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"content": "\u003cp>Every year, China’s filmmakers complete more than 500 feature films, and every year, the vast number aren’t theatrically released in the United States. The ones that are tend to be action films, like \u003ci>Hero\u003c/i> from 2004 or \u003ci>Crouching Tiger, Hidden Dragon\u003c/i> from 2000. That means gems like \u003ci>Getting Home\u003c/i>, by “Sixth Generation” Chinese director Zhang Yang, are frequently overlooked by mainstream American audiences. What a shame.\u003c/p>\n\u003cp>A sensitive comedy about a poor construction worker who tries to carry his deceased colleague across country for proper burial, \u003ci>Getting Home\u003c/i> is one of the best films I’ve seen from China in the past 10 years. The \u003ca href=\"http://www.globalfilm.org/\">Global Film Initiative\u003c/a>, which is based in San Francisco, featured \u003ci>Getting Home\u003c/i> in its 2009 traveling film series called “Global Lens.” And the film is screening this Saturday at Chinatown’s \u003ca href=\"http://www.sanfranciscochinatown.com/attractions/greatstar.html\">Great Star Theater\u003c/a> as part of a new Global Film Initiative series called “Arthouse Revival.” The series supports the revival of independent arthouse cinema around the United States (the Great Star reopened in 2010 after 12 years of being shuttered), and the series’ emphasis on Chinese-language films is ideal given China’s outsized role in world affairs and the need to see the country in a way that complements the harder edges we get from political and economic news.\u003c/p>\n\u003cp>On economic and military matters, America is obsessed with China. According to Gallup’s most recent World Affairs poll, Americans consider China the U.S.’s second-greatest “enemy,” below Iran and ahead of North Korea. On matters of art, America is also becoming transfixed by China. U.S. sales of fine arts from China are at record levels, and there is more interest than ever in Chinese cinema, even if it’s cinema that skews toward knife-throwing and acrobatic karate-kicking. In many ways we’ve come full-circle from the 1960s, when action films from Hong Kong found a theatrical home in the United States, including the Great Star Theater, which is located on Jackson Street. Today’s generation of Chinese films — including \u003ci>Beijing Flickers\u003c/i>, a Zhang Yang drama about young educated workers who are marginalized, which is screening this Friday at the Great Star — have social issues at their core. As funny as it is, \u003ci>Getting Home\u003c/i> gets into themes of poverty and social hierarchies in China, too. \u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"480\" height=\"360\" src=\"http://www.youtube.com/embed/KLMRxEgPo_A\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“Behind the Politik and rhetoric of China, there’s an evolving social consciousness that’s being exported via independent film, in a way not really seen since the Hong Kong cinema of the ’60s,” Santhosh Daniel, the Global Film Initiative’s Director of Programs, tells me. “It makes sense,” he adds, “why we’d show at the Great Star.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Center for Asian American Media, which puts on the San Francisco International Asian American Film Festival, is co-sponsoring the series on Friday and Saturday. Besides \u003ci>Beijing Flickers\u003c/i> and \u003ci>Getting Home\u003c/i>, the “Arthouse Revival” series features \u003ci>The Cremator\u003c/i>, about an undertaker who arranges marriages for dead men and women; and \u003ci>Stolen Life\u003c/i>, about a young woman who wrestles between life with a new lover and a potential life in college. In \u003ci>Getting Home\u003c/i>, the Chinese comic actor Zhao Benshan plays a middle-aged man (also named Zhao) who puts his dead friend on his back for the long walk/ride/hitchhike from their southern Chinese city to the rural mountains. Along the way, Zhao’s bus is robbed by bandits (who retreat after Zhao explains that he’s escorting a dead man); he pretends to grieve at a stranger’s apparent funeral just to get the accompanying dinner; and he falls in love with a quasi-homeless woman who, like him, tries to sell her blood for money. The vistas of countryside, mountains and tributaries are a spectacular backdrop to the goings-on. Funny, poetic, and thought-provoking without being demagogic (or sophomoric), \u003ci>Getting Home\u003c/i> was inspired by a news account of a poor man who attempted a similar trek with a dead friend. Zhang Yang met that poor man in real life, traveling across country to hear his story firsthand.\u003c/p>\n\u003cp>\u003ci>Getting Home\u003c/i> reminds me of the Iranian film \u003ci>Taste of Cherry\u003c/i>, Abbas Kiarostami’s masterpiece about a man who drives around Tehran looking for someone to oversee his own burial. In the right cinematic hands, the topic of death can jump-start a story that makes the audience feel more alive than ever. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For the Global Film Initiative’s “Arthouse Revival” series, \u003ci>Beijing Flickers\u003c/i> screens 7:30pm on Friday, Nov. 30, 2012 at the Great Star Theater in San Francisco, with a 6pm reception at the Chinese Culture Center of San Francisco. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Center for Asian American Media, which puts on the San Francisco International Asian American Film Festival, is co-sponsoring the series on Friday and Saturday. Besides \u003ci>Beijing Flickers\u003c/i> and \u003ci>Getting Home\u003c/i>, the “Arthouse Revival” series features \u003ci>The Cremator\u003c/i>, about an undertaker who arranges marriages for dead men and women; and \u003ci>Stolen Life\u003c/i>, about a young woman who wrestles between life with a new lover and a potential life in college. In \u003ci>Getting Home\u003c/i>, the Chinese comic actor Zhao Benshan plays a middle-aged man (also named Zhao) who puts his dead friend on his back for the long walk/ride/hitchhike from their southern Chinese city to the rural mountains. Along the way, Zhao’s bus is robbed by bandits (who retreat after Zhao explains that he’s escorting a dead man); he pretends to grieve at a stranger’s apparent funeral just to get the accompanying dinner; and he falls in love with a quasi-homeless woman who, like him, tries to sell her blood for money. The vistas of countryside, mountains and tributaries are a spectacular backdrop to the goings-on. Funny, poetic, and thought-provoking without being demagogic (or sophomoric), \u003ci>Getting Home\u003c/i> was inspired by a news account of a poor man who attempted a similar trek with a dead friend. Zhang Yang met that poor man in real life, traveling across country to hear his story firsthand.\u003c/p>\n\u003cp>\u003ci>Getting Home\u003c/i> reminds me of the Iranian film \u003ci>Taste of Cherry\u003c/i>, Abbas Kiarostami’s masterpiece about a man who drives around Tehran looking for someone to oversee his own burial. In the right cinematic hands, the topic of death can jump-start a story that makes the audience feel more alive than ever. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For the Global Film Initiative’s “Arthouse Revival” series, \u003ci>Beijing Flickers\u003c/i> screens 7:30pm on Friday, Nov. 30, 2012 at the Great Star Theater in San Francisco, with a 6pm reception at the Chinese Culture Center of San Francisco. On Saturday, Dec. 1, \u003ci>Getting Home\u003c/i> screens at 2pm, followed by \u003ci>Stolen Life\u003c/i> at 5pm and \u003ci>The Cremator\u003c/i> at 8pm. For \u003ca href=\"http://caamedia.org/blog/film-events/2012/11/08/caam-co-presents-global-lens-great-star-theater-on-december-1st/\">tickets and more information\u003c/a>, visit caamedia.org. Friday’s event requires online registration TODAY, Tuesday, Nov. 27, at tinyurl.com/cddJs2m. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“He wrote me: I will have spent my life trying to understand the function of remembering, which is not the opposite of forgetting, but rather its lining. We do not remember, we rewrite memory much as history is rewritten.”\u003c/p>\n\u003cp>So says the narrator in 1983’s \u003ci>Sans Soleil\u003c/i>, sharing with us the correspondence she’s received from a fictional globe-trotting cameraman, and in retrospect supplying a succinct elegy for that film’s maker, Chris Marker.\u003c/p>\n\u003cp>Marker, the film-essay pioneer, died in July at age 91 and now is the subject of a remembrance at the Pacific Film Archive, starting with \u003ci>Sans Soleil\u003c/i> this Friday, November 2, 2012. He made movies as deliberate digressions, full of roving and ruminating, and to recall him through them is to trace our own seams on the lining of forgetting.\u003c/p>\n\u003cp>Experimental films can be chore-like, even with the force of a charismatic personality (you still have to warm to the personality). But openness is inherent in Marker’s style. Rather than impose, he invites. Always, an abundance of personal touches, including frequent fond references to cats and to Hitchcock’s \u003ci>Vertigo\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/marker-jetee.