randomly gathered network of free spirits in the pursuit of experiences beyond the pale of mainstream society.” What such vague language turned out to mean was something close to today’s flash mobs, large groups showing up in public spaces, often dressed in wild costumes, and participating in fun if not profoundly meaningful pranks and performances focused on deconstructing the supposed rationality of daily life and reveling in the absurd.\u003c/p>\n\u003cp>\u003ci>Tales of the San Francisco Cacophony Society\u003c/i> is both a history text and a role call for the society’s leading members, all wrapped up in the visual texture of an early pop comic book. Besides the insultingly ablist line on the first page “they danced like Special Olympics,” the book is full of stories of absurdist happenings: a rain of giblets, a pilgrimage to Emperor Norton’s grave, and the day everyone spoke in tongues. These art parties sometimes took on sculptural form, such as toy store shelves seeded with cement filled teddy bears with tags printed with the chilling text: “Unfortunate child, do not mistake me for a living thing, nor seek in me the warmth denied you by your parents. For beneath my plush surface lies a hardness as impervious and unforgiving as this world’s own indifference to your mortal struggle. Hold on to me when you are sad, and I will weigh you down, but bear this weight throughout your years, and it will strengthen your limbs and harden your will so that one day no man dare oppose you.” This type of epic assertion was a common thread in the philosophy of the group.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"http://a.s.kqed.net/img/arts/blog/cacophony.jpg\">\u003c/p>\n\u003cp>With no claims at changing the world, the society’s stunts can hardly be judged ineffective, and they seem, at least looking back at them through the lens of the book, intentionally pointless. Why rappel off a cliff in formal attire while carrying an umbrella? Because you can; the pointlessness is the point — and the resulting visual will be amazing. The group’s events took on surrealistic subversion as a rallying ethos. In this light the book becomes not only a history text, but a menu of possible activities to recreate in your free time.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"http://a.s.kqed.net/img/arts/blog/cacophony2.jpg\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The book, edited by John Law, Kevin Evans, and Carrie Galbraith and released by underground book publisher, Last Gasp, is a pastiche of flyers, memos, newsletters and previously unpublished photographs from the group’s more active days. It chronicles the birthing ground for today’s Burning Man ethos, and paints the Society as precursors to today’s tactical media jammers like the Yes Men and even Anonymous. The book, a memoir of a subculture, is an interesting insight into the ’80s and ’90s for those of us who, at the time, were focused more on legos and sleepovers than art movements. Read it for its alternate history, its retro aesthetic, and to remind yourself to try something new, something silly, something pointless, just because you can.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The <a href=”http://talesofsfcacophony.com/”book and online extras can be found at talesofsfcacophony.com.\u003c/p>\n\n",
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"content": "\u003cp>Ru Freeman’s \u003ci>On Sal Mal Lane\u003c/i> is one of those books you love for revealing a complex subject simply. Freeman explores the years leading to Sri Lanka’s civil war through the lives unfolding on one small street in Colombo, the country’s largest city. The comings and goings on Sal Mal Lane center around the arrival of one charmed family, the Heraths, and the static divisions they encounter among neighbors — Sinhalese, Burgher, Tamil, Muslim — that can be traced back to British rule, which favored the Tamil minority and is reinforced by the ensuing violence against the Tamil people after independence. On Sal Mal Lane these divisions melt away with the type of radical acceptance of which only children are capable.\u003c/p>\n\u003cp>The prologue in this book is a masterful unveiling of narrative. Freeman writes, “In 1976, on the fifth day of the month of May, a month during which most of the people who lived in the country celebrated the birth, death, and attainment of nirvana of the Lord Buddha, with paper lanterns, fragrant incense, fresh flowers, and prayers mingling with temple bells late into the night, in the remote jungles of Jaffna, in the Northern Province of Sri Lanka, a man stood before a group of youth and launched a war that, he promised, would bring his people, the Tamil people, a state of their own.”\u003c/p>\n\u003cp>Here lies a powerful axis that Freeman freely exploits, presenting the rumblings of a country on the verge of war as background noise, while directing her unilateral attention to the lives of small, innocent children as that rumbling grows near. The language is beautiful; Freeman writes of the Herath house brimming with talent, good-naturedness and brightness. As the lives of the four Herath children — Suren, Rashmi, Nihil, and Devi — come into focus through descriptions of piano lessons, games of cricket, and shifting alliances, we are lulled and stand in awe at that special halo that surrounds blessed families. Everything is in order; the children are not only obedient, but gifted. Of the eldest child’s piano lessons at the house across the lane, where they are tutored by Kala Niles, a proud Catholic Tamil, Freeman writes: “At his touch, demi-semi-quavers rippled and staccatos clapped with an urgency that, once a week, brought Kala Niles to a state of ecstasy that could only be grounded with the heartbreak of his elongated \u003ci>breves\u003c/i>, quivering in the silence of a remembered note and making the tick-tock of her metronome sound like guns.”\u003c/p>\n\u003cp>The first two parts of the book, however, are filled with fits and stops, the threads of the story getting lost — first in scenes of characters becoming acquainted with one other and then with the expository nature of political complexities being introduced to the children of the lane through question and answer scenes. Freeman dutifully casts her nets, nonetheless, gathering the folds of the story back with thoughtfully placed lines that turn the reader’s eye to a constantly darkening future.\u003c/p>\n\u003cp>But it is after this lull where the writing, the story, the talent is not to be missed. Under our watch, old racial lines are retraced over the fabric of the peaceful community on Sal Mal Lane and innocence begins to be lost. It starts with two boys: one, a Tamil outcast, the other, a proud Sinhalese — boys who are eager to join the brewing fight against the Tamil Tigers and in misplaced discontent begin to single out the Tamil families on the lane. Devi, the youngest of the Herath children, is the most fearless and unaffected. Her preoccupations lie elsewhere as, increasingly, all the children and adults around her grow nervous and expect the worst. As old Mrs. Joseph tells her son, for example, that they can expect to be under the thumb of the new government for many years to come, she jabs “the thick pad of her right thumb hard onto her left hand.” Devi doesn’t seem to understand the fear and anger Mrs. Joseph feels, but absorbs only the gesture as something she can use on her siblings when she wants to impress them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the final part in this book, allocated for the year 1983, when tensions between Tamil and Sinhalese erupt in riots, this quiet community finds itself lost in a melee where lines of violence toward citizens are drawn cruelly between who is Tamil and who is not. One of the most surreal scenes is of the children walking through the ruins of an all-Tamil neighborhood where everything has been burned down. Like all horrifying images, it holds its own kind of wonder and raises its own kinds of questions:\u003c/p>\n\u003cp>“Imagine a place isolated by design, nobody there to cry out for help. Imagine, fires unhurriedly set at two ends and a neighborhood uncomplicated by difference left to burn. Imagine a ghost town constructed entirely of ash. Imagine houses, still standing, but not one among them that displays signs of human struggle or salvage. Houses whose walls are entirely gray, full of form yet without substance, for if the children touched one thing, a fence post, a door, it disappeared with soft relief like dreams that fade into the dawn, barely a sound that rose like a sob and enveloped the children in gray powder. Imagine, the road itself, covered with blown ash, and their footsteps falling in clear outlines as they walk down the road that no one has visited except, for a last time, with fire. Nothing here has been taken. Everything remains as it was, the tables upright, the chairs too, the windows opened, lunch boxes packed, handbags on bureaus, suitcases under beds, all of it either burnt through, as far as the fire could go until there was nothing left to feed it, or covered in ash. Imagine all this, then listen to the voices of these children.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Ru Freeman will be reading from \u003ci>On Sal Mal Lane\u003c/i> June 10, 6pm at Book Passage in San Francisco. For \u003ca href=\"http://bookpassage.com/event/ru-freeman-sal-mal-lane\">more information\u003c/a>, visit bookpassage.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ru Freeman’s \u003ci>On Sal Mal Lane\u003c/i> is one of those books you love for revealing a complex subject simply. Freeman explores the years leading to Sri Lanka’s civil war through the lives unfolding on one small street in Colombo, the country’s largest city. The comings and goings on Sal Mal Lane center around the arrival of one charmed family, the Heraths, and the static divisions they encounter among neighbors — Sinhalese, Burgher, Tamil, Muslim — that can be traced back to British rule, which favored the Tamil minority and is reinforced by the ensuing violence against the Tamil people after independence. On Sal Mal Lane these divisions melt away with the type of radical acceptance of which only children are capable.\u003c/p>\n\u003cp>The prologue in this book is a masterful unveiling of narrative. Freeman writes, “In 1976, on the fifth day of the month of May, a month during which most of the people who lived in the country celebrated the birth, death, and attainment of nirvana of the Lord Buddha, with paper lanterns, fragrant incense, fresh flowers, and prayers mingling with temple bells late into the night, in the remote jungles of Jaffna, in the Northern Province of Sri Lanka, a man stood before a group of youth and launched a war that, he promised, would bring his people, the Tamil people, a state of their own.”\u003c/p>\n\u003cp>Here lies a powerful axis that Freeman freely exploits, presenting the rumblings of a country on the verge of war as background noise, while directing her unilateral attention to the lives of small, innocent children as that rumbling grows near. The language is beautiful; Freeman writes of the Herath house brimming with talent, good-naturedness and brightness. As the lives of the four Herath children — Suren, Rashmi, Nihil, and Devi — come into focus through descriptions of piano lessons, games of cricket, and shifting alliances, we are lulled and stand in awe at that special halo that surrounds blessed families. Everything is in order; the children are not only obedient, but gifted. Of the eldest child’s piano lessons at the house across the lane, where they are tutored by Kala Niles, a proud Catholic Tamil, Freeman writes: “At his touch, demi-semi-quavers rippled and staccatos clapped with an urgency that, once a week, brought Kala Niles to a state of ecstasy that could only be grounded with the heartbreak of his elongated \u003ci>breves\u003c/i>, quivering in the silence of a remembered note and making the tick-tock of her metronome sound like guns.”\u003c/p>\n\u003cp>The first two parts of the book, however, are filled with fits and stops, the threads of the story getting lost — first in scenes of characters becoming acquainted with one other and then with the expository nature of political complexities being introduced to the children of the lane through question and answer scenes. Freeman dutifully casts her nets, nonetheless, gathering the folds of the story back with thoughtfully placed lines that turn the reader’s eye to a constantly darkening future.\u003c/p>\n\u003cp>But it is after this lull where the writing, the story, the talent is not to be missed. Under our watch, old racial lines are retraced over the fabric of the peaceful community on Sal Mal Lane and innocence begins to be lost. It starts with two boys: one, a Tamil outcast, the other, a proud Sinhalese — boys who are eager to join the brewing fight against the Tamil Tigers and in misplaced discontent begin to single out the Tamil families on the lane. Devi, the youngest of the Herath children, is the most fearless and unaffected. Her preoccupations lie elsewhere as, increasingly, all the children and adults around her grow nervous and expect the worst. As old Mrs. Joseph tells her son, for example, that they can expect to be under the thumb of the new government for many years to come, she jabs “the thick pad of her right thumb hard onto her left hand.” Devi doesn’t seem to understand the fear and anger Mrs. Joseph feels, but absorbs only the gesture as something she can use on her siblings when she wants to impress them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the final part in this book, allocated for the year 1983, when tensions between Tamil and Sinhalese erupt in riots, this quiet community finds itself lost in a melee where lines of violence toward citizens are drawn cruelly between who is Tamil and who is not. One of the most surreal scenes is of the children walking through the ruins of an all-Tamil neighborhood where everything has been burned down. Like all horrifying images, it holds its own kind of wonder and raises its own kinds of questions:\u003c/p>\n\u003cp>“Imagine a place isolated by design, nobody there to cry out for help. Imagine, fires unhurriedly set at two ends and a neighborhood uncomplicated by difference left to burn. Imagine a ghost town constructed entirely of ash. Imagine houses, still standing, but not one among them that displays signs of human struggle or salvage. Houses whose walls are entirely gray, full of form yet without substance, for if the children touched one thing, a fence post, a door, it disappeared with soft relief like dreams that fade into the dawn, barely a sound that rose like a sob and enveloped the children in gray powder. Imagine, the road itself, covered with blown ash, and their footsteps falling in clear outlines as they walk down the road that no one has visited except, for a last time, with fire. Nothing here has been taken. Everything remains as it was, the tables upright, the chairs too, the windows opened, lunch boxes packed, handbags on bureaus, suitcases under beds, all of it either burnt through, as far as the fire could go until there was nothing left to feed it, or covered in ash. Imagine all this, then listen to the voices of these children.