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>La Jetée\u003c/i>\u003c/p>\n\u003cp>He was a writer first — of novels, poems, plays, journalism — and his movies are deeply literary in their textures and heady intimacies. His 1963 masterpiece \u003ci>La Jetée\u003c/i>, for instance, is self-described as “un photo-roman.” A thing to cozy up with. Built from still photographs, plus one rapturous, perfectly deployed moment of motion, \u003ci>La Jetée\u003c/i> still haunts us as a marvel of deceptive simplicity. Which is not to say it’s deceitful. But to quote its narrator, “images begin to ooze like confessions.” Here again is Marker the cunning self-abstractionist. Yes, it’s a movie full of great sci-fi stuff — time-travel, apocalypse, cosmic desire — but at its core is a delicious and doomed romance.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/marker-grin.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>A Grin Without a Cat\u003c/i>\u003c/p>\n\u003cp>In 1977’s \u003ci>A Grin Without a Cat\u003c/i>, Marker sorts through the tumult of the late 1960s and the beleaguered aspirations of the New Left. It’s an untidy history, another rewriting, and another remembrance-dream built from incomplete and clashing images. “The nice side of that era,” Marker would reflect many years later, “is that you can say practically anything about it and be sure to strike home from a certain angle and lamely goof from another.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/marker-sans.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Sans Soleil\u003c/i>\u003c/p>\n\u003cp>Marker had Marxism and Surrealism in his soul, but not dogma. Could we say catma? We sense a never-complacent political conscience, and an artist eager to report back to us, to confess his findings, from the past-future threshold.\u003c/p>\n\u003cp>The PFA’s program also includes a segment from \u003ci>The Owl’s Legacy\u003c/i>, Marker’s philosophical miniseries about the heritage of ancient Greece, and \u003ci>Junkopia\u003c/i>, in which another inspired science-fiction landscape, dotted with art-object flotsam, is gradually revealed as the shore of Emeryville. Plus Emiko Omori’s searching appreciation, \u003ci>To Chris Marker: An Unsent Letter\u003c/i>, which gathers warm testimony from local movie luminaries including David Thomson, Tom Luddy, and Janet and David Peoples — the latter pair having adapted \u003ci>La Jetée\u003c/i> into Terry Gilliam’s \u003ci>12 Monkeys\u003c/i>. For Omori, the broader project is tracing the conduits of artistic inspiration, or as the maestro himself would have it, “things that quicken the heart.” There are many.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>At Jetty’s End: A Tribute to Chris Marker, 1921–2012\u003c/b> runs for three Fridays — November 2, 16, and 30, 2012 — at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/markertribute\">tickets and more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“He wrote me: I will have spent my life trying to understand the function of remembering, which is not the opposite of forgetting, but rather its lining. We do not remember, we rewrite memory much as history is rewritten.”\u003c/p>\n\u003cp>So says the narrator in 1983’s \u003ci>Sans Soleil\u003c/i>, sharing with us the correspondence she’s received from a fictional globe-trotting cameraman, and in retrospect supplying a succinct elegy for that film’s maker, Chris Marker.\u003c/p>\n\u003cp>Marker, the film-essay pioneer, died in July at age 91 and now is the subject of a remembrance at the Pacific Film Archive, starting with \u003ci>Sans Soleil\u003c/i> this Friday, November 2, 2012. He made movies as deliberate digressions, full of roving and ruminating, and to recall him through them is to trace our own seams on the lining of forgetting.\u003c/p>\n\u003cp>Experimental films can be chore-like, even with the force of a charismatic personality (you still have to warm to the personality). But openness is inherent in Marker’s style. Rather than impose, he invites. Always, an abundance of personal touches, including frequent fond references to cats and to Hitchcock’s \u003ci>Vertigo\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/marker-jetee.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>La Jetée\u003c/i>\u003c/p>\n\u003cp>He was a writer first — of novels, poems, plays, journalism — and his movies are deeply literary in their textures and heady intimacies. His 1963 masterpiece \u003ci>La Jetée\u003c/i>, for instance, is self-described as “un photo-roman.” A thing to cozy up with. Built from still photographs, plus one rapturous, perfectly deployed moment of motion, \u003ci>La Jetée\u003c/i> still haunts us as a marvel of deceptive simplicity. Which is not to say it’s deceitful. But to quote its narrator, “images begin to ooze like confessions.” Here again is Marker the cunning self-abstractionist. Yes, it’s a movie full of great sci-fi stuff — time-travel, apocalypse, cosmic desire — but at its core is a delicious and doomed romance.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/marker-grin.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>A Grin Without a Cat\u003c/i>\u003c/p>\n\u003cp>In 1977’s \u003ci>A Grin Without a Cat\u003c/i>, Marker sorts through the tumult of the late 1960s and the beleaguered aspirations of the New Left. It’s an untidy history, another rewriting, and another remembrance-dream built from incomplete and clashing images. “The nice side of that era,” Marker would reflect many years later, “is that you can say practically anything about it and be sure to strike home from a certain angle and lamely goof from another.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/marker-sans.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Sans Soleil\u003c/i>\u003c/p>\n\u003cp>Marker had Marxism and Surrealism in his soul, but not dogma. Could we say catma? We sense a never-complacent political conscience, and an artist eager to report back to us, to confess his findings, from the past-future threshold.\u003c/p>\n\u003cp>The PFA’s program also includes a segment from \u003ci>The Owl’s Legacy\u003c/i>, Marker’s philosophical miniseries about the heritage of ancient Greece, and \u003ci>Junkopia\u003c/i>, in which another inspired science-fiction landscape, dotted with art-object flotsam, is gradually revealed as the shore of Emeryville. Plus Emiko Omori’s searching appreciation, \u003ci>To Chris Marker: An Unsent Letter\u003c/i>, which gathers warm testimony from local movie luminaries including David Thomson, Tom Luddy, and Janet and David Peoples — the latter pair having adapted \u003ci>La Jetée\u003c/i> into Terry Gilliam’s \u003ci>12 Monkeys\u003c/i>. For Omori, the broader project is tracing the conduits of artistic inspiration, or as the maestro himself would have it, “things that quicken the heart.” There are many.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>At Jetty’s End: A Tribute to Chris Marker, 1921–2012\u003c/b> runs for three Fridays — November 2, 16, and 30, 2012 — at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/markertribute\">tickets and more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "One City One Book: Rebecca Solnit's A Paradise Built in Hell",
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"content": "\u003cp>This year’s \u003ca href=\"http://sfpl.org/index.php?pg=2000352501\">\u003ci>One City One Book\u003c/i> \u003c/a> is about disasters. If there ever was an apt choice for a book to recommend to the Bay Area, Rebecca Solnit’s \u003ci>A Paradise Built in Hell \u003c/i>is probably it. \u003c/p>\n\u003cp>After all, it’s surprisingly easy to fall into a spiral of anxiety when it comes to disasters. When I first moved to California, my idea of researching and preparing for disaster sent me into the wee hours in a caffeinated/sleepless state where $400 for an Emergency Preparedness Kit seemed not only sensible but necessary. It had provisions for four people (we are only two in my household, but I wanted to provide for others) and my cat got a separate kit of her own (cat food, water, and first aid kit). It only made sense to add four emergency sleeping bags because they were tested and developed by NASA. I think my mouse hovered over emergency shelter and portable toilet at check-out for a full five minutes before I was able to muster enough presence of mind to decline those items. We don’t hear too much about the findings of anthropologists and sociologists regarding our behavior during disasters. This book changes that. I promise this book will help you weather it all.\u003c/p>\n\u003cp>“Who are you? Who are we?” Thus opens \u003ci>A Paradise Built in Hell\u003c/i>. The thesis of the book sounds a little bit like the setup of a physics problem: does society in the absence of authority implode? Does it degenerate into monstrosity (as Hobbes believed), driven by selfish desires to secure food and shelter and by personal gain (looting, raping, and plundering)? Or does society in that vacuum undergo an altruistic transformation? \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/10/02/aparadisebuiltinhell.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/p>\n\u003cp>To Solnit, disaster is such a vacuum, a “rupture of everyday life” providing a moment where we find ourselves both physically uprooted and psychologically unmoored. The catalyst for this book is Solnit’s personal experience of the 1989 Loma Prieta earthquake, of being thrown into an “intensely absorbing present. I was more surprised,” she writes, “to realize that most people I knew and met in the Bay Area were also enjoying immensely the disaster […]–if \u003ci>enjoyment \u003c/i> is the right word for that sense of immersion in the moment and solidarity with others […] an emotion graver than happiness but deeply positive.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>A Paradise Built in Hell\u003c/i> is an inquisitive and dazzling search for this deep connection to community in five big disasters spread throughout history (the 1906 San Francisco earthquake, the explosion in Halifax in 1917, the 2001 earthquake in Mexico City, 9/11, and Hurricane Katrina). Solnit weighs facts, historical accounts, and interviews, laying out a pattern of altruism in the majority, selfishness by the few, and panic in the powers that be. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" src=\"http://player.vimeo.com/video/49036346\" width=\"400\" height=\"300\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe>\u003cbr>\u003c/center>\n\u003cp>Solnit is crisp and thoughtful, building a case for paradise. That the majority of people behave altruistically in the aftermath of a disaster is proof enough that the citizens of paradise, “the people who are brave enough, resourceful enough, and generous enough — already exist. The possibility of paradise hovers on the cusp of coming into being, so much so that it takes powerful forces to keep paradise at bay.” \u003c/p>\n\u003cp>The Hobbesian notion that we regress to a savage state during times of disaster produces very dire consequences in \u003ci>actual\u003c/i> disasters. Solnit references “elite panic,” a term coined by disaster sociologist Kathleen Tierney, which is behavior on the part of those “who believe that others will act savagely and that they themselves are taking measures against barbarism.” When the media, the government, and the affluent show signs of elite panic, a social disaster occurs on top of a natural one. “Belief in [public] panic,” Solnit writes, “provides a premise for treating the public as a problem to be shut out or controlled by the military. Hollywood eagerly feeds those beliefs. Sociologists, however, do not.” \u003c/p>\n\u003cp>While Solnit fizzles in some parts of the book (mostly when she arrives too quickly to ideas — for example, when she delves into the tradition of carnivals, which she argues are like revolutions, which in turn, she argues, are like disasters), the chapters on 9/11 and Hurricane Katrina are absolutely riveting. \u003c/p>\n\u003cp>The personal accounts of 9/11 are moving, and the height of failure of governmental response to Hurricane Katrina is infuriating. The rumors, circulated by the media and echoed by the mayor and governor of a murderous community, of the rape of children in the Louisiana Superdome, of (black) mobs looting (white) property, obscured what was actually happening on the ground for everyone in the nation, and created a dangerous version of elite panic in New Orleans. Solnit suggests that social breakdown is not caused by lack of authority, but rather when “the most powerful prevent aid and evacuation[.]”\u003c/p>\n\u003cp>\u003ci>A Paradise Built in Hell \u003c/i> is infectiously optimistic, striking a balance between commiserating the terrible consequences of disaster while praising the extraordinary communities that rise out of the chaos. “In the wake of an earthquake, a bombing, or a major storm, most people are altruistic and urgently engaged in caring for themselves and those around them.” Solnit is an emergency responder in her neighborhood. Come the next Bay Area earthquake, you may expect her helping hand. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rebecca Solnit will discuss \u003ci>A Paradise Built in Hell \u003c/i> with SF Fire Chief Joanne Hayes-White on October 11, 6 pm, at the Main Library’s Koret Auditorium. For \u003ca href=\"http://www.sfpl.org/index.php?pg=2000554101#authors\">more information\u003c/a>, visit sfpl.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>A Paradise Built in Hell\u003c/i> is an inquisitive and dazzling search for this deep connection to community in five big disasters spread throughout history (the 1906 San Francisco earthquake, the explosion in Halifax in 1917, the 2001 earthquake in Mexico City, 9/11, and Hurricane Katrina). Solnit weighs facts, historical accounts, and interviews, laying out a pattern of altruism in the majority, selfishness by the few, and panic in the powers that be. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" src=\"http://player.vimeo.com/video/49036346\" width=\"400\" height=\"300\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe>\u003cbr>\u003c/center>\n\u003cp>Solnit is crisp and thoughtful, building a case for paradise. That the majority of people behave altruistically in the aftermath of a disaster is proof enough that the citizens of paradise, “the people who are brave enough, resourceful enough, and generous enough — already exist. The possibility of paradise hovers on the cusp of coming into being, so much so that it takes powerful forces to keep paradise at bay.” \u003c/p>\n\u003cp>The Hobbesian notion that we regress to a savage state during times of disaster produces very dire consequences in \u003ci>actual\u003c/i> disasters. Solnit references “elite panic,” a term coined by disaster sociologist Kathleen Tierney, which is behavior on the part of those “who believe that others will act savagely and that they themselves are taking measures against barbarism.” When the media, the government, and the affluent show signs of elite panic, a social disaster occurs on top of a natural one. “Belief in [public] panic,” Solnit writes, “provides a premise for treating the public as a problem to be shut out or controlled by the military. Hollywood eagerly feeds those beliefs. Sociologists, however, do not.” \u003c/p>\n\u003cp>While Solnit fizzles in some parts of the book (mostly when she arrives too quickly to ideas — for example, when she delves into the tradition of carnivals, which she argues are like revolutions, which in turn, she argues, are like disasters), the chapters on 9/11 and Hurricane Katrina are absolutely riveting. \u003c/p>\n\u003cp>The personal accounts of 9/11 are moving, and the height of failure of governmental response to Hurricane Katrina is infuriating. The rumors, circulated by the media and echoed by the mayor and governor of a murderous community, of the rape of children in the Louisiana Superdome, of (black) mobs looting (white) property, obscured what was actually happening on the ground for everyone in the nation, and created a dangerous version of elite panic in New Orleans. Solnit suggests that social breakdown is not caused by lack of authority, but rather when “the most powerful prevent aid and evacuation[.]”\u003c/p>\n\u003cp>\u003ci>A Paradise Built in Hell \u003c/i> is infectiously optimistic, striking a balance between commiserating the terrible consequences of disaster while praising the extraordinary communities that rise out of the chaos. “In the wake of an earthquake, a bombing, or a major storm, most people are altruistic and urgently engaged in caring for themselves and those around them.” Solnit is an emergency responder in her neighborhood. Come the next Bay Area earthquake, you may expect her helping hand. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rebecca Solnit will discuss \u003ci>A Paradise Built in Hell \u003c/i> with SF Fire Chief Joanne Hayes-White on October 11, 6 pm, at the Main Library’s Koret Auditorium. For \u003ca href=\"http://www.sfpl.org/index.php?pg=2000554101#authors\">more information\u003c/a>, visit sfpl.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For his newest documentary, ODC Theater Resident Artist Paul Festa chronicled himself taking lessons on the Tchaikovsky violin concerto from various artists, none of whom are violinists. It’s OK because Festa is a violinist, and he knew the piece quite well to begin with.\u003c/p>\n\u003cp>It’s more than OK, actually, because it’s fascinating. What makes someone a “real” artist? What hinders him? In Festa’s case, a hand injury has been a factor, and his film doesn’t shy away from talk of debilitating wounds, which can be psychological as well as physical. \u003ci>Tie It Into My Hand\u003c/i> is what he calls it, quoting E. E. Cummings’ exaltation of someone who with fingers unable to hold a brush would issue that command — notable both for its determination and for needing someone else’s help.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tieit.