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ru Freeman will be reading from \u003ci>On Sal Mal Lane\u003c/i> June 10, 6pm at Book Passage in San Francisco. For \u003ca href=\"http://bookpassage.com/event/ru-freeman-sal-mal-lane\">more information\u003c/a>, visit bookpassage.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are some stories that get under your skin and into your psyche and they change everything. For Eve Ensler, activist and playwright best known for \u003ci>The Vagina Monologues\u003c/i>, one such story caused her to lose faith in humanity. It marked the beginning of her journey into the world of cancer. How you interpret Eve Ensler’s new memoir, \u003ci>In the Body of the World\u003c/i>, depends on how much power you think stories have. Did Ensler’s uterine cancer come from hearing so many stories of rape and violence, stories that inhabited her body, got under her skin? Did it come from the environment?\u003c/p>\n\u003cp>A chapter titled “How’d I Get It?” broadens this question and collapses it in humor:\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\n\u003cp>Was it turquoise Popsicles?\u003cbr>Was it Epstein-Barr?\u003cbr>Was it in my blood?\u003cbr>Was it already decided?\u003cbr>Was it deet?\u003cbr>Was it that I didn’t cry enough?\u003cbr>Or cried too much?\u003cbr>Was it promiscuous sex?\u003cbr>All those arrests at nuclear power plants?\u003cbr>Sleeping in radioactive dust?\u003cbr>Was it my IUD?\u003cbr>Was it birth control pills?\u003cbr>Was it not enough boundaries?\u003cbr>Was it too many walls?\u003c/p>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003ci>In the Body of the World\u003c/i> is an intriguing meditation on illness and the power of stories, itself artfully wrapped around the thirteen-year-old conflict of one country — the Democratic Republic of Congo — and \u003ca href=\"http://www.guardian.co.uk/world/2013/apr/11/congo-rapes-g8-soldier\">her persecuted women\u003c/a>. In the introduction of this book Ensler describes how her father’s sexual abuse caused her to become disassociated from her body, and how this exile made her hunger for other women’s stories (stories about abuse and endurance), because she saw these stories as a way back home to her body. That is how Ensler finds herself in the Congo, where the atrocities committed against women do not bring her home, but rather cause despair.\u003c/p>\n\u003cp>It is cancer, actually, that reveals a way home: “Cancer,” she writes, “threw me through the window of my disassociation into the center of my body’s crisis. The Congo threw me deep into the crisis of the world, and these two experiences merged as I faced the disease and what I felt was the beginning of the end.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This memoir is written in brief chapters called “scans”, as Ensler scrutinizes several moments from her illness and the process of building City of Joy — a UNICEF-supported place for female victims of gender violence in the Congo. Ensler wrote the “scans” while submitting her body to CAT scans. Actually, many things in this book hold parallels with Eve Ensler’s body — humankind denying climate change and Ensler denying the signs of cancer in her body; the BP oil spill poisoning the Gulf Coast at the same time an internal abscess spilled pus into Ensler’s body; Congolese women suffering from damaged sexual organs because of rape and Ensler’s sexual organs suffering the same damage because of cancer. Even the doctors are surprised at that last one.\u003c/p>\n\u003cp>Ensler explains, “Cells of endometrial (uterine) cancer had created a tumor between the vagina and the bowel and had ‘fistulated’ the rectum. Essentially, the cancer had done exactly what rape had done to so many thousands of women in the Congo.” One of Ensler’s doctors e-mails another saying he had been unable to sleep because of the mystery of what they had found. He wrote, “These findings are not medical, they are not science. They are spiritual.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/05/19/bodyoftheworldcover.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>Ensler’s cleverness shines in these leaping parallels, which gather profundity as the narrative builds. There is a sense of Ensler directly speaking to the reader, a trait that can be either effective or obstructive. At the moment of finding out there are tumors in her uterus, colon, and rectum, for example, the writing is flat and matter of fact: “It is bad news. The worst news. This is the worst day of my life. This is the day I am told I am going to die. My heart is racing.” But a few paragraphs below the writing gathers a lucid patina of grief, “Then a calm comes over me, the same calm that used to descend as I approached a beating by my father. I am calm. I am not panicked. I am going to die. This is the beginning of the end.”\u003c/p>\n\u003cp>Although the writing is times uneven, Ensler’s compassionate view into the Congo and the prowess of her poetic mind carry this book to surprising conclusions. Reading the book is like taking a journey alongside Ensler to near-death and back. Along the way, Ensler’s capacity for poetry never disappoints. To Ensler, her tumor is not a tumor but a flesh monument. “Huge and round,” she writes. “A taut ball of cellular yarn spun out of the stories of women, made of tears, silent screams, rocking torsos, and the particular loneliness of violence. A flesh creature birthed out of the secrets of brutality, each blood vessel a ribbon of story. My body has been sculpting this tumor for years, molding the pieces of pain, the clay residue of memories.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Eve Ensler will be reading from \u003ci>In the Body of the World\u003c/i> on May 20, 7:30pm at First Congregational Church in Oakland, and on May 21, 7:00pm, at Grace Cathedral in San Francisco. For more information visit \u003ca href=\"http://www.pegasusbookstore.com/event/eve-ensler-first-congregational-church\">Pegasus Books\u003c/a> and \u003ca href=\"http://www.booksinc.net/event/eve-ensler-grace-cathedral\">Books Inc.\u003c/a>\u003ci>In the Body of the World\u003c/i> is \u003ca href=\"http://www.indiebound.org/book/9780805095180\">on sale\u003c/a> now.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are some stories that get under your skin and into your psyche and they change everything. For Eve Ensler, activist and playwright best known for \u003ci>The Vagina Monologues\u003c/i>, one such story caused her to lose faith in humanity. It marked the beginning of her journey into the world of cancer. How you interpret Eve Ensler’s new memoir, \u003ci>In the Body of the World\u003c/i>, depends on how much power you think stories have. Did Ensler’s uterine cancer come from hearing so many stories of rape and violence, stories that inhabited her body, got under her skin? Did it come from the environment?\u003c/p>\n\u003cp>A chapter titled “How’d I Get It?” broadens this question and collapses it in humor:\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\n\u003cp>Was it turquoise Popsicles?\u003cbr>Was it Epstein-Barr?\u003cbr>Was it in my blood?\u003cbr>Was it already decided?\u003cbr>Was it deet?\u003cbr>Was it that I didn’t cry enough?\u003cbr>Or cried too much?\u003cbr>Was it promiscuous sex?\u003cbr>All those arrests at nuclear power plants?\u003cbr>Sleeping in radioactive dust?\u003cbr>Was it my IUD?\u003cbr>Was it birth control pills?\u003cbr>Was it not enough boundaries?\u003cbr>Was it too many walls?\u003c/p>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003ci>In the Body of the World\u003c/i> is an intriguing meditation on illness and the power of stories, itself artfully wrapped around the thirteen-year-old conflict of one country — the Democratic Republic of Congo — and \u003ca href=\"http://www.guardian.co.uk/world/2013/apr/11/congo-rapes-g8-soldier\">her persecuted women\u003c/a>. In the introduction of this book Ensler describes how her father’s sexual abuse caused her to become disassociated from her body, and how this exile made her hunger for other women’s stories (stories about abuse and endurance), because she saw these stories as a way back home to her body. That is how Ensler finds herself in the Congo, where the atrocities committed against women do not bring her home, but rather cause despair.\u003c/p>\n\u003cp>It is cancer, actually, that reveals a way home: “Cancer,” she writes, “threw me through the window of my disassociation into the center of my body’s crisis. The Congo threw me deep into the crisis of the world, and these two experiences merged as I faced the disease and what I felt was the beginning of the end.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This memoir is written in brief chapters called “scans”, as Ensler scrutinizes several moments from her illness and the process of building City of Joy — a UNICEF-supported place for female victims of gender violence in the Congo. Ensler wrote the “scans” while submitting her body to CAT scans. Actually, many things in this book hold parallels with Eve Ensler’s body — humankind denying climate change and Ensler denying the signs of cancer in her body; the BP oil spill poisoning the Gulf Coast at the same time an internal abscess spilled pus into Ensler’s body; Congolese women suffering from damaged sexual organs because of rape and Ensler’s sexual organs suffering the same damage because of cancer. Even the doctors are surprised at that last one.\u003c/p>\n\u003cp>Ensler explains, “Cells of endometrial (uterine) cancer had created a tumor between the vagina and the bowel and had ‘fistulated’ the rectum. Essentially, the cancer had done exactly what rape had done to so many thousands of women in the Congo.” One of Ensler’s doctors e-mails another saying he had been unable to sleep because of the mystery of what they had found. He wrote, “These findings are not medical, they are not science. They are spiritual.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/05/19/bodyoftheworldcover.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>Ensler’s cleverness shines in these leaping parallels, which gather profundity as the narrative builds. There is a sense of Ensler directly speaking to the reader, a trait that can be either effective or obstructive. At the moment of finding out there are tumors in her uterus, colon, and rectum, for example, the writing is flat and matter of fact: “It is bad news. The worst news. This is the worst day of my life. This is the day I am told I am going to die. My heart is racing.” But a few paragraphs below the writing gathers a lucid patina of grief, “Then a calm comes over me, the same calm that used to descend as I approached a beating by my father. I am calm. I am not panicked. I am going to die. This is the beginning of the end.”\u003c/p>\n\u003cp>Although the writing is times uneven, Ensler’s compassionate view into the Congo and the prowess of her poetic mind carry this book to surprising conclusions. Reading the book is like taking a journey alongside Ensler to near-death and back. Along the way, Ensler’s capacity for poetry never disappoints. To Ensler, her tumor is not a tumor but a flesh monument. “Huge and round,” she writes. “A taut ball of cellular yarn spun out of the stories of women, made of tears, silent screams, rocking torsos, and the particular loneliness of violence. A flesh creature birthed out of the secrets of brutality, each blood vessel a ribbon of story. My body has been sculpting this tumor for years, molding the pieces of pain, the clay residue of memories.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Eve Ensler will be reading from \u003ci>In the Body of the World\u003c/i> on May 20, 7:30pm at First Congregational Church in Oakland, and on May 21, 7:00pm, at Grace Cathedral in San Francisco. For more information visit \u003ca href=\"http://www.pegasusbookstore.com/event/eve-ensler-first-congregational-church\">Pegasus Books\u003c/a> and \u003ca href=\"http://www.booksinc.net/event/eve-ensler-grace-cathedral\">Books Inc.\u003c/a>\u003ci>In the Body of the World\u003c/i> is \u003ca href=\"http://www.indiebound.org/book/9780805095180\">on sale\u003c/a> now.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Caroline Paul's 'Lost Cat', a Tale of Love Between People and Pets",
"headTitle": "Caroline Paul’s ‘Lost Cat’, a Tale of Love Between People and Pets | KQED",