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Portrait of Paul Festa by Greg Gorman\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tieit2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>John Fisher and Carey Perloff\u003c/p>\n\u003cp>Some of Festa’s instructors will seem familiar. Some are famous in their fields. Rather than waste time with introductions, however, he gets right to the lessons. And rather than training his camera on himself, he trains it on these others — advising, psychoanalyzing, challenging, consoling, and indeed instructing. Collectively they are a perceptive, open-hearted bunch, with much wisdom to share. “Oh, it’s so sweet,” one says, upon hearing a few bars. “I don’t know why you don’t have a career. Something must be wrong with your personality.” As another puts it, “We’re the frightened ones. It’s very scary being in front of your camera.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tieit3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Peter Coyote\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tieit4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Eisa Davis\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tieit5.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Monique Jenkinson, a.k.a. Fauxnique\u003c/p>\n\u003cp>In the similarly structured \u003ci>Apparition of the Eternal Church\u003c/i>, from 2006, Festa gathered an array of personal responses to Olivier Messiaen’s 1932 organ composition by filming people listening to it through headphones and parsing what they hear. In 2010’s \u003ci>The Glitter Emergency\u003c/i>, his fable in the silent-film style, and a rapturous fusion of camp and class, Festa cast himself as a pixie violinist, advising a peg-legged ballerina, “Do not turn away from the magic within you.”\u003c/p>\n\u003cp>\u003ci>Tie It Into My Hand\u003c/i> might be construed as a personal and spiritual synthesis of those earlier works. It’s also a highly elevated therapeutic exercise, innately inspirational without ever seeming too cheesy or self-serious, and the kind of thing you urgently want to share with your creative kin before even seeing how it ends. Ultimately Festa both illuminates and transcends the most universal aspects of performance anxiety, with the performance in question being not just a specific concerto but the entirety of the artist’s life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Tie It Into My Hand\u003c/i> screens Friday, September 21 and Saturday, September 22, with \u003ci>The Glitter Emergency\u003c/i> at ODC Theater in San Francisco. Paul Festa accompanies the screenings with a live performance of the Tchaikovsky violin concerto. For \u003ca href=\"http://odctheater.org/\">tickets and information\u003c/a>, visit odctheater.org.\u003c/p>\n\n",
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"content": "\u003cp>\u003ci>Cupcakes and Cashmere\u003c/i> could not have been on my coffee table for more than an hour before my house guests began quizzing me about it. “Who is this?” they asked about the beautiful blonde on the cover, effortlessly coiffed and casually strolling down the beach with a bunch of balloons. With such an ambiguous title and cover art, their confusion is unsurprising, but their intrigue understandable.\u003c/p>\n\u003cp>Author Emily Schuman (also the cover model), a Bay Area native, is a leader in the emerging blogger profession. While blogs have been a part of Internet culture for over a decade, the niche for blogging professionals has only existed for about half that time. Mass followings and daily readers have allowed bloggers to establish themselves as experts on the topic, or topics, of their choosing. As is the case with Schuman, this expertise then translates to the offline world. Named one of Forbes’ 20 Best Fashion Blogs for Professional Women and one of the “Best of the Web” by InStyle Magazine, Schuman has become a frequent contributor to leading publications in the fashion industry. \u003c/p>\n\u003cp>Four years after starting her blog, Schuman has now expanded her voice with the release of \u003ci>Cupcakes and Cashmere\u003c/i>. In her introduction to the book, she says her motivation for writing has always been “to focus on the little things that bring happiness… to incorporate a variety of topics including fashion, food, interior design, beauty, and entertaining.” The book, inspired by \u003ca href=\"http://cupcakesandcashmere.com/\">her blog\u003c/a> (and given the same name), is intended to provide a deeper dive into the areas Schuman discusses on a daily basis within the blogosphere.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/08/29/cupcakes.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>Categorized by seasons, the book has four parts. Each section breaks down Schuman’s seasonal recommendations for dressing, her beauty routine, and holiday-appropriate sweet treats. While for beauty, fashion, and entertaining, this organization is logical, it fails to be relevant to all of the areas the book details. The chapters on subjects like shopping at flea markets and organizing your home office seem off-theme within the book’s seasonal structure. Although in this writer’s opinion, all the topics are well selected and pertinent to Schuman’s audience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Beyond the initial confusion readers may experience with the structure, both avid followers and those unfamiliar with Schuman’s blog (like my house guests) are sure to recognize her expertise in the areas the book covers. With sections detailing a range of topics from seasonally appropriate wardrobe color schemes to how to layer jewelry to making winter cocktails, Schuman breaks down many untaught, yet essential skills and knowledge for young women, consolidated into a single volume. Equipped with full-page instructional photographs, and detailed step-by-step instructions, Schuman has created a novel reference book that will remain in its easily accessible spot on my coffee table for a long time to come.\u003c/p>\n\n",
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"content": "\u003cp>How exquisitely agonizing that it’s been so hard of late to keep up with the San Francisco Film Society Cinema, whose fine programming includes rarities, recent festival highlights, and oldies-but-goodies like the Italian omnibus \u003ci>Love in the City\u003c/i>, opening Friday. This particular film, from 1953, brings a special kind of repertory pleasure — not just \u003ci>Oh, I’ve always wanted to see that\u003c/i> but \u003ci>Oh, I’ve never heard of that.\u003c/i>\u003c/p>\n\u003cp>Overseen by early neorealist Cesare Zavattini, who for his part supplies a desperate saga of single-motherhood, \u003ci>Love in the City\u003c/i> quilts together a handful of filmmakers’ observations on mid-century romantic attachments. In retrospect it’s also a handy primer on the attitudes and behavior of modern Italian cinema, as glimpsed in the process of formation. There are the universal truths and then there are the uniquely Italian ones.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=IaXF5Sk5LF4&w=480&h=360]\u003c/p>\n\u003cp>Of course it’s easy to see any portmanteau as a mixed bag, but maybe more fun to grade internal incoherence on the curve of general accordance with the big-picture concept. Here, a few nonverbal episodes seem deceptively simple, like Dino Risi’s smoky dance hall full of fights and furtive glances, or Alberto Lattuada’s parade of pretty women and the rubbernecking men who ogle them — or, worse, cop feels on a crowded bus and degenerate into creepy lecher-zombies. Clearly these set pieces wouldn’t sustain themselves at feature length, but compilation conserves and invigorates their grace.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/loveincity.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Elsewhere we see masters working up their mastery: Michelangelo Antonioni’s restaged suicide attempts seem insouciantly cinematic, but also suggest alienation verging on a pose of itself; Federico Fellini finds poignant whimsy in the tale of a gentle naif who agrees to marry a werewolf, if only to seem agreeable. “I know myself,” she says, “I’ll become fond of him.” Both pieces resonate intriguingly with both directors’ later efforts.\u003c/p>\n\u003cp>Shot through with forlornness, largely from a female point of view, \u003ci>Love in the City\u003c/i> is ostensibly feminist, although it’s hard not to notice an abundance of maleness behind the camera, particularly in unseen omniscient narration. However sympathetic, its occasional explications can’t help but come across also as pat and patronizing, as when one offscreen male voice explains, “Many women like her could be saved with a little true love.” Well, it takes a woman’s first-hand testimony to convincingly rebuke the will to romanticize: “Love helps conquer all,” she says. “If it ends, everything falls apart.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Love in the City\u003c/i> runs from August 17 through 23, 2012, at the Film Society Cinema in San Francisco. For \u003ca href=\"http://www.sffs.org/Exhibition/SF-Film-Society-Cinema/love-in-the-city.aspx\">tickets and more information\u003c/a>, visit sffs.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How exquisitely agonizing that it’s been so hard of late to keep up with the San Francisco Film Society Cinema, whose fine programming includes rarities, recent festival highlights, and oldies-but-goodies like the Italian omnibus \u003ci>Love in the City\u003c/i>, opening Friday. This particular film, from 1953, brings a special kind of repertory pleasure — not just \u003ci>Oh, I’ve always wanted to see that\u003c/i> but \u003ci>Oh, I’ve never heard of that.\u003c/i>\u003c/p>\n\u003cp>Overseen by early neorealist Cesare Zavattini, who for his part supplies a desperate saga of single-motherhood, \u003ci>Love in the City\u003c/i> quilts together a handful of filmmakers’ observations on mid-century romantic attachments. In retrospect it’s also a handy primer on the attitudes and behavior of modern Italian cinema, as glimpsed in the process of formation. There are the universal truths and then there are the uniquely Italian ones.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IaXF5Sk5LF4'\n title='//www.youtube.com/embed/IaXF5Sk5LF4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Of course it’s easy to see any portmanteau as a mixed bag, but maybe more fun to grade internal incoherence on the curve of general accordance with the big-picture concept. Here, a few nonverbal episodes seem deceptively simple, like Dino Risi’s smoky dance hall full of fights and furtive glances, or Alberto Lattuada’s parade of pretty women and the rubbernecking men who ogle them — or, worse, cop feels on a crowded bus and degenerate into creepy lecher-zombies. Clearly these set pieces wouldn’t sustain themselves at feature length, but compilation conserves and invigorates their grace.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/loveincity.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Elsewhere we see masters working up their mastery: Michelangelo Antonioni’s restaged suicide attempts seem insouciantly cinematic, but also suggest alienation verging on a pose of itself; Federico Fellini finds poignant whimsy in the tale of a gentle naif who agrees to marry a werewolf, if only to seem agreeable. “I know myself,” she says, “I’ll become fond of him.” Both pieces resonate intriguingly with both directors’ later efforts.\u003c/p>\n\u003cp>Shot through with forlornness, largely from a female point of view, \u003ci>Love in the City\u003c/i> is ostensibly feminist, although it’s hard not to notice an abundance of maleness behind the camera, particularly in unseen omniscient narration. However sympathetic, its occasional explications can’t help but come across also as pat and patronizing, as when one offscreen male voice explains, “Many women like her could be saved with a little true love.” Well, it takes a woman’s first-hand testimony to convincingly rebuke the will to romanticize: “Love helps conquer all,” she says. “If it ends, everything falls apart.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Love in the City\u003c/i> runs from August 17 through 23, 2012, at the Film Society Cinema in San Francisco. For \u003ca href=\"http://www.sffs.org/Exhibition/SF-Film-Society-Cinema/love-in-the-city.aspx\">tickets and more information\u003c/a>, visit sffs.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Day Two at the 2012 Outside Lands",
"headTitle": "Day Two at the 2012 Outside Lands | KQED",
"content": "\u003cp>For day two at \u003cb>Outside Lands\u003c/b> I experimented with bike parking, forgoing the bike valet service for my own lock and a chain link fence near the polo field entrance. Many hours later, it was confirmed: best idea ever.\u003c/p>\n\u003cp>I arrived at the festival just before the end of \u003ca href=\"http://zolajesus.com/\">Zola Jesus\u003c/a>‘ set to find the Lands End stage even larger than I remembered. A U-shaped ramp jutted out from the main stage, ready for two hours of Metallica later that night. From what I saw, Zola Jesus started the day with a bang. Their closing number had the drummer pounding out a Phil Collins-esque beat while singer Nika Roza Danilova sung in low sultry tones. The song ended with her repeatedly smashing the crash cymbal, double-handed, ringing the day to clanging attention.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/08/12/zolajesussmaller.jpg\" alt=\"zola jesus at outside lands\">\u003cbr>\nZola Jesus at Outside Lands 2012; Photo: Wendy Goodfriend.As more and more people filed onto the Polo Field picnic blankets were lifted in favor of standing. A group of floppy-haired young men filed onstage. Australia’s \u003ca href=\"http://www.tameimpala.com/\">Tame Impala\u003c/a> were up. I can’t imagine the average age of Tame Impala band members is over 30, but here they were, channeling psychedelic groove rock from an era well before their time. Each song triggered a game of “sounds like” in my memory banks: Blondie’s “Call Me,” anything by XTC, the Kinks, even Of Montreal. This unplaceable familiarity possibly detracted from their otherwise engaging show — listening became a personal challenge to place influences and similar sounds, rather than a pure appreciation of the spacey rock at hand.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/08/12/tameimpala500a.jpg\" alt=\"tame impala at outside lands\">\u003cbr>\nTame Impala at Outside Lands 2012; Photo: Wendy Goodfriend.\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/08/12/tameimpala500b.jpg\" alt=\"tame impala at outside lands\">\u003cbr>\nTame Impala at Outside Lands 2012; Photo: Wendy Goodfriend.Following this, I journeyed over to the Sutro stage to hear the relatively new group \u003ca href=\"http://www.alabamashakes.com/\">Alabama Shakes\u003c/a> play what they term ‘roots rock.’ To my ears, there was nothing to differentiate these songs from soul tunes of the ’60s. Which isn’t to say they weren’t great performers. Lead singer Brittany Howard delivers her lyrics with soft hums, harsh growls, and everything in between, creating plenty of opportunities for dynamic builds. Alabama Shakes produced the first truly danceable music I heard all day — and the crowd responded appropriately.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/08/12/alabamashakes500.jpg\" alt=\"alabama shakes at outside lands\">\u003cbr>\nAlabama Shakes at Outside Lands 2012; Photo: Wendy Goodfriend.Though I originally planned to next see \u003ca href=\"http://www.explosionsinthesky.com/\">Explosions in the Sky\u003c/a>, on my way to the Twin Peaks stage the crush of people between me and my destination dissuaded me. Saturday was way more crowded than Friday. I also had a hankering to hear something completely different than the guitar-heavy first half of my afternoon. Staking out a spot for \u003ca href=\"http://bigboi.com/\">Big Boi\u003c/a> turned out to be a great idea.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/08/12/bigboi500c.jpg\" alt=\"big boi at outside lands\">\u003cbr>\nBig Boi at Outside Lands 2012; Photo: Wendy Goodfriend.Due to “technical difficulties” last year, Big Boi’s set at 2011’s \u003cb>Outside Lands\u003c/b> turned into a brief (and by all reports strange) impromptu stand-up routine by Dave Chappelle before the performance was outright cancelled. This year, the rapper and crew assured the audience, “if we’re gonna do it, we’re gonna do it right.” OutKast has been on hiatus since 2007, but Big Boi performed a number of their greatest hits, including “Ms. Jackson,” “So Fresh, So Clean,” “B.O.B. (Bombs over Baghdad),” and “Ghetto Musick.” Backed by music videos and a flashing Big Boi logo, the OutKast songs were missing their more melodic half. Big Boi relied on the audience to fill these gaps, laying down his rhymes with incredible speed and fluidity. His solo material was equally well received — 2011’s loss was definitely 2012’s gain.\u003c/p>\n\u003cp>Nearby, at the Panhandle stage (the coziest of the bunch), local garage rock foursome \u003ca href=\"http://www.theeohsees.com/\">Thee Oh Sees\u003c/a> were delivering upbeat, moshy tunes to a much smaller, but possibly even more enthusiastic audience. Lead singer and guitarist John Dwyer screeched and whooped, his hair completely obscuring his eyes. In fact, everyone in the band was exceedingly fun to watch. Dwyer’s vocal style, especially with keyboardist Brigid Dawson’s backup, was reminiscent of The B-52s’ Fred Schneider. Or, The B-52s’ Fred Schneider if he listened to a lot of the Melvins and lived in the Marina. If that doesn’t sound good, believe me, it is.\u003c/p>\n\u003cp>By this time — 6:30 pm — it was \u003ci>cold\u003c/i>. The fog that never really lifted was getting thicker and wetter by the minute. With a choice between \u003ca href=\"http://www2.norahjones.com/\">Norah Jones\u003c/a> and \u003ca href=\"http://www.passionpitmusic.com/home\">Passion Pit\u003c/a>, I chose warmth. I found it within the tightly packed crowd at the Twin Peaks stage, but Passion Pit’s pop wasn’t as mood-lifting as I’d hoped. It definitely didn’t make me forget my tired feet. Perhaps I’d been alone at \u003cb>Outside Lands\u003c/b> for too many hours without a personal supply of hard liquor (as did most people around me). For brief moments at a time, the band did achieve their full electropop sound and carried the whole crowd into boppy good cheer. But even without the band’s help, I remembered a crucial element of large music performances: crowd camaraderie. As people pushed and shoved, jockeying for a better view of the misty pink stage, each group of strangers became a unit, banded together by proximity and their attempts at keeping everyone around them in good humor, enjoying each other as much as the music they came to see.