"content": "\u003cp>You may have already heard about San Francisco author Caroline Paul’s new book \u003ca href=\"http://lostcatbook.com/\">\u003ci>Lost Cat\u003c/i>\u003c/a> on a recent episode of KQED’s \u003ca href=\"http://www.kqed.org/a/forum/R201304101000\">Forum\u003c/a>. Or you might have heard of it through mentions by media outlets such as \u003ci>The New York Times\u003c/i>, who recently called 2013 \u003ca href=\"http://www.nytimes.com/2013/04/28/fashion/the-year-of-the-cat-books-of-style.html?_r=0\">The Year of the Cat\u003c/a>. Cats are famous these days, from the internet, to literature, to \u003ca href=\"http://www.oaklandcatvidfest.com/\">film festivals\u003c/a>, and \u003ci>Lost Cat\u003c/i> is a nice, psychologically-charged gem of a story to add to the mix.\u003c/p>\n\u003cp>When I started reading \u003ci>Lost Cat\u003c/i>, I immediately realized it was more than just a story about trying to find out where cats go when they’re off on their own. Paul was recovering from a serious injury when her beloved cat Tibby disappeared for five weeks, before returning with a completely new attitude. The author went to extreme lengths to figure out what he’d been up to. Running parallel to the narrative of Paul’s obsession with Tibby is the story of her new (human) relationship, forming a complex tale about love between both people and pets.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter> \u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/30/lostcat2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>The story has unique characters described in detail by Paul and illustrated by her partner, Wendy MacNaughton. MacNaughton is one of our favorite local illustrators, you might recognize her work from \u003ca href=\"http://therumpus.net/author/wendy-macnaughton/\">The Rumpus\u003c/a> or our recent \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=118704\">studio visit\u003c/a>. Her signature journalistic illustrations are the perfect match for Paul’s wry tone. The illustrations are subtle and frequent, adding richness and color to the emotion and humor of the story.\u003c/p>\n\u003cp>\u003ci>Lost Cat\u003c/i> brings up unexpected debates, like the argument about indoor vs. outdoor cats, what it means to be a crazy cat person now that 90% of the world seems to be crazy about cats, and whether cats have true relationships with their owners beyond the cat chow. Paul’s incessant obsession with her furry pal’s whereabouts and her feelings of being snubbed by him will speak to any pet owner. And her raw, revealing portrait of herself and her relationships is completely relatable. \u003ci>Lost Cat\u003c/i> emphasizes that life is hard, but life with the right cats (and people) is full of mystery and wonder.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You may have already heard about San Francisco author Caroline Paul’s new book \u003ca href=\"http://lostcatbook.com/\">\u003ci>Lost Cat\u003c/i>\u003c/a> on a recent episode of KQED’s \u003ca href=\"http://www.kqed.org/a/forum/R201304101000\">Forum\u003c/a>. Or you might have heard of it through mentions by media outlets such as \u003ci>The New York Times\u003c/i>, who recently called 2013 \u003ca href=\"http://www.nytimes.com/2013/04/28/fashion/the-year-of-the-cat-books-of-style.html?_r=0\">The Year of the Cat\u003c/a>. Cats are famous these days, from the internet, to literature, to \u003ca href=\"http://www.oaklandcatvidfest.com/\">film festivals\u003c/a>, and \u003ci>Lost Cat\u003c/i> is a nice, psychologically-charged gem of a story to add to the mix.\u003c/p>\n\u003cp>When I started reading \u003ci>Lost Cat\u003c/i>, I immediately realized it was more than just a story about trying to find out where cats go when they’re off on their own. Paul was recovering from a serious injury when her beloved cat Tibby disappeared for five weeks, before returning with a completely new attitude. The author went to extreme lengths to figure out what he’d been up to. Running parallel to the narrative of Paul’s obsession with Tibby is the story of her new (human) relationship, forming a complex tale about love between both people and pets.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter> \u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/30/lostcat2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>The story has unique characters described in detail by Paul and illustrated by her partner, Wendy MacNaughton. MacNaughton is one of our favorite local illustrators, you might recognize her work from \u003ca href=\"http://therumpus.net/author/wendy-macnaughton/\">The Rumpus\u003c/a> or our recent \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=118704\">studio visit\u003c/a>. Her signature journalistic illustrations are the perfect match for Paul’s wry tone. The illustrations are subtle and frequent, adding richness and color to the emotion and humor of the story.\u003c/p>\n\u003cp>\u003ci>Lost Cat\u003c/i> brings up unexpected debates, like the argument about indoor vs. outdoor cats, what it means to be a crazy cat person now that 90% of the world seems to be crazy about cats, and whether cats have true relationships with their owners beyond the cat chow. Paul’s incessant obsession with her furry pal’s whereabouts and her feelings of being snubbed by him will speak to any pet owner. And her raw, revealing portrait of herself and her relationships is completely relatable. \u003ci>Lost Cat\u003c/i> emphasizes that life is hard, but life with the right cats (and people) is full of mystery and wonder.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>The End of San Francisco\u003c/i>, out by City Lights last month, is Mattilda Bernstein Sycamore’s potent memoir about longing: longing for good sex, meaningful relationships, a father’s admission of sexual abuse, an LGBT community that supports and questions itself, and most longing for release. The most surprising truth in this memoir is the crux of Sycamore’s appetite — her appetite for seamless belonging is equally matched by an agitated addiction to pursue and lose herself in her ecstasies, a road that she dutifully travels each time only to discover that her ecstasies are ephemeral and haunting.\u003c/p>\n\u003cp>Written in nine parts, \u003ci>The End of San Francisco\u003c/i> is a conversational, disordered account of the author’s anxiety-riddled childhood, her sexual encounters, and a life of clubbing, partying, and stirring activism. The writing is urgent, poignant, high-pitched, then expository. But it is this unevenness that makes the book sound more like an authentic monologue: Sycamore alternately purring in your ear, yelling in your face, or sedately stating the intricacies and repressions she sees in the LGBT community.\u003c/p>\n\u003cp>The first part of the book is harrowing, as Sycamore shares her charged return home. To Sycamore, home is a place of exile. Her family calls her “Matthew” — there is a layer of terror to the telling. She is there to confront her father, who is heavily medicated and on his deathbed, to ask him once again to admit to the sexual abuse. It is unclear how much is getting through to her father and there is no answer on his part. Sycamore writes, “then there are so many layers to my sobbing: there’s holding the chest while spasming anyway; there’s tears gliding smoothly down skin; there’s tears in eyes, face, inside everything.”\u003c/p>\n\u003cp>This book is filled with sounds of the 1990s club scene. Some of the most beautiful writing is on the experience of dancing, perhaps heightened by the fact that Sycamore suffers from fibromyalgia, making it sometimes painful to dance. Here is Cajmere’s “Brighter Days,” which I recommend you listen to as you read Sycamore’s writing on the experience of dancing to it just beneath:\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=OSusQJPHRzA?rel=0&w=480&h=270]\u003c/p>\n\u003cp>“Screaming when the beat got knock-you-down over-whelming and breathe-deep soothing at the same time or that sample came at the exact moment when you couldn’t possibly handle it or just because you saw the wrong person at the right time or the right person at the wrong time or because there was something missing I mean there was nothing missing for just that moment with the sweat pouring down your face your eyes bringing the beat into your body your body taking it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sycamore came to San Francisco in the 1990s, a budding queer activist and part, she writes, “of a whole generation of queers who came to San Francisco to try and cope.” Sycamore was seeking to join something of a queer utopia in San Francisco, but found it lacking, which made her up and move to New York, then Seattle, then San Francisco again, and Seattle again. To this reader it seems that she was on a quest for what she describes elsewhere as “transcendence through an engagement with gestures of public desire.” The end of that road is a sobering one, as Sycamore loses her hope for transcendence both in the bedroom and in San Francisco: “I understand why so many […] give up hoping that sex will become anything other than something lost, over and over again this loss or maybe I mean lack, this sense that something is lacking and some people go to great lengths to keep it that way. Others just follow the rules, and the rest of us slowly lose our sense that sex will ever illuminate anything.”\u003c/p>\n\u003cp>For Sycamore, the San Francisco of her mythology, the place where queerness and activism and otherness could thrive, is over. \u003ci>The End of San Francisco\u003c/i> could be the most insightful break-up memoir the city has ever received.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mattilda Bernstein Sycamore will be reading from \u003ci>The End of San Francisco\u003c/i> on April 30, 7:00pm at City Lights Bookstore in San Francisco, and on May 2nd, 7:30pm, at Pegasus Bookstore in Berkeley. For more information, visit \u003ca href=\"http://www.citylights.com/\">City Lights\u003c/a> and \u003ca href=\"http://www.pegasusbookstore.com/\">Pegasus Books\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sycamore came to San Francisco in the 1990s, a budding queer activist and part, she writes, “of a whole generation of queers who came to San Francisco to try and cope.” Sycamore was seeking to join something of a queer utopia in San Francisco, but found it lacking, which made her up and move to New York, then Seattle, then San Francisco again, and Seattle again. To this reader it seems that she was on a quest for what she describes elsewhere as “transcendence through an engagement with gestures of public desire.” The end of that road is a sobering one, as Sycamore loses her hope for transcendence both in the bedroom and in San Francisco: “I understand why so many […] give up hoping that sex will become anything other than something lost, over and over again this loss or maybe I mean lack, this sense that something is lacking and some people go to great lengths to keep it that way. Others just follow the rules, and the rest of us slowly lose our sense that sex will ever illuminate anything.”\u003c/p>\n\u003cp>For Sycamore, the San Francisco of her mythology, the place where queerness and activism and otherness could thrive, is over. \u003ci>The End of San Francisco\u003c/i> could be the most insightful break-up memoir the city has ever received.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mattilda Bernstein Sycamore will be reading from \u003ci>The End of San Francisco\u003c/i> on April 30, 7:00pm at City Lights Bookstore in San Francisco, and on May 2nd, 7:30pm, at Pegasus Bookstore in Berkeley. For more information, visit \u003ca href=\"http://www.citylights.com/\">City Lights\u003c/a> and \u003ca href=\"http://www.pegasusbookstore.com/\">Pegasus Books\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Noise Pop 2013: Days Five & Six",
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"content": "\u003cp>For the conclusion of our four-part series on the 2013 Noise Pop festival, KQED Arts bloggers Amanda Roscoe Mayo and Sarah Hotchkiss cover up the final two days of concerts and ruminate on the experience as a whole.\u003c/p>\n\u003cp>\u003cb>\u003cu>DAY FIVE: Saturday, March 2\u003c/u>\u003c/b>\u003c/p>\n\u003cp>\u003cb>YACHT, Tussle, Future Twin, Shock\u003c/b>\u003c/p>\n\u003cp>\u003cb>Amanda:\u003c/b> Saturday night I was confronted with an intense inner debate about which shows to attend, if I should attend more than one, how much I would let Sidecar drain from my bank account and if, after 5 days of (sometimes multiple) shows a night I could stay conscious. I settled on YACHT. I heard Thao and the Get Down Stay Down killed it across town though, so how about we petition for a high speed train with uninterrupted stops between the music venues in SF?\u003c/p>\n\u003cp>I missed Shock after standing in the epically long line at Slim’s. Future Twin bill themselves as “grandma psychedelic rock”, which I’m not sure makes sense as a genre or a sound. I found their songs a bit lackluster but performed well. Jean Jeanie’s voice, however, doesn’t match the music, it’s sort of just there. I often felt like there was a song playing in the background of the club only to realize it was two disjointed sounds coming from the band. The first ten minutes of Tussle sounded an awful lot like a sound check. With two drum kits playing (for the most part) the same percussion sequences, I wondered exactly why two kits needed to be in the band. The more enjoyable moments came from the electronica drone played by the band member with a headlamp around his neck. The fourth member, front and center, held a microphone he never used. Instead, he constantly referenced a yellow-paged notebook, for what I’m not sure. Whatever he was looking for, he didn’t seem to find it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/04/yacht.