\u003c/p>\n\u003cp>The one Passion Pit song I kind of wanted to hear echoed over Martin Luther King Drive as I biked home, a fitting close to a full day. It’s title? “Sleepyhead.” One more day to go — here’s hoping for just a little sunshine to match everyone’s good spirits.\u003c/p>\n\u003cp>\u003cb>Outside Lands\u003c/b> continues August 12, 2012. For \u003ca href=\"http://www.sfoutsidelands.com/\">more information\u003c/a> visit sfoutsidelands.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>More on Oustide Lands:\u003c/b>\u003cbr>\n\u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=105538\">Day One at the 2012 Outside Lands\u003c/a>\u003cbr>\n\u003ca href=\"http://blogs.kqed.org/bayareabites/2012/08/12/outside-lambs-a-moroccan-oasis-within-outside-lands/\">Outside Lambs”: A Moroccan Oasis Within Outside Lands\u003c/a>\u003cbr>\n\u003ca href=\"http://blogs.kqed.org/bayareabites/2012/08/12/outside-lands-5-craft-beers-you-must-try-at-the-festivals-new-attraction-beer-lands/\">Outside Lands: 5 Craft Beers You Must Try at the Festival’s New Attraction, Beer Lands\u003c/a>\u003cbr>\n\u003ca href=\"http://blogs.kqed.org/bayareabites/2012/08/13/outside-lands-2012-photos-food-art-music-people/\">Outside Lands 2012 Photos: Food, Art, Music & People\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For day two at \u003cb>Outside Lands\u003c/b> I experimented with bike parking, forgoing the bike valet service for my own lock and a chain link fence near the polo field entrance. Many hours later, it was confirmed: best idea ever.\u003c/p>\n\u003cp>I arrived at the festival just before the end of \u003ca href=\"http://zolajesus.com/\">Zola Jesus\u003c/a>‘ set to find the Lands End stage even larger than I remembered. A U-shaped ramp jutted out from the main stage, ready for two hours of Metallica later that night. From what I saw, Zola Jesus started the day with a bang. Their closing number had the drummer pounding out a Phil Collins-esque beat while singer Nika Roza Danilova sung in low sultry tones. The song ended with her repeatedly smashing the crash cymbal, double-handed, ringing the day to clanging attention.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/08/12/zolajesussmaller.jpg\" alt=\"zola jesus at outside lands\">\u003cbr>\nZola Jesus at Outside Lands 2012; Photo: Wendy Goodfriend.As more and more people filed onto the Polo Field picnic blankets were lifted in favor of standing. A group of floppy-haired young men filed onstage. Australia’s \u003ca href=\"http://www.tameimpala.com/\">Tame Impala\u003c/a> were up. I can’t imagine the average age of Tame Impala band members is over 30, but here they were, channeling psychedelic groove rock from an era well before their time. Each song triggered a game of “sounds like” in my memory banks: Blondie’s “Call Me,” anything by XTC, the Kinks, even Of Montreal. This unplaceable familiarity possibly detracted from their otherwise engaging show — listening became a personal challenge to place influences and similar sounds, rather than a pure appreciation of the spacey rock at hand.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/08/12/tameimpala500a.jpg\" alt=\"tame impala at outside lands\">\u003cbr>\nTame Impala at Outside Lands 2012; Photo: Wendy Goodfriend.\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/08/12/tameimpala500b.jpg\" alt=\"tame impala at outside lands\">\u003cbr>\nTame Impala at Outside Lands 2012; Photo: Wendy Goodfriend.Following this, I journeyed over to the Sutro stage to hear the relatively new group \u003ca href=\"http://www.alabamashakes.com/\">Alabama Shakes\u003c/a> play what they term ‘roots rock.’ To my ears, there was nothing to differentiate these songs from soul tunes of the ’60s. Which isn’t to say they weren’t great performers. Lead singer Brittany Howard delivers her lyrics with soft hums, harsh growls, and everything in between, creating plenty of opportunities for dynamic builds. Alabama Shakes produced the first truly danceable music I heard all day — and the crowd responded appropriately.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/08/12/alabamashakes500.jpg\" alt=\"alabama shakes at outside lands\">\u003cbr>\nAlabama Shakes at Outside Lands 2012; Photo: Wendy Goodfriend.Though I originally planned to next see \u003ca href=\"http://www.explosionsinthesky.com/\">Explosions in the Sky\u003c/a>, on my way to the Twin Peaks stage the crush of people between me and my destination dissuaded me. Saturday was way more crowded than Friday. I also had a hankering to hear something completely different than the guitar-heavy first half of my afternoon. Staking out a spot for \u003ca href=\"http://bigboi.com/\">Big Boi\u003c/a> turned out to be a great idea.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/08/12/bigboi500c.jpg\" alt=\"big boi at outside lands\">\u003cbr>\nBig Boi at Outside Lands 2012; Photo: Wendy Goodfriend.Due to “technical difficulties” last year, Big Boi’s set at 2011’s \u003cb>Outside Lands\u003c/b> turned into a brief (and by all reports strange) impromptu stand-up routine by Dave Chappelle before the performance was outright cancelled. This year, the rapper and crew assured the audience, “if we’re gonna do it, we’re gonna do it right.” OutKast has been on hiatus since 2007, but Big Boi performed a number of their greatest hits, including “Ms. Jackson,” “So Fresh, So Clean,” “B.O.B. (Bombs over Baghdad),” and “Ghetto Musick.” Backed by music videos and a flashing Big Boi logo, the OutKast songs were missing their more melodic half. Big Boi relied on the audience to fill these gaps, laying down his rhymes with incredible speed and fluidity. His solo material was equally well received — 2011’s loss was definitely 2012’s gain.\u003c/p>\n\u003cp>Nearby, at the Panhandle stage (the coziest of the bunch), local garage rock foursome \u003ca href=\"http://www.theeohsees.com/\">Thee Oh Sees\u003c/a> were delivering upbeat, moshy tunes to a much smaller, but possibly even more enthusiastic audience. Lead singer and guitarist John Dwyer screeched and whooped, his hair completely obscuring his eyes. In fact, everyone in the band was exceedingly fun to watch. Dwyer’s vocal style, especially with keyboardist Brigid Dawson’s backup, was reminiscent of The B-52s’ Fred Schneider. Or, The B-52s’ Fred Schneider if he listened to a lot of the Melvins and lived in the Marina. If that doesn’t sound good, believe me, it is.\u003c/p>\n\u003cp>By this time — 6:30 pm — it was \u003ci>cold\u003c/i>. The fog that never really lifted was getting thicker and wetter by the minute. With a choice between \u003ca href=\"http://www2.norahjones.com/\">Norah Jones\u003c/a> and \u003ca href=\"http://www.passionpitmusic.com/home\">Passion Pit\u003c/a>, I chose warmth. I found it within the tightly packed crowd at the Twin Peaks stage, but Passion Pit’s pop wasn’t as mood-lifting as I’d hoped. It definitely didn’t make me forget my tired feet. Perhaps I’d been alone at \u003cb>Outside Lands\u003c/b> for too many hours without a personal supply of hard liquor (as did most people around me). For brief moments at a time, the band did achieve their full electropop sound and carried the whole crowd into boppy good cheer. But even without the band’s help, I remembered a crucial element of large music performances: crowd camaraderie. As people pushed and shoved, jockeying for a better view of the misty pink stage, each group of strangers became a unit, banded together by proximity and their attempts at keeping everyone around them in good humor, enjoying each other as much as the music they came to see.\u003c/p>\n\u003cp>The one Passion Pit song I kind of wanted to hear echoed over Martin Luther King Drive as I biked home, a fitting close to a full day. It’s title? “Sleepyhead.” One more day to go — here’s hoping for just a little sunshine to match everyone’s good spirits.\u003c/p>\n\u003cp>\u003cb>Outside Lands\u003c/b> continues August 12, 2012. For \u003ca href=\"http://www.sfoutsidelands.com/\">more information\u003c/a> visit sfoutsidelands.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>More on Oustide Lands:\u003c/b>\u003cbr>\n\u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=105538\">Day One at the 2012 Outside Lands\u003c/a>\u003cbr>\n\u003ca href=\"http://blogs.kqed.org/bayareabites/2012/08/12/outside-lambs-a-moroccan-oasis-within-outside-lands/\">Outside Lambs”: A Moroccan Oasis Within Outside Lands\u003c/a>\u003cbr>\n\u003ca href=\"http://blogs.kqed.org/bayareabites/2012/08/12/outside-lands-5-craft-beers-you-must-try-at-the-festivals-new-attraction-beer-lands/\">Outside Lands: 5 Craft Beers You Must Try at the Festival’s New Attraction, Beer Lands\u003c/a>\u003cbr>\n\u003ca href=\"http://blogs.kqed.org/bayareabites/2012/08/13/outside-lands-2012-photos-food-art-music-people/\">Outside Lands 2012 Photos: Food, Art, Music & People\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The day started with \u003ca href=\"http://whitedenimmusic.com/\">White Denim\u003c/a> on the Sutro stage shredding their hearts out in the lingering fog. For 32 minutes straight, they played without stopping more than a half-beat between songs, building relentless sonic attacks through cyclical crescendos and driving, rapid beats. White Denim projected stadium-sized rock off the stage to a crowd ill-fitting their gigantic sound. Given all this, vocals seem unnecessary, but White Denim delivered those too. Lead singer James Petralli swung from croon to growl, impressively and effectively. Their second-to-last-song and undeniable hit of the set, “Street Joy,” started soft and slow but built to an epic, rumbling finish. It’s a shame more people weren’t around for their performance — they set a high water mark for the rest Friday’s acts and I, in my limited ability to see and hear everything, couldn’t find their better.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/08/11/whitedenim500a.jpg\" alt=\"white denim at outside lands\">\u003cbr>\nWhite Denim at Outside Lands 2012; Photo: Wendy Goodfriend.\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/08/11/sharonvanetten500a.jpg\" alt=\"sharon van etten at outside lands\">\u003cbr>\nSharon Van Etten at Outside Lands 2012; Photo: Wendy Goodfriend.With White Denim still ringing in my ears, I secured a pair of fluorescent orange earplugs and staked out space for \u003ca href=\"http://sharonvanetten.com/\">Sharon Van Etten\u003c/a>. After such a loud, high energy set, her confessional folk-tinged songs were a bit of a come down. Was it the sleepy bedroom nature of her music, or was she a lackluster performer? The answer came as she warmed up, and her light tone shifted into the spooky, haunting “Give Out.” “This song’s about moving to New York City for love,” she announced before starting. Then, as an off-mic aside: “You can throw up now.” After White Denim’s nonstop tunes, Van Etten’s between-song quips were charming, if self-deprecating. After “Serpents,” the first song she wrote for electric guitar — a darkly infectious melody — she shouted, “That song’s only three chords, anybody can play it!” Thankfully, it wasn’t just anybody up there, but Van Etten and her skillful backing band.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/08/11/reggiewatts500a.jpg\" alt=\"reggie watts at outside lands\">\u003cbr>\nReggie Watts at Outside Lands 2012; Photo: Wendy Goodfriend.It was hard to leave the Sutro stage, especially since musician/comedian \u003ca href=\"http://reggiewatts.com/\">Reggie Watts\u003c/a> was next in the lineup. With his hair swaying gently in the still-cool breeze, he climbed on stage wearing red suspenders and a rakish grin. For those unfamiliar with Watts’ act, he performs largely improvised musical numbers blending various styles (hip-hop, soul, beatboxing, spoken word, you name it) with the help of loops and hilarious self-referential lyrics. Watts was met with huge cheers and unbridled laughter. As clever and funny as he is, it’s equally fascinating to watch him build his songs onstage, adding each element in successive layers until he’s assembled something that doesn’t sound too far off from a studio-produced jam. Many of his songs addressed the \u003cb>Outside Lands\u003c/b> crowd specifically. “You’ve got a long day ahead of you, pick your battles well,” he sang. There were also frequent references to antibacterial hand sanitizer.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/08/11/crowdreggiewatts500.jpg\" alt=\"outside lands 2012\">\u003cbr>\nThe crowd dancing to Reggie Watts at Outside Lands 2012; Photo: Wendy Goodfriend.I tore myself away to find food and drink, returning shortly to catch the first half of \u003ca href=\"http://thewalkmen.com/\">The Walkmen\u003c/a>‘s set. Since I last saw them in a more intimate setting in 2006, they haven’t lost any of their fire. Incredibly proficient musicians, they started late, but strong. Lead singer Hamilton Leithauser howls into the microphone, veins popping in his neck, his body balanced against the tilt of the mic stand. “Thinking of a Dream I Had,” a standout from their 2004 album \u003ci>Bows + Arrows\u003c/i> had the entire crowd moving, with many longtime fans singing along, choosing to remain for that moment with The Walkmen over the arguably bigger act one stage over: \u003ca href=\"http://www.beck.com/\">Beck\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/08/11/beck500b.jpg\" alt=\"beck at outside lands\">\u003cbr>\nBeck at Outside Lands 2012; Photo: Wendy Goodfriend.Despite my brief foray outside of Lindley Meadow, I was unprepared for the scale of the Lands End stage. Starting at the far end of the Polo Field, Beck was nothing more than a gray speck in the distance, dwarfed by the two massive screens flanking the stage. While I worked at getting closer to the stage, everyone around me was dancing and singing along to “Loser.” It sounded good, but a bit tight, a bit shaky. Where was the flow? This continued until he got to songs from his 2002 album \u003ci>Sea Change\u003c/i>, warm, ambient, wonderful numbers. Too bad the weather wasn’t warm and wonderful to match.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"///u.s.kqed.net/2012/08/11/dieantwoord.jpg\" alt=\"die antwoord at outside lands\">\u003cbr>\nDie Antwoord at Outside Lands 2012; Photo: Wendy Goodfriend.After one day at the 2012 \u003cb>Outside Lands\u003c/b> Festival, I can advise all attendees to dress warmly! Even cooler than buying an official Outside Lands blanket is bringing enough layers to make it through a day of mercurial San Francisco weather. I can also advise attendees to veer from their pre-planned schedule. I accidentally caught the first half of \u003ca href=\"http://dieantwoord.com/\">Die Antwoord\u003c/a>‘s rave/rap performance (featuring lyrics I cannot quote here) and must admit, I’ve never seen or heard anything quite like that before. Here’s to day two and all the aural discoveries ahead!\u003c/p>\n\u003cp>\u003cb>Outside Lands\u003c/b> continues August 11 and 12, 2012. For \u003ca href=\"http://www.sfoutsidelands.com/home/\">more information\u003c/a> visit sfoutsidelands.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>More on Oustide Lands:\u003c/b>\u003cbr>\n\u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=105579\">Day Two at the 2012 Outside Lands\u003c/a>\u003cbr>\n\u003ca href=\"http://blogs.kqed.org/bayareabites/2012/08/12/outside-lambs-a-moroccan-oasis-within-outside-lands/\">Outside Lambs”: A Moroccan Oasis Within Outside Lands\u003c/a>\u003cbr>\n\u003ca href=\"http://blogs.kqed.org/bayareabites/2012/08/12/outside-lands-5-craft-beers-you-must-try-at-the-festivals-new-attraction-beer-lands/\">Outside Lands: 5 Craft Beers You Must Try at the Festival’s New Attraction, Beer Lands\u003c/a>\u003cbr>\n\u003ca href=\"http://blogs.kqed.org/bayareabites/2012/08/13/outside-lands-2012-photos-food-art-music-people/\">Outside Lands 2012 Photos: Food, Art, Music & People\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The day started with \u003ca href=\"http://whitedenimmusic.com/\">White Denim\u003c/a> on the Sutro stage shredding their hearts out in the lingering fog. For 32 minutes straight, they played without stopping more than a half-beat between songs, building relentless sonic attacks through cyclical crescendos and driving, rapid beats. White Denim projected stadium-sized rock off the stage to a crowd ill-fitting their gigantic sound. Given all this, vocals seem unnecessary, but White Denim delivered those too. Lead singer James Petralli swung from croon to growl, impressively and effectively. Their second-to-last-song and undeniable hit of the set, “Street Joy,” started soft and slow but built to an epic, rumbling finish. It’s a shame more people weren’t around for their performance — they set a high water mark for the rest Friday’s acts and I, in my limited ability to see and hear everything, couldn’t find their better.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/08/11/whitedenim500a.jpg\" alt=\"white denim at outside lands\">\u003cbr>\nWhite Denim at Outside Lands 2012; Photo: Wendy Goodfriend.\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/08/11/sharonvanetten500a.jpg\" alt=\"sharon van etten at outside lands\">\u003cbr>\nSharon Van Etten at Outside Lands 2012; Photo: Wendy Goodfriend.With White Denim still ringing in my ears, I secured a pair of fluorescent orange earplugs and staked out space for \u003ca href=\"http://sharonvanetten.com/\">Sharon Van Etten\u003c/a>. After such a loud, high energy set, her confessional folk-tinged songs were a bit of a come down. Was it the sleepy bedroom nature of her music, or was she a lackluster performer? The answer came as she warmed up, and her light tone shifted into the spooky, haunting “Give Out.” “This song’s about moving to New York City for love,” she announced before starting. Then, as an off-mic aside: “You can throw up now.” After White Denim’s nonstop tunes, Van Etten’s between-song quips were charming, if self-deprecating. After “Serpents,” the first song she wrote for electric guitar — a darkly infectious melody — she shouted, “That song’s only three chords, anybody can play it!” Thankfully, it wasn’t just anybody up there, but Van Etten and her skillful backing band.