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>YACHT\u003c/center>\n\u003cp>While the appetizers were less than satiating, I had confidence the main course would be sufficient. YACHT is as much an artistic endeavor and way of life as it is a band. I recommend reading up on the relatively obscure ideologies these kids have put forth into the world, it somehow makes complete sense. Their unpretentious vision translates to unforgettable performances. Within seconds lead singer Claire Evans was in the audience, pushing us all out of the way, jumping back on stage, and as a result lassoing a good hunk of the crowd in her mic cord, myself included. She and Jona Bechtolt were both mesmerizing to watch and completely engaged with the audience. I loved the way they interacted with each other on stage; most of the time they’re completely focused to their vocals, instruments, and performance, but every once in a while, they share small exchanges with each other. Such moments are a reminder that they are in this together. In fact we’re all in this together, according to YACHT. I left that night with a whole new group of friends, some bruises, and plenty of hope for the musicians/artists of my generation. Perhaps this is the utopia YACHT speaks of?\u003c/p>\n\u003cp>\u003cb>\u003cu>DAY SIX: Sunday, March 3\u003c/u>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Caspian, Native, Boyfrndz, The Dandelion War\u003c/b>\u003c/p>\n\u003cp>\u003cb>Sarah:\u003c/b> Despite Amanda urging me to arrive in time for the first band of the night, I was locking my bike up as The Dandelion War started their last song. From what final verses I heard and from how loudly the small early crowd cheered at the end of their set, I really missed out. Note to self: Amanda knows what she’s talking about. Just do whatever she says.\u003c/p>\n\u003cp>Dejected, I quickly recovered by buying my very first Noise Pop 2013 beer, securing an actual seat near the back of the club, and settling in for what turned out to be a redeeming night for Bottom of the Hill (see Family of the Year, \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=117105\">Noise Pop 2013: Days 1 & 2\u003c/a>). Boyfrndz produced an overwhelming amount of noise, screeching and pounding towards some nihilistic end point. Two songs in, I caught a lot of confused looks on girls’ faces. Even more members of the crowd were double-checking their ear plugs. Once I made that same necessary purchase, the rest of the set continued uneventfully — and less painfully.\u003c/p>\n\u003cp>Native turned out to be a more refined, restrained version of Boyfrndz. The guys thrashed and screamed at high pace, switching gears mid-song to bring out spare (but still incredibly intense) tightly orchestrated riffs. Creative lighting timed to the beat periodically dramatically underlit their concentrated faces, amplifying their post-hardcore songs with moody ambience.\u003c/p>\n\u003cp>Headliners Caspian blew all their precursors out of the dark gloomy water. Awash in anthemic sound, I was at a loss for coherent sentences. My notes read: layers, swelling, huge, speedy, epic sound cut down super tight, growling synth and reverb, cinematic, driving, expansive, forceful, lead singer looks like Scandinavian royalty. One member of the audience yelled out, “Caspian saved my life!” Already aware of their power, the band didn’t even respond. They just launched into another haunting instrumental soundscape, dramatically swinging the necks of their instruments around the tiny stage.\u003c/p>\n\u003cp>\u003cb>Noise Pop closing party with surprise guests: tUnEyArDs, Maus Haus, Tycho\u003c/b>\u003c/p>\n\u003cp>\u003cb>Amanda:\u003c/b> I was delighted to be invited to the Noise Pop closing party, which the organizers promised would be worth attending even while keeping hush hush about the performers. Who doesn’t love a good surprise? Maus Haus opened the night with a unique sound, such a relief after Saturday’s flatline. The music is rooted in post-rock, but the vocals are full of pop influences. They sounded familiar and different, and I spent half the set trying to place the band they reminded me of. I finally figured out they’ve just cleverly paid attention to bands like Sonic Youth, LCD Soundsystem, Crystal Castles, and The Notwist, selecting elements from each to create their own sound.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/04/maushaus.jpg%20\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Maus Haus\u003c/center>\n\u003cp>Before Tycho (the big surprise guest of the night) took the stage, tUnEyArDs deejayed for us, and it was her birthday!. Though I’d heard a lot \u003ci>about\u003c/i> Tycho, I hadn’t \u003ci>heard\u003c/i> any Tycho. Ambient and/or electronica is one of my favorite genres inside indie music. There is so much at stake, and little to hide behind when playing live. The use of the high hat is highly underutilized, but not by Tycho. The drums provided the energetic and hopeful energy required to lift their songs. I couldn’t help but compare them to all my favorites: Ulrich Schnauss, Boards of Canada, Explosions in the Sky, and Marc Hellner. I prayed to the Noise Pop gods to bring me the perfect closing show on Sunday night and they delivered. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/04/tycho.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Tycho\u003c/center>\n\u003cp>\u003cb>\u003cu>Hidden in the Dark Corners of Noise Pop: A Wrap-Up\u003c/u>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Amanda:\u003c/b> What struck me the most (besides mic stands, fists, and backpacks) about this series of shows was how much live music has become homogeneous. Bands typically get on stage, play their set, rock out like good rock stars, and say, “How you doing tonight, insert city here!?” The good shows at Noise Pop weren’t like that, and that was refreshing. Damien Jurado allowed the audience to determine his set list. YACHT came into the audience more than once, gave a girl a hug for her birthday, and had a question and answer session. R. Stevie Moore shouted bizarre pop slang at us with a deadpan stare and a blue beard. Bear Mountain syncopated and manipulated live visuals as part of their show. Of course the audience is there for the music, but we’re also there for the musicians — feeling in on it with them is part of the fun. There is no better high than seeing your favorite band do something completely off the cuff on stage. Plus the effects of coming down aren’t very damaging.\u003c/p>\n\u003cp>\u003cb>Sarah:\u003c/b> At the beginning of Noise Pop 2013, I thought I might be getting too old for live shows. It hurts to stand on those hard concrete floors. I don’t like staying up late. Nobody dances even when the music seems to dictate it completely. Obnoxious peanut galleries abound, myself included. But then the last band of the last night of the whole freakin’ thing comes on and I’m like: “Maybe I should reconsider my career choices while I still have time to become a groupie.”\u003c/p>\n\u003cp>Revisit our Noise Pop 2013 recaps for \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=117105\">Days 1 & 2\u003c/a> and \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=117224\">Days 3 & 4\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>All photos by Amanda Roscoe Mayo.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the conclusion of our four-part series on the 2013 Noise Pop festival, KQED Arts bloggers Amanda Roscoe Mayo and Sarah Hotchkiss cover up the final two days of concerts and ruminate on the experience as a whole.\u003c/p>\n\u003cp>\u003cb>\u003cu>DAY FIVE: Saturday, March 2\u003c/u>\u003c/b>\u003c/p>\n\u003cp>\u003cb>YACHT, Tussle, Future Twin, Shock\u003c/b>\u003c/p>\n\u003cp>\u003cb>Amanda:\u003c/b> Saturday night I was confronted with an intense inner debate about which shows to attend, if I should attend more than one, how much I would let Sidecar drain from my bank account and if, after 5 days of (sometimes multiple) shows a night I could stay conscious. I settled on YACHT. I heard Thao and the Get Down Stay Down killed it across town though, so how about we petition for a high speed train with uninterrupted stops between the music venues in SF?\u003c/p>\n\u003cp>I missed Shock after standing in the epically long line at Slim’s. Future Twin bill themselves as “grandma psychedelic rock”, which I’m not sure makes sense as a genre or a sound. I found their songs a bit lackluster but performed well. Jean Jeanie’s voice, however, doesn’t match the music, it’s sort of just there. I often felt like there was a song playing in the background of the club only to realize it was two disjointed sounds coming from the band. The first ten minutes of Tussle sounded an awful lot like a sound check. With two drum kits playing (for the most part) the same percussion sequences, I wondered exactly why two kits needed to be in the band. The more enjoyable moments came from the electronica drone played by the band member with a headlamp around his neck. The fourth member, front and center, held a microphone he never used. Instead, he constantly referenced a yellow-paged notebook, for what I’m not sure. Whatever he was looking for, he didn’t seem to find it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/04/yacht.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>YACHT\u003c/center>\n\u003cp>While the appetizers were less than satiating, I had confidence the main course would be sufficient. YACHT is as much an artistic endeavor and way of life as it is a band. I recommend reading up on the relatively obscure ideologies these kids have put forth into the world, it somehow makes complete sense. Their unpretentious vision translates to unforgettable performances. Within seconds lead singer Claire Evans was in the audience, pushing us all out of the way, jumping back on stage, and as a result lassoing a good hunk of the crowd in her mic cord, myself included. She and Jona Bechtolt were both mesmerizing to watch and completely engaged with the audience. I loved the way they interacted with each other on stage; most of the time they’re completely focused to their vocals, instruments, and performance, but every once in a while, they share small exchanges with each other. Such moments are a reminder that they are in this together. In fact we’re all in this together, according to YACHT. I left that night with a whole new group of friends, some bruises, and plenty of hope for the musicians/artists of my generation. Perhaps this is the utopia YACHT speaks of?\u003c/p>\n\u003cp>\u003cb>\u003cu>DAY SIX: Sunday, March 3\u003c/u>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Caspian, Native, Boyfrndz, The Dandelion War\u003c/b>\u003c/p>\n\u003cp>\u003cb>Sarah:\u003c/b> Despite Amanda urging me to arrive in time for the first band of the night, I was locking my bike up as The Dandelion War started their last song. From what final verses I heard and from how loudly the small early crowd cheered at the end of their set, I really missed out. Note to self: Amanda knows what she’s talking about. Just do whatever she says.\u003c/p>\n\u003cp>Dejected, I quickly recovered by buying my very first Noise Pop 2013 beer, securing an actual seat near the back of the club, and settling in for what turned out to be a redeeming night for Bottom of the Hill (see Family of the Year, \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=117105\">Noise Pop 2013: Days 1 & 2\u003c/a>). Boyfrndz produced an overwhelming amount of noise, screeching and pounding towards some nihilistic end point. Two songs in, I caught a lot of confused looks on girls’ faces. Even more members of the crowd were double-checking their ear plugs. Once I made that same necessary purchase, the rest of the set continued uneventfully — and less painfully.\u003c/p>\n\u003cp>Native turned out to be a more refined, restrained version of Boyfrndz. The guys thrashed and screamed at high pace, switching gears mid-song to bring out spare (but still incredibly intense) tightly orchestrated riffs. Creative lighting timed to the beat periodically dramatically underlit their concentrated faces, amplifying their post-hardcore songs with moody ambience.\u003c/p>\n\u003cp>Headliners Caspian blew all their precursors out of the dark gloomy water. Awash in anthemic sound, I was at a loss for coherent sentences. My notes read: layers, swelling, huge, speedy, epic sound cut down super tight, growling synth and reverb, cinematic, driving, expansive, forceful, lead singer looks like Scandinavian royalty. One member of the audience yelled out, “Caspian saved my life!” Already aware of their power, the band didn’t even respond. They just launched into another haunting instrumental soundscape, dramatically swinging the necks of their instruments around the tiny stage.\u003c/p>\n\u003cp>\u003cb>Noise Pop closing party with surprise guests: tUnEyArDs, Maus Haus, Tycho\u003c/b>\u003c/p>\n\u003cp>\u003cb>Amanda:\u003c/b> I was delighted to be invited to the Noise Pop closing party, which the organizers promised would be worth attending even while keeping hush hush about the performers. Who doesn’t love a good surprise? Maus Haus opened the night with a unique sound, such a relief after Saturday’s flatline. The music is rooted in post-rock, but the vocals are full of pop influences. They sounded familiar and different, and I spent half the set trying to place the band they reminded me of. I finally figured out they’ve just cleverly paid attention to bands like Sonic Youth, LCD Soundsystem, Crystal Castles, and The Notwist, selecting elements from each to create their own sound.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/04/maushaus.jpg%20\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Maus Haus\u003c/center>\n\u003cp>Before Tycho (the big surprise guest of the night) took the stage, tUnEyArDs deejayed for us, and it was her birthday!. Though I’d heard a lot \u003ci>about\u003c/i> Tycho, I hadn’t \u003ci>heard\u003c/i> any Tycho. Ambient and/or electronica is one of my favorite genres inside indie music. There is so much at stake, and little to hide behind when playing live. The use of the high hat is highly underutilized, but not by Tycho. The drums provided the energetic and hopeful energy required to lift their songs. I couldn’t help but compare them to all my favorites: Ulrich Schnauss, Boards of Canada, Explosions in the Sky, and Marc Hellner. I prayed to the Noise Pop gods to bring me the perfect closing show on Sunday night and they delivered. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/04/tycho.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Tycho\u003c/center>\n\u003cp>\u003cb>\u003cu>Hidden in the Dark Corners of Noise Pop: A Wrap-Up\u003c/u>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Amanda:\u003c/b> What struck me the most (besides mic stands, fists, and backpacks) about this series of shows was how much live music has become homogeneous. Bands typically get on stage, play their set, rock out like good rock stars, and say, “How you doing tonight, insert city here!?” The good shows at Noise Pop weren’t like that, and that was refreshing. Damien Jurado allowed the audience to determine his set list. YACHT came into the audience more than once, gave a girl a hug for her birthday, and had a question and answer session. R. Stevie Moore shouted bizarre pop slang at us with a deadpan stare and a blue beard. Bear Mountain syncopated and manipulated live visuals as part of their show. Of course the audience is there for the music, but we’re also there for the musicians — feeling in on it with them is part of the fun. There is no better high than seeing your favorite band do something completely off the cuff on stage. Plus the effects of coming down aren’t very damaging.\u003c/p>\n\u003cp>\u003cb>Sarah:\u003c/b> At the beginning of Noise Pop 2013, I thought I might be getting too old for live shows. It hurts to stand on those hard concrete floors. I don’t like staying up late. Nobody dances even when the music seems to dictate it completely. Obnoxious peanut galleries abound, myself included. But then the last band of the last night of the whole freakin’ thing comes on and I’m like: “Maybe I should reconsider my career choices while I still have time to become a groupie.”\u003c/p>\n\u003cp>Revisit our Noise Pop 2013 recaps for \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=117105\">Days 1 & 2\u003c/a> and \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=117224\">Days 3 & 4\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All photos by Amanda Roscoe Mayo.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Noise Pop continues gaining momentum as we enter the weekend and the final days of the festival. KQED Arts bloggers Amanda Roscoe Mayo and Sarah Hotchkiss continue to bring you the very best from the concert frontlines. For the next and final recap check back on Monday, March 3 for Days Five & Six and our closing remarks.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>\u003cu>DAY THREE: Thursday, February 28\u003c/u>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Bear Mountain, Sir Sly\u003c/b>\u003c/p>\n\u003cp>\u003cb>Amanda:\u003c/b> Either San Francisco took my advice from \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=117105\">last week’s piece\u003c/a>, or this crowd showed up just to dance. I have to say, San Francisco, you’ve got some skills on the dance floor. Los Angeles band Sir Sly had a huge sound, powerfully-building repetitive (in a good way) vocals, backed by strong pop melodies with just the right edge. This crowd couldn’t stay still if they tried. This evening was the best of the concerts I’ve been to so far in this year’s Noise Pop.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ages ago, when Madonna was interviewed about \u003ci>Confessions of a Dance Floor\u003c/i>, I remember her saying something along the lines of: “I just want to make a dance record, something to move to, I’m not thinking about what I’m saying.” Her response stuck with me, since I’ve always thought dance music doesn’t have to be void of content. This particular Noise Pop show was a reminder of that. Each of Bear Mountain’s songs is crafted to employ a dynamic listening experience that is fun and accessible.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/02/BearMounain.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Bear Mountain\u003c/center>\n\u003cp>When I talked with Ian Bevis before the festival I asked him what it meant to make honest music. For him it was all in the vocals: “I can say more by singing… convey way more emotion using my voice than anything else. It’s the most direct way to get the message out.” (You can read the full interview \u003ca href=\"http://placeswedontknow.tumblr.com/post/43406887667/interview-bear-mountain\">here\u003c/a>.)\u003c/p>\n\u003cp>\u003cb>Family of the Year, Doe Eye, Psychic Friend, Rin Tin Tiger\u003c/b>\u003c/p>\n\u003cp>\u003cb>Sarah:\u003c/b> I wish I had seen all of Doe Eye’s set, then maybe my night could have balanced into the “good tunes” category. Unfortunately I only got to hear a handful of Maryam Qudus’ torchy numbers. Backed by a cello and two violins, her forceful low croon was mesmerising. But the crowd was impatient for Family of the Year, so Doe Eye had to end, even though I felt a premonition about the band to come.\u003c/p>\n\u003cp>You may know Family of the Year from their radio hit “Hero” or their recent appearance on \u003ci>Conan\u003c/i>. Their best numbers were their faster ones, when the group vocals carried a sense of energy and enthusiasm from the stage to the crowd. When things slowed down and got folksier, less driving, with just frontman Joe Keefe singing, I got bored. I found myself annoyed by the familiar sounds coming off Bottom of the Hill’s stage (Mumford and Sons-esque collective yelps, for example). The crowd dispersed after witnessing the one song they came to hear — I left shortly thereafter.\u003c/p>\n\u003cp>\u003cb>\u003cu>DAY FOUR: Friday, March 1\u003c/u>\u003c/b>\u003c/p>\n\u003cp>\u003cb>DRMS + Damien Jurado, Aaron Espinoza (of Earlimart)\u003c/b>\u003c/p>\n\u003cp>\u003cb>Amanda:\u003c/b> On night four of Noise Pop I made it to two shows. I started the night off at the Independent to see DRMS. The line was so long to get in I barely caught the end of their set, but I’m glad I did. What a treat. Emily Ritz’s sweet, classic, voice was perfectly in sync with Rob Shelton’s magnetic musical arrangements. Ritz and Shelton were joined on stage by six other very talented musicians providing us with upbeat and gutsy alternative rock backs. Next month I’ll be profiling them on \u003ca href=\"http://www.kqed.com/arts\">KQED Arts\u003c/a>, so be sure to keep an eye out for that.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/02/DRMS.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>DRMS\u003c/center>\n\u003cp>Speaking of charming acts, Damien Jurado just about charmed the pants off of everyone at The Chapel in the Mission. During Aaron Espinoza’s set I started to get frustrated with the crowd’s noise, but as soon as Jurado set a socked foot on stage the audience dropped into silence. I’ve never been so self-conscious of my camera’s shutter noise.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/02/Espinoza.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Aaron Espinoza\u003c/center>\n\u003cp>Even alone with his guitar, perched on a stool, Jurado had significant presence. He opened the show with two new songs, responding to audience requests as the set went on. Between songs, he answered questions, his stoic appearance broken by little smirks when he heckled back at the audience. I could barely concentrate on his voice — I became mesmerized by the orchestral notes coming from his steadfast fingers as he plucked out incredible instrumentation.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/02/Jurado.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Damien Jurado\u003c/center>\n\u003cp>\u003cb>\u003c/b>\u003c/p>\n\u003cp>The Thermals, Dirty Ghosts, The SHE’s, Ev Kain\u003c/p>\n\u003cp>\u003cb>Sarah:\u003c/b> To make amends for my lackluster Thursday night, the concert gods brought me to the Rickshaw Stop on Friday. The tail end of Ev Kain’s set was all funky bass lines and peppy vocals. I was encouraged to be more optimistic. The SHE’s were everything I had hoped for: light, sweet, beachy, and oh so talented. \u003ci>SO\u003c/i> young and talented. After a momentary panic of “What have I done with my life?” I got back into the boppy groove. Their closing song, “Fabian”, started with a punchy a cappella line and carried me on a wave of pop harmonies to a warm sunny place.\u003c/p>\n\u003cp>Dirty Ghosts is what happens to The SHE’s after another decade, a few heartbreaks, and some life lessons. Allyson Baker sings in low wails with ferocity. I was astonished to find the crowd completely unmoved, or at least unmoving. Seriously? And \u003ci>then\u003c/i>, they played a cover of Payola’s early ’80s \u003ca href>“Eyes of a Stranger”\u003c/a>, one of my favorite songs from the exceptional film \u003ci>Valley Girl\u003c/i>.\u003c/p>\n\u003cp>Headliners The Thermals took the stage with energy and professionalism, announcing this was the 10th anniversary of their first album \u003ci>More Parts per Million\u003c/i>. “Hope you like it ’cause we’re gonna play most of it,” said lead singer Hutch Harris. The crowd responded raucously. And finally danced.\u003c/p>\n\u003cp>Noise Pop runs through March 3, 2013. For the \u003ca href=\"http://schedule.noisepop.com/\">full schedule\u003c/a> of upcoming events visit schedule.noisepop.com.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>All photos by Amanda Roscoe Mayo.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ages ago, when Madonna was interviewed about \u003ci>Confessions of a Dance Floor\u003c/i>, I remember her saying something along the lines of: “I just want to make a dance record, something to move to, I’m not thinking about what I’m saying.” Her response stuck with me, since I’ve always thought dance music doesn’t have to be void of content. This particular Noise Pop show was a reminder of that. Each of Bear Mountain’s songs is crafted to employ a dynamic listening experience that is fun and accessible.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/02/BearMounain.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Bear Mountain\u003c/center>\n\u003cp>When I talked with Ian Bevis before the festival I asked him what it meant to make honest music. For him it was all in the vocals: “I can say more by singing… convey way more emotion using my voice than anything else. It’s the most direct way to get the message out.” (You can read the full interview \u003ca href=\"http://placeswedontknow.tumblr.com/post/43406887667/interview-bear-mountain\">here\u003c/a>.)\u003c/p>\n\u003cp>\u003cb>Family of the Year, Doe Eye, Psychic Friend, Rin Tin Tiger\u003c/b>\u003c/p>\n\u003cp>\u003cb>Sarah:\u003c/b> I wish I had seen all of Doe Eye’s set, then maybe my night could have balanced into the “good tunes” category. Unfortunately I only got to hear a handful of Maryam Qudus’ torchy numbers. Backed by a cello and two violins, her forceful low croon was mesmerising. But the crowd was impatient for Family of the Year, so Doe Eye had to end, even though I felt a premonition about the band to come.\u003c/p>\n\u003cp>You may know Family of the Year from their radio hit “Hero” or their recent appearance on \u003ci>Conan\u003c/i>. Their best numbers were their faster ones, when the group vocals carried a sense of energy and enthusiasm from the stage to the crowd. When things slowed down and got folksier, less driving, with just frontman Joe Keefe singing, I got bored. I found myself annoyed by the familiar sounds coming off Bottom of the Hill’s stage (Mumford and Sons-esque collective yelps, for example). The crowd dispersed after witnessing the one song they came to hear — I left shortly thereafter.\u003c/p>\n\u003cp>\u003cb>\u003cu>DAY FOUR: Friday, March 1\u003c/u>\u003c/b>\u003c/p>\n\u003cp>\u003cb>DRMS + Damien Jurado, Aaron Espinoza (of Earlimart)\u003c/b>\u003c/p>\n\u003cp>\u003cb>Amanda:\u003c/b> On night four of Noise Pop I made it to two shows. I started the night off at the Independent to see DRMS. The line was so long to get in I barely caught the end of their set, but I’m glad I did. What a treat. Emily Ritz’s sweet, classic, voice was perfectly in sync with Rob Shelton’s magnetic musical arrangements. Ritz and Shelton were joined on stage by six other very talented musicians providing us with upbeat and gutsy alternative rock backs. Next month I’ll be profiling them on \u003ca href=\"http://www.kqed.com/arts\">KQED Arts\u003c/a>, so be sure to keep an eye out for that.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/02/DRMS.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>DRMS\u003c/center>\n\u003cp>Speaking of charming acts, Damien Jurado just about charmed the pants off of everyone at The Chapel in the Mission. During Aaron Espinoza’s set I started to get frustrated with the crowd’s noise, but as soon as Jurado set a socked foot on stage the audience dropped into silence. I’ve never been so self-conscious of my camera’s shutter noise.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/02/Espinoza.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Aaron Espinoza\u003c/center>\n\u003cp>Even alone with his guitar, perched on a stool, Jurado had significant presence. He opened the show with two new songs, responding to audience requests as the set went on. Between songs, he answered questions, his stoic appearance broken by little smirks when he heckled back at the audience. I could barely concentrate on his voice — I became mesmerized by the orchestral notes coming from his steadfast fingers as he plucked out incredible instrumentation.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/02/Jurado.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Damien Jurado\u003c/center>\n\u003cp>\u003cb>\u003c/b>\u003c/p>\n\u003cp>The Thermals, Dirty Ghosts, The SHE’s, Ev Kain\u003c/p>\n\u003cp>\u003cb>Sarah:\u003c/b> To make amends for my lackluster Thursday night, the concert gods brought me to the Rickshaw Stop on Friday. The tail end of Ev Kain’s set was all funky bass lines and peppy vocals. I was encouraged to be more optimistic. The SHE’s were everything I had hoped for: light, sweet, beachy, and oh so talented. \u003ci>SO\u003c/i> young and talented. After a momentary panic of “What have I done with my life?” I got back into the boppy groove. Their closing song, “Fabian”, started with a punchy a cappella line and carried me on a wave of pop harmonies to a warm sunny place.\u003c/p>\n\u003cp>Dirty Ghosts is what happens to The SHE’s after another decade, a few heartbreaks, and some life lessons. Allyson Baker sings in low wails with ferocity. I was astonished to find the crowd completely unmoved, or at least unmoving. Seriously? And \u003ci>then\u003c/i>, they played a cover of Payola’s early ’80s \u003ca href>“Eyes of a Stranger”\u003c/a>, one of my favorite songs from the exceptional film \u003ci>Valley Girl\u003c/i>.\u003c/p>\n\u003cp>Headliners The Thermals took the stage with energy and professionalism, announcing this was the 10th anniversary of their first album \u003ci>More Parts per Million\u003c/i>. “Hope you like it ’cause we’re gonna play most of it,” said lead singer Hutch Harris. The crowd responded raucously. And finally danced.\u003c/p>\n\u003cp>Noise Pop runs through March 3, 2013. For the \u003ca href=\"http://schedule.noisepop.com/\">full schedule\u003c/a> of upcoming events visit schedule.noisepop.com.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>KQED Arts bloggers Amanda Roscoe Mayo and Sarah Hotchkiss are covering this year’s Noise Pop festival two days at a time. Check back to \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=116773\">A Noise Pop 2013 Wish List\u003c/a> to see their picks for the six days of concerts, film, and art events. And stay tuned on Saturday, March 2 for the next installment: Days Three & Four.\u003c/p>\n\u003cp>\u003cb>\u003cu>DAY ONE: Tuesday, February 26\u003c/u>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Body/Head (featuring Kim Gordon of Sonic Youth and Bill Nace), Horsebladder, Burmese, Noel Von Harmonson\u003c/b>\u003c/p>\n\u003cp>Noise Pop Music Fest 2013 is in full swing, kicking things off with a noisy bang on Tuesday night at Rickshaw Stop with Body/Head, Horsebladder, Burmese, and Noel Von Harmonson. The basic play-by-play of night one was this: Burmese melted everyone’s faces off. Their lead vocalist manifested growls from a place I can only imagine most metalheads dream of reaching.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/28/burmese.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Burmese\u003c/center>\n\u003cp>It was incredibly refreshing to see the Bay Area underground metal scene take over the Rickshaw for 30 minutes or so, until Horsebladder came on. Ever wonder where your teenage angst \u003ci>went\u003c/i>? Elaine Kahn has it. She has gathered the entire world’s angst, and as angsty girls do, turned everyone against her. Her music was flat, loops captured from lackadaisical moments on a tambourine struck by what looked like a medieval torture tool failed to be dynamic. Keyboard didn’t help.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I always wondered what it would be like to reenact a scene from \u003ci>Carrie\u003c/i> in real life. At one point Kahn released a stare so violent and intense I turned around expecting to see the balcony at Rickshaw engulfed in flames. Once her set was over and I had cased all the nearest exits, just in case, it was time to regroup for Body/Head.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/28/bodyhead.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Body/Head\u003c/center>\n\u003cp>I was skeptical of Kim Gordon’s new project with Bill Nace. All I knew prior to the show was to expect noise broken up only by mostly random, unidentifiable, utterances from Gordon. This rumor was completely accurate, and while noise is not a genre I’m well versed in, I can appreciate when the musicians are accomplishing what they hope to achieve with their sound. Body/Head didn’t find that sweet spot until the end of their set, but there were also moments we were reminded we were witnessing a living legend nowhere near past her prime. Gordon gave us a show, climbing on the amps, dangling her bass for feedback, edging into the audience, singing calculated verses into the mic. There were no songs, just noise.\u003c/p>\n\u003cp>\u003cu>\u003cb>DAY TWO: Wednesday, February 27\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>\u003ci>Turning\u003c/i>, a music documentary featuring Antony & the Johnsons\u003c/b>\u003c/p>\n\u003cp>For my first stop of the night, I scooted into the Roxie to see \u003ci>Turning\u003c/i>, the music documentary on the ladies of Antony’s (of Antony and the Johnsons) live show. When Antony toured in Europe, one woman stood on stage for each song. These transgendered or gay women dressed themselves in the garb in which they felt the most beautiful, assuming statuesque poses atop a slowly rotating platform. The film, like Antony’s music, was melancholic at times, but carried a message of hope. Making this struggle visible and accessible, Antony proved himself once again a true artist through and through.\u003c/p>\n\u003cp>\u003cb>The Fresh & Onlys, R. Stevie Moore, Plateaus, Burnt Ones\u003c/b>\u003c/p>\n\u003cp>While day one of Noise Pop brought the “noise”, day two brought the “pop”. I got to Bottom of the Hill just in time for the last half of Plateaus’ set. \u003ci>Turning\u003c/i> had me in a contemplative mind set, and I wondered if I could handle seeing a live show after spending over an hour with Antony’s beautiful music. I was pleasantly surprised by Plateaus’ beachy punk-rock.\u003c/p>\n\u003cp>The popular phrase ‘ignorance is bliss’ is applicable here. I had no idea my life was missing this band. Their sound is familiar, pulling from ’50s California rock and elemental garage-punk, but smart. Really smart. They don’t take themselves too seriously, it seems, but have the talent and focus necessary to be make great, laid-back music.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/28/moore.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>R. Stevie Moore\u003c/center>\n\u003cp>It doesn’t get much more punk rock than R. Stevie Moore. Backed by musicians less than half his age, Moore embodied every aspect of original punk I like to see. Taking the stage, his white beard dyed blue, there was no doubt of his status. “Where my bitches at?!” And we were off on a wild ride through Moore’s heavily reverberating bass lines, strong drums, and wavy guitar chords. There was a fair amount of cane waving, rolling around on stage, and seriousness broken by Moore’s own laughter. The audience was delighted — cameras and iPhones were constantly in the air trying to anticipate and capture his next move.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/28/fresh.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>The Fresh & Onlys\u003c/center>\n\u003cp>There’s something intrinsically San Francisco about The Fresh & Onlys’ sound. It’s a little bit messy, a little bit garage-rock, a little bit punk, all wrapped up in psych-pop. They charmed me. Lead singer Tim Cohen called the audience out halfway through the set, “Why is everyone standing there watching us?” Finally! Let’s move around a little, indie scene! Wednesday night’s bill at Bottom of the Hill deserved such a response. Let’s take Cohen’s cue and come back to the land of the living, San Francisco. There’s no time like the Noise Pop present.\u003c/p>\n\u003cp>Noise Pop runs through March 3, 2013. For the \u003ca href=\"http://schedule.noisepop.com/\">full schedule\u003c/a> of upcoming events visit schedule.noisepop.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All photos by Amanda Roscoe Mayo.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I always wondered what it would be like to reenact a scene from \u003ci>Carrie\u003c/i> in real life. At one point Kahn released a stare so violent and intense I turned around expecting to see the balcony at Rickshaw engulfed in flames. Once her set was over and I had cased all the nearest exits, just in case, it was time to regroup for Body/Head.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/28/bodyhead.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Body/Head\u003c/center>\n\u003cp>I was skeptical of Kim Gordon’s new project with Bill Nace. All I knew prior to the show was to expect noise broken up only by mostly random, unidentifiable, utterances from Gordon. This rumor was completely accurate, and while noise is not a genre I’m well versed in, I can appreciate when the musicians are accomplishing what they hope to achieve with their sound. Body/Head didn’t find that sweet spot until the end of their set, but there were also moments we were reminded we were witnessing a living legend nowhere near past her prime. Gordon gave us a show, climbing on the amps, dangling her bass for feedback, edging into the audience, singing calculated verses into the mic. There were no songs, just noise.\u003c/p>\n\u003cp>\u003cu>\u003cb>DAY TWO: Wednesday, February 27\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>\u003ci>Turning\u003c/i>, a music documentary featuring Antony & the Johnsons\u003c/b>\u003c/p>\n\u003cp>For my first stop of the night, I scooted into the Roxie to see \u003ci>Turning\u003c/i>, the music documentary on the ladies of Antony’s (of Antony and the Johnsons) live show. When Antony toured in Europe, one woman stood on stage for each song. These transgendered or gay women dressed themselves in the garb in which they felt the most beautiful, assuming statuesque poses atop a slowly rotating platform. The film, like Antony’s music, was melancholic at times, but carried a message of hope. Making this struggle visible and accessible, Antony proved himself once again a true artist through and through.\u003c/p>\n\u003cp>\u003cb>The Fresh & Onlys, R. Stevie Moore, Plateaus, Burnt Ones\u003c/b>\u003c/p>\n\u003cp>While day one of Noise Pop brought the “noise”, day two brought the “pop”. I got to Bottom of the Hill just in time for the last half of Plateaus’ set. \u003ci>Turning\u003c/i> had me in a contemplative mind set, and I wondered if I could handle seeing a live show after spending over an hour with Antony’s beautiful music. I was pleasantly surprised by Plateaus’ beachy punk-rock.\u003c/p>\n\u003cp>The popular phrase ‘ignorance is bliss’ is applicable here. I had no idea my life was missing this band. Their sound is familiar, pulling from ’50s California rock and elemental garage-punk, but smart. Really smart. They don’t take themselves too seriously, it seems, but have the talent and focus necessary to be make great, laid-back music.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/28/moore.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>R. Stevie Moore\u003c/center>\n\u003cp>It doesn’t get much more punk rock than R. Stevie Moore. Backed by musicians less than half his age, Moore embodied every aspect of original punk I like to see. Taking the stage, his white beard dyed blue, there was no doubt of his status. “Where my bitches at?!” And we were off on a wild ride through Moore’s heavily reverberating bass lines, strong drums, and wavy guitar chords. There was a fair amount of cane waving, rolling around on stage, and seriousness broken by Moore’s own laughter. The audience was delighted — cameras and iPhones were constantly in the air trying to anticipate and capture his next move.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/28/fresh.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>The Fresh & Onlys\u003c/center>\n\u003cp>There’s something intrinsically San Francisco about The Fresh & Onlys’ sound. It’s a little bit messy, a little bit garage-rock, a little bit punk, all wrapped up in psych-pop. They charmed me. Lead singer Tim Cohen called the audience out halfway through the set, “Why is everyone standing there watching us?” Finally! Let’s move around a little, indie scene! Wednesday night’s bill at Bottom of the Hill deserved such a response. Let’s take Cohen’s cue and come back to the land of the living, San Francisco. There’s no time like the Noise Pop present.\u003c/p>\n\u003cp>Noise Pop runs through March 3, 2013. For the \u003ca href=\"http://schedule.noisepop.com/\">full schedule\u003c/a> of upcoming events visit schedule.noisepop.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All photos by Amanda Roscoe Mayo.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "‘1616’: A Single Thrilling Year in a Changing World | KQED",
"content": "\u003cp>\u003ci>1616: The World in Motion\u003c/i> is everything I could ever want in a history book. Let me come clean. I am not really the type of reader who picks up history books. In fact, I usually steer clear of that dreary aisle in bookstores and head instead into the expansive fiction section, or I grab a bench in the airy poetry corner, and then look at some art books until my feet hurt from standing. If I happen to come upon the history section, I am befuddled. The word \u003ci>war\u003c/i> seems to loom from everywhere, presidential faces peer out, and country names are set in ominous typefaces. I retreat slowly.\u003c/p>\n\u003cp>\u003ci>1616: The World in Motion\u003c/i> is no ordinary history book. It is illustrated, lyrical, and focuses on a single year, jumping through stories across the globe. It is beautiful to look at, containing engravings from around the world, watercolors from the Mughal court, maps from odd perspectives, soft, fleshy paintings, ink scrolls, and sketches. It is also pleasant to read, touching on the silk trade, witch-hunts, court intrigues, pirates, alchemy, wanderlust on sea and land, slaves, and refugees. Few books are conceived of in this way.\u003c/p>\n\u003cp>Thomas Christensen writes in the preface of this book that one day he simply woke up with the strange resolve to research and write about the year 1616 — it became an obsession. “Some years,” Christensen writes, “1066, 1492, 1776, 1945 — are emblazoned in everyone’s consciousness.” While 1616 is not one of these, Christensen argues this a good thing. “Cathartic events can so dominate an era that they make it difficult to see the deeper forces that drive long-term change.”\u003c/p>\n\u003cp>1616 reveals a world on the verge: science and spirituality are about to rip apart forever; globalization begins to erode the notion of the world as a magical, mysterious place; women rising to some stature suffer dire grievances; world religions clash but business is a uniting force; and people everywhere are confronted with the strange sights of foreign emissaries, opportunists, and outlaws decked in curious dress parading into their previously isolated pockets of civilization.\u003c/p>\n\u003cp>The book is not chronologically told, but organized around ideas. The opening chapter focuses on the silk trade and the first multinational corporation ever, the Dutch East India Company. While buoyed with interesting tidbits (“Silkworms were said to have been carried to Central Asia by a woman who hid moth eggs in her headband; eastern Christian monks supposedly brought eggs to Turkey hidden in their long walking staffs,”) international trade just fails to capture the imagination.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The next three parts — which dwell on emerging roles for women, the visual arts, and the state of science and spirituality in the world of 1616 (with the intriguing title “Witch Hunters and Truth Seekers; Science, Signs, and Secret Knowledge”) — are absolutely riveting.\u003c/p>\n\u003cp>Part two opens with the following impeccable passage: “In June 1616 a desk clerk in a London hotel checked in a party of travelers that was remarkable even to his jaded eyes. The lodgers were a mixed group of about ten or twelve men, women, and children. The most startling was a shaman named Uttamatomakkin. His face was boldly painted in bright colors. His hair was shaved on one side of his head and braided to a length of several feet on the other. He wore a breechcloth and carried a long, notched stick, on which he had tried for a time to record an estimate of England’s population before giving up the attempt hopeless.”\u003c/p>\n\u003cp>The shaman is Pocahontas’ father. Christensen expertly navigates female trajectories of the era. In some cases women are oppressed by male-centric traditions, and in other cases, they are able to subvert these traditions. Pocahontas found herself in England being shown off as a savage converted and saved by religion. English poet Mary Wroth was punished by society when she published a folio. Cross-dresser Catalina de Erauso successfully fought in the New World as a soldier, killing many natives in Peru and Chile, and acquiring a reputation as quick-tempered and absolutely sanguinary. When her true identity was discovered, Catalina de Erauso didn’t suffer much of a consequence. In the end, she even got special permission from the Pope to wear men’s clothes. People referred to her as “Lieutenant Antonio de Erauso.”\u003c/p>\n\u003cp>The third part of the book surveys the visual arts in 1616, and Christensen shows a field increasingly influenced by foreign worldviews. The paintings from the Moghul court are probably the most exemplary of this change. The Moghul emperor had his own personal atelier “to document the events and personages of his reign, as well as the curious creatures that made their way to his court.” They are filled with strange symbolism (Mughal emperor Jahangir seated atop a large sand clock upon which angels are writing; Jahangir standing on a globe resting on a goat which in turn stands upon a fish) and they also feature foreign emissaries and ambassadors in what translates into a visual culture clash.\u003c/p>\n\u003cp>Chapter four, “Witch Hunters and Truth Seekers”, is the most compelling in the book, centering on the rift that developed in the sciences. Largely focused around Johannes Kepler (who among other things was preoccupied with discovering God’s plan through the geometry of the universe) and Tycho Brahe (who lost part of his nose in a duel and so wore a prosthetic metal one), 1616 finds science divided. On the one hand it is seriously entwined with divination, religion, and the inquisition, and on the other hand (as exemplified by Galileo) it makes a resolute break with the ethereal.\u003c/p>\n\u003cp>In \u003ci>1616: A World in Motion\u003c/i> Christensen uses decisively modern narrative techniques. In the beginning of the book we learn about “the Overbury murder,” a case that involves King James’ court, an extramarital affair, a marriage annulment, and a sonnet. Two chapters later, as we read about China, Christensen pulls the curtain back to a connection to the Overbury murder. Yet another chapter later, when you least expect him to, Christensen will do it again. Christensen’s intention may be clearly humorous, but the feeling conveyed is profound. Upon each new successive, side-long connection to the Overbury trial, an invitation to ponder what a small world it was, even in 1616, slowly cements itself.\u003c/p>\n\u003cp>The simplicity of reading only about one year is a profound one, providing a feeling of omniscience and a kind of deep pleasure upon witnessing the same year open again and again in different cultures and empires. As I reached the end of the book and sighed in satisfaction my partner smiled at me, asking, “What happened? Did it finally become 16\u003ci>17\u003c/i>?” “Yeah,” I tell him. “It kind of did.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>1616: The World in Motion\u003c/i> is available at \u003ca href=\"http://www.amazon.com/1616-World-Motion-Thomas-Christensen/dp/161902067X\">amazon.com\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>1616: The World in Motion\u003c/i> is everything I could ever want in a history book. Let me come clean. I am not really the type of reader who picks up history books. In fact, I usually steer clear of that dreary aisle in bookstores and head instead into the expansive fiction section, or I grab a bench in the airy poetry corner, and then look at some art books until my feet hurt from standing. If I happen to come upon the history section, I am befuddled. The word \u003ci>war\u003c/i> seems to loom from everywhere, presidential faces peer out, and country names are set in ominous typefaces. I retreat slowly.\u003c/p>\n\u003cp>\u003ci>1616: The World in Motion\u003c/i> is no ordinary history book. It is illustrated, lyrical, and focuses on a single year, jumping through stories across the globe. It is beautiful to look at, containing engravings from around the world, watercolors from the Mughal court, maps from odd perspectives, soft, fleshy paintings, ink scrolls, and sketches. It is also pleasant to read, touching on the silk trade, witch-hunts, court intrigues, pirates, alchemy, wanderlust on sea and land, slaves, and refugees. Few books are conceived of in this way.\u003c/p>\n\u003cp>Thomas Christensen writes in the preface of this book that one day he simply woke up with the strange resolve to research and write about the year 1616 — it became an obsession. “Some years,” Christensen writes, “1066, 1492, 1776, 1945 — are emblazoned in everyone’s consciousness.” While 1616 is not one of these, Christensen argues this a good thing. “Cathartic events can so dominate an era that they make it difficult to see the deeper forces that drive long-term change.”\u003c/p>\n\u003cp>1616 reveals a world on the verge: science and spirituality are about to rip apart forever; globalization begins to erode the notion of the world as a magical, mysterious place; women rising to some stature suffer dire grievances; world religions clash but business is a uniting force; and people everywhere are confronted with the strange sights of foreign emissaries, opportunists, and outlaws decked in curious dress parading into their previously isolated pockets of civilization.\u003c/p>\n\u003cp>The book is not chronologically told, but organized around ideas. The opening chapter focuses on the silk trade and the first multinational corporation ever, the Dutch East India Company. While buoyed with interesting tidbits (“Silkworms were said to have been carried to Central Asia by a woman who hid moth eggs in her headband; eastern Christian monks supposedly brought eggs to Turkey hidden in their long walking staffs,”) international trade just fails to capture the imagination.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The next three parts — which dwell on emerging roles for women, the visual arts, and the state of science and spirituality in the world of 1616 (with the intriguing title “Witch Hunters and Truth Seekers; Science, Signs, and Secret Knowledge”) — are absolutely riveting.\u003c/p>\n\u003cp>Part two opens with the following impeccable passage: “In June 1616 a desk clerk in a London hotel checked in a party of travelers that was remarkable even to his jaded eyes. The lodgers were a mixed group of about ten or twelve men, women, and children. The most startling was a shaman named Uttamatomakkin. His face was boldly painted in bright colors. His hair was shaved on one side of his head and braided to a length of several feet on the other. He wore a breechcloth and carried a long, notched stick, on which he had tried for a time to record an estimate of England’s population before giving up the attempt hopeless.”\u003c/p>\n\u003cp>The shaman is Pocahontas’ father. Christensen expertly navigates female trajectories of the era. In some cases women are oppressed by male-centric traditions, and in other cases, they are able to subvert these traditions. Pocahontas found herself in England being shown off as a savage converted and saved by religion. English poet Mary Wroth was punished by society when she published a folio. Cross-dresser Catalina de Erauso successfully fought in the New World as a soldier, killing many natives in Peru and Chile, and acquiring a reputation as quick-tempered and absolutely sanguinary. When her true identity was discovered, Catalina de Erauso didn’t suffer much of a consequence. In the end, she even got special permission from the Pope to wear men’s clothes. People referred to her as “Lieutenant Antonio de Erauso.”\u003c/p>\n\u003cp>The third part of the book surveys the visual arts in 1616, and Christensen shows a field increasingly influenced by foreign worldviews. The paintings from the Moghul court are probably the most exemplary of this change. The Moghul emperor had his own personal atelier “to document the events and personages of his reign, as well as the curious creatures that made their way to his court.” They are filled with strange symbolism (Mughal emperor Jahangir seated atop a large sand clock upon which angels are writing; Jahangir standing on a globe resting on a goat which in turn stands upon a fish) and they also feature foreign emissaries and ambassadors in what translates into a visual culture clash.\u003c/p>\n\u003cp>Chapter four, “Witch Hunters and Truth Seekers”, is the most compelling in the book, centering on the rift that developed in the sciences. Largely focused around Johannes Kepler (who among other things was preoccupied with discovering God’s plan through the geometry of the universe) and Tycho Brahe (who lost part of his nose in a duel and so wore a prosthetic metal one), 1616 finds science divided. On the one hand it is seriously entwined with divination, religion, and the inquisition, and on the other hand (as exemplified by Galileo) it makes a resolute break with the ethereal.\u003c/p>\n\u003cp>In \u003ci>1616: A World in Motion\u003c/i> Christensen uses decisively modern narrative techniques. In the beginning of the book we learn about “the Overbury murder,” a case that involves King James’ court, an extramarital affair, a marriage annulment, and a sonnet. Two chapters later, as we read about China, Christensen pulls the curtain back to a connection to the Overbury murder. Yet another chapter later, when you least expect him to, Christensen will do it again. Christensen’s intention may be clearly humorous, but the feeling conveyed is profound. Upon each new successive, side-long connection to the Overbury trial, an invitation to ponder what a small world it was, even in 1616, slowly cements itself.\u003c/p>\n\u003cp>The simplicity of reading only about one year is a profound one, providing a feeling of omniscience and a kind of deep pleasure upon witnessing the same year open again and again in different cultures and empires. As I reached the end of the book and sighed in satisfaction my partner smiled at me, asking, “What happened? Did it finally become 16\u003ci>17\u003c/i>?” “Yeah,” I tell him. “It kind of did.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Art Book Round Up: Banksy, Bullfighting, Weiwei, and Warhol",
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"content": "\u003cp>We’ve received a handful of notable art books this month at KQED and thought we’d take a moment to share them with you.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://us.macmillan.com/banksy/WillEllsworthJones\">\u003ci>Banksy: The Man Behind the Wall\u003c/i>\u003c/a>, Will Ellsworth-Jones\u003c/b>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>If you want to know who the real Banksy is, this book is not for you. Reporter Ellsworth-Jones explains on page one that his book “does not attempt to unmask him,” but rather uncovers the trajectory of Banksy’s path from street art criminal to contemporary art world darling. Written in a conversational, sometimes cheeky tone, the book comes with a photo insert and an amazing array of images, and would definitely be a solid addition to any obsessive Banksy fan’s collection.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/09/bullfight1.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>\u003ci>\u003ca href=\"http://glitteratiincorporated.com/artist.php?id=bullfight&aview=acclaim&nid=6585\">Bullfight: The Pas de Deux\u003c/a>\u003c/i>, Ricardo B. Sanchez\u003c/b>\u003c/p>\n\u003cp>It doesn’t take much to picture this hefty, full-color photo book on your coffee table, impressing your friends. It is filled with long-exposure photographs of bullfighters waving brightly colored muletas at their beastly opponents, and aims to highlight the dance and precision of movement between matador and bull. The images are all similar, yet striking in different ways. The artistic choice to shoot out-of-focus motion shots results in painterly works subtly representative of the struggle between man and nature: they take turns overpowering each other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/09/aiweiweibook.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://press.princeton.edu/titles/9924.html\">\u003ci>Weiwei-isms\u003c/i>\u003c/a>, Ai Weiwei edited by Larry Warsh\u003c/b>\u003c/p>\n\u003cp>It’s no surprise that Chinese artist Ai Weiwei is full of wisdom, and it’s only fitting that quotes pulled from his writings, interviews, and tweets would be published in a pocket-sized hardcover gem of a book. The quotes are organized around themes related to government, power, the digital world, and the future. I flipped the book open to: “The Earth is a sphere, there is no East or West.” Boom. That’s the power of Weiwei.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/09/warhol.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>\u003ci>\u003ca href=\"http://glitteratiincorporated.com/artist.php?id=thankyouandywarhol&aview=pub&rid=1903\">Thank You Andy Warhol\u003c/a>\u003c/i>, Catherine Johnson\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There is no denying that Andy Warhol busted down art world walls in ways that are still unmatched. I’ve always thought that if it weren’t for him, many people wouldn’t be recognized for the kind of art they make today. He paved the way. This new book is filled with images of his art, photographs, sketches, and ephemera (and not the stuff you’ve already seen a million times). But the visuals are secondary to the amazing stories about him and his influence, written by luminaries such as Bob Colacello, Betsey Johnson, Jeffrey Deitch, Kara Walker, and countless other creative types and people from his life, including a heartfelt account from his nephew. Just when I thought I knew nearly everything about Warhol, this book came out and schooled me. Did you know he practically invented snakeskin sandals? Neither did I. I’ll be wrapped up in this one for a while.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’ve received a handful of notable art books this month at KQED and thought we’d take a moment to share them with you.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://us.macmillan.com/banksy/WillEllsworthJones\">\u003ci>Banksy: The Man Behind the Wall\u003c/i>\u003c/a>, Will Ellsworth-Jones\u003c/b>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>If you want to know who the real Banksy is, this book is not for you. Reporter Ellsworth-Jones explains on page one that his book “does not attempt to unmask him,” but rather uncovers the trajectory of Banksy’s path from street art criminal to contemporary art world darling. Written in a conversational, sometimes cheeky tone, the book comes with a photo insert and an amazing array of images, and would definitely be a solid addition to any obsessive Banksy fan’s collection.\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>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/09/bullfight1.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>\u003ci>\u003ca href=\"http://glitteratiincorporated.com/artist.php?id=bullfight&aview=acclaim&nid=6585\">Bullfight: The Pas de Deux\u003c/a>\u003c/i>, Ricardo B. Sanchez\u003c/b>\u003c/p>\n\u003cp>It doesn’t take much to picture this hefty, full-color photo book on your coffee table, impressing your friends. It is filled with long-exposure photographs of bullfighters waving brightly colored muletas at their beastly opponents, and aims to highlight the dance and precision of movement between matador and bull. The images are all similar, yet striking in different ways. The artistic choice to shoot out-of-focus motion shots results in painterly works subtly representative of the struggle between man and nature: they take turns overpowering each other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/09/aiweiweibook.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://press.princeton.edu/titles/9924.html\">\u003ci>Weiwei-isms\u003c/i>\u003c/a>, Ai Weiwei edited by Larry Warsh\u003c/b>\u003c/p>\n\u003cp>It’s no surprise that Chinese artist Ai Weiwei is full of wisdom, and it’s only fitting that quotes pulled from his writings, interviews, and tweets would be published in a pocket-sized hardcover gem of a book. The quotes are organized around themes related to government, power, the digital world, and the future. I flipped the book open to: “The Earth is a sphere, there is no East or West.” Boom. That’s the power of Weiwei.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/09/warhol.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>\u003ci>\u003ca href=\"http://glitteratiincorporated.com/artist.php?id=thankyouandywarhol&aview=pub&rid=1903\">Thank You Andy Warhol\u003c/a>\u003c/i>, Catherine Johnson\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There is no denying that Andy Warhol busted down art world walls in ways that are still unmatched. I’ve always thought that if it weren’t for him, many people wouldn’t be recognized for the kind of art they make today. He paved the way. This new book is filled with images of his art, photographs, sketches, and ephemera (and not the stuff you’ve already seen a million times). But the visuals are secondary to the amazing stories about him and his influence, written by luminaries such as Bob Colacello, Betsey Johnson, Jeffrey Deitch, Kara Walker, and countless other creative types and people from his life, including a heartfelt account from his nephew. Just when I thought I knew nearly everything about Warhol, this book came out and schooled me. Did you know he practically invented snakeskin sandals? Neither did I. I’ll be wrapped up in this one for a while.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Bay Area is known for its thriving community of independent and experimental filmmakers. There are several outlets (Artists Television Association (ATA), SF Cinematheque, and the Roxie) to see this type of work regularly in San Francisco, not including numerous film nights in bars, restaurants and galleries, and the (practically daily) slate of film festivals large and small.\u003c/p>\n\u003cp>Shapeshifters is a microcinema program curated by Kathleen Quillian and Gilbert Guerrero at Temescal Arts Center in Oakland. The curators invite a visual artist working with moving images, who then invites an audio artist to work in collaboration. Shapeshifters Cinema is more dynamic than a trip to the movies because at least one component must be performed live, whether that be through on-site film manipulation or live sound accompaniment. Having both worked closely with experimental film and video arts organizations in San Francisco, Quillian and Guerrero felt the need for a new performance and video outlet in the East Bay. The Temescal Art Center is an inspired host to the Shapeshifters program because of its stature as an active community space.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/09/shapeshifters.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>The first program of 2013 features experimental film works by John Davis paired with sound performance from Joshua Churchill. The evening will last about an hour and is comprised of two collaborative pieces. An untitled work by Davis presents an extremely textured 8mm film, which has been hand solarized and tinted, featuring images of refracted sunlight patterns and reflections. Churchill’s instrument of choice in this performance is an electric guitar. Distortions, ghostly reverberations, and ambient notes hang in the air and ethereal chords plunge into darkness before the moving images on screen, adding drama to frames that appear on fire. Fleeting sun shadows move across the film. The two elements together create a simply captivating experience, completely immersing the audience into a land of airy projector light with sounds that fill the space like a weather pattern.\u003c/p>\n\u003cp>A second piece by Davis contains all new footage, and combines a Super 8 projector and a 16mm analyzer projector running side by side. While an analyzer projector was often used in a sports context to replay and interpret strategy, the film Davis is working with includes footage of urban and natural landscapes as well as people in urban environments. Davis will “perform” this work using the analyzer projector to control the rate at which the audience sees the imagery. Churchill will improvise an aural experience live. He has actually seen little of Davis’ films, choosing instead to face away from the screen and focus on being in concert with the sound of the projector. Rather than choosing to score the piece in advance, he is composing sounds that are in conversation with the immediate atmosphere of the darkened space.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Davis and Churchill are not only providing a rich audio/visual experience but also making the creative process visible. This is what Shapeshifters Cinema is all about.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Shapshifters Cinema takes place the first Sunday of every month, except this month. John Davis and Joshua Churchill’s Shapeshifters program is 8pm, Sunday, January 13, 2013 at Temescal Art Center in Oakland. For \u003ca href=\"http://shapeshifterscinema.com/\">more information\u003c/a>, visit shapeshifterscinema.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area is known for its thriving community of independent and experimental filmmakers. There are several outlets (Artists Television Association (ATA), SF Cinematheque, and the Roxie) to see this type of work regularly in San Francisco, not including numerous film nights in bars, restaurants and galleries, and the (practically daily) slate of film festivals large and small.\u003c/p>\n\u003cp>Shapeshifters is a microcinema program curated by Kathleen Quillian and Gilbert Guerrero at Temescal Arts Center in Oakland. The curators invite a visual artist working with moving images, who then invites an audio artist to work in collaboration. Shapeshifters Cinema is more dynamic than a trip to the movies because at least one component must be performed live, whether that be through on-site film manipulation or live sound accompaniment. Having both worked closely with experimental film and video arts organizations in San Francisco, Quillian and Guerrero felt the need for a new performance and video outlet in the East Bay. The Temescal Art Center is an inspired host to the Shapeshifters program because of its stature as an active community space.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/09/shapeshifters.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>The first program of 2013 features experimental film works by John Davis paired with sound performance from Joshua Churchill. The evening will last about an hour and is comprised of two collaborative pieces. An untitled work by Davis presents an extremely textured 8mm film, which has been hand solarized and tinted, featuring images of refracted sunlight patterns and reflections. Churchill’s instrument of choice in this performance is an electric guitar. Distortions, ghostly reverberations, and ambient notes hang in the air and ethereal chords plunge into darkness before the moving images on screen, adding drama to frames that appear on fire. Fleeting sun shadows move across the film. The two elements together create a simply captivating experience, completely immersing the audience into a land of airy projector light with sounds that fill the space like a weather pattern.\u003c/p>\n\u003cp>A second piece by Davis contains all new footage, and combines a Super 8 projector and a 16mm analyzer projector running side by side. While an analyzer projector was often used in a sports context to replay and interpret strategy, the film Davis is working with includes footage of urban and natural landscapes as well as people in urban environments. Davis will “perform” this work using the analyzer projector to control the rate at which the audience sees the imagery. Churchill will improvise an aural experience live. He has actually seen little of Davis’ films, choosing instead to face away from the screen and focus on being in concert with the sound of the projector. Rather than choosing to score the piece in advance, he is composing sounds that are in conversation with the immediate atmosphere of the darkened space.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Davis and Churchill are not only providing a rich audio/visual experience but also making the creative process visible. This is what Shapeshifters Cinema is all about.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Shapshifters Cinema takes place the first Sunday of every month, except this month. John Davis and Joshua Churchill’s Shapeshifters program is 8pm, Sunday, January 13, 2013 at Temescal Art Center in Oakland. For \u003ca href=\"http://shapeshifterscinema.com/\">more information\u003c/a>, visit shapeshifterscinema.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"id": "fresh-air",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
},
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"order": 11
},
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"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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