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/08/11/reggiewatts500a.jpg\" alt=\"reggie watts at outside lands\">\u003cbr>\nReggie Watts at Outside Lands 2012; Photo: Wendy Goodfriend.It was hard to leave the Sutro stage, especially since musician/comedian \u003ca href=\"http://reggiewatts.com/\">Reggie Watts\u003c/a> was next in the lineup. With his hair swaying gently in the still-cool breeze, he climbed on stage wearing red suspenders and a rakish grin. For those unfamiliar with Watts’ act, he performs largely improvised musical numbers blending various styles (hip-hop, soul, beatboxing, spoken word, you name it) with the help of loops and hilarious self-referential lyrics. Watts was met with huge cheers and unbridled laughter. As clever and funny as he is, it’s equally fascinating to watch him build his songs onstage, adding each element in successive layers until he’s assembled something that doesn’t sound too far off from a studio-produced jam. Many of his songs addressed the \u003cb>Outside Lands\u003c/b> crowd specifically. “You’ve got a long day ahead of you, pick your battles well,” he sang. There were also frequent references to antibacterial hand sanitizer.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/08/11/crowdreggiewatts500.jpg\" alt=\"outside lands 2012\">\u003cbr>\nThe crowd dancing to Reggie Watts at Outside Lands 2012; Photo: Wendy Goodfriend.I tore myself away to find food and drink, returning shortly to catch the first half of \u003ca href=\"http://thewalkmen.com/\">The Walkmen\u003c/a>‘s set. Since I last saw them in a more intimate setting in 2006, they haven’t lost any of their fire. Incredibly proficient musicians, they started late, but strong. Lead singer Hamilton Leithauser howls into the microphone, veins popping in his neck, his body balanced against the tilt of the mic stand. “Thinking of a Dream I Had,” a standout from their 2004 album \u003ci>Bows + Arrows\u003c/i> had the entire crowd moving, with many longtime fans singing along, choosing to remain for that moment with The Walkmen over the arguably bigger act one stage over: \u003ca href=\"http://www.beck.com/\">Beck\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/08/11/beck500b.jpg\" alt=\"beck at outside lands\">\u003cbr>\nBeck at Outside Lands 2012; Photo: Wendy Goodfriend.Despite my brief foray outside of Lindley Meadow, I was unprepared for the scale of the Lands End stage. Starting at the far end of the Polo Field, Beck was nothing more than a gray speck in the distance, dwarfed by the two massive screens flanking the stage. While I worked at getting closer to the stage, everyone around me was dancing and singing along to “Loser.” It sounded good, but a bit tight, a bit shaky. Where was the flow? This continued until he got to songs from his 2002 album \u003ci>Sea Change\u003c/i>, warm, ambient, wonderful numbers. Too bad the weather wasn’t warm and wonderful to match.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"///u.s.kqed.net/2012/08/11/dieantwoord.jpg\" alt=\"die antwoord at outside lands\">\u003cbr>\nDie Antwoord at Outside Lands 2012; Photo: Wendy Goodfriend.After one day at the 2012 \u003cb>Outside Lands\u003c/b> Festival, I can advise all attendees to dress warmly! Even cooler than buying an official Outside Lands blanket is bringing enough layers to make it through a day of mercurial San Francisco weather. I can also advise attendees to veer from their pre-planned schedule. I accidentally caught the first half of \u003ca href=\"http://dieantwoord.com/\">Die Antwoord\u003c/a>‘s rave/rap performance (featuring lyrics I cannot quote here) and must admit, I’ve never seen or heard anything quite like that before. Here’s to day two and all the aural discoveries ahead!\u003c/p>\n\u003cp>\u003cb>Outside Lands\u003c/b> continues August 11 and 12, 2012. For \u003ca href=\"http://www.sfoutsidelands.com/home/\">more information\u003c/a> visit sfoutsidelands.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>More on Oustide Lands:\u003c/b>\u003cbr>\n\u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=105579\">Day Two at the 2012 Outside Lands\u003c/a>\u003cbr>\n\u003ca href=\"http://blogs.kqed.org/bayareabites/2012/08/12/outside-lambs-a-moroccan-oasis-within-outside-lands/\">Outside Lambs”: A Moroccan Oasis Within Outside Lands\u003c/a>\u003cbr>\n\u003ca href=\"http://blogs.kqed.org/bayareabites/2012/08/12/outside-lands-5-craft-beers-you-must-try-at-the-festivals-new-attraction-beer-lands/\">Outside Lands: 5 Craft Beers You Must Try at the Festival’s New Attraction, Beer Lands\u003c/a>\u003cbr>\n\u003ca href=\"http://blogs.kqed.org/bayareabites/2012/08/13/outside-lands-2012-photos-food-art-music-people/\">Outside Lands 2012 Photos: Food, Art, Music & People\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Two Drunken Dudes Prioritize Language In 'You & Me'",
"headTitle": "Two Drunken Dudes Prioritize Language In ‘You & Me’ | KQED",
"content": "\u003cp>With his 2009 \u003cem>The Interrogative Mood: A Novel?\u003c/em>, Padgett Powell produced one of the most readable literary oddities of the past decade. In that book, a narrator — perhaps the author himself — fired off questions (and \u003cem>only\u003c/em> questions) that come to read less like a novel than a personality test gone haywire: “Should a tree be pruned? Are you perplexed by what to do with underwear whose elastic is spent but which is otherwise in good shape? Do you dance?” And so on, for more than 150 pages.\u003c/p>\n\u003cp>It could have been an exhausting gimmick, but instead Powell’s queries — some direct, others hilariously complex — achieved an intricately constructed randomness. Was it a novel? Maybe, though it lacked most of the things traditional novels have, such as character development, setting, plot. Whatever it was, it certainly was a long way from Powell’s previous work, notably the coming-of-age debut \u003cem>Edisto\u003c/em> (1984), a \u003cem>Catcher in the Rye\u003c/em>-influenced novel in which a 12-year-old boy prepares, under his mother’s direction, to become a writer by reading the classics. In fact, although it bears an interesting resemblance to the French author Edouard Leve’s more declarative \u003cem>Autoportrait\u003c/em>, published in the U.S. this year, \u003cem>The Interrogative Mood\u003c/em> feels so divorced from literary heritage that readers would be forgiven for positing their own question: What next?\u003c/p>\n\u003cp>The answer, Powell’s \u003cem>You & Me\u003c/em>, has arrived — a comic dialogue between two men who, one gathers, are middle-aged, jobless, Southern, white and \u003cem>drunk\u003c/em>. Though it doubles \u003cem>The Interrogative Mood\u003c/em>‘s number of characters, the new book is, like its predecessor, a fairly stripped-down affair. There is a setting, sort of, identified in the stage direction that opens the book: “\u003cem>Somewhere between Bakersfield, California, and Jacksonville, Florida — we think spiritually nearer the former and geographically nearer the latter — two weirdly agreeable dudes are on a porch in a not upscale neighborhood, apparently within walking distance of a liquor store, talking a lot\u003c/em>.” Beyond that, it’s pure, 200-proof tete-a-tete, with the two speakers distinguished by nothing except paragraph breaks — no attribution, no character names, and not much character development.\u003c/p>\n\u003cp>In fact, there’s almost no physical action. These two besotted dudes occasionally consider abandoning the porch — “Let’s go down to the creek and stare Despair down” — but they never leave. This, it turns out, is a strength: Distilling his two dudes down to bare dialogue, Powell frees himself to focus entirely on their exchange, which cuts and swerves with an astonishing, off-kilter cadence. His characters might be all talk and no walk, but what wonderful talk it is:\u003c/p>\n\u003cblockquote>\n\u003cp>In what environments should a man have it together? In a chamber of surgery, with a scalpel in hand?\u003c/p>\n\u003cp>Yes. There he should have it together in the extreme.\u003c/p>\n\u003cp>Are there other venues where he should really have it together?\u003c/p>\n\u003cp>No. Let us say he is holding on to the back of a garbage truck and stepping off it as cans of garbage on the curb are approached and swinging these cans of garbage into the truck and setting them down empty, or tossing them any old way, and stepping back on the truck (which has not come to a real stop) as it progresses toward the hundreds or thousands of cans remaining on the route — he does not need to have it together for this, and this is essentially not unlike any other human endeavor on earth just now, except for surgery.\u003c/p>\n\u003c/blockquote>\n\u003cp>Absurd, crude and full of dipso insight, these men hold forth on a number of topics: Jesse Owens, Robert Crumb, flying dogs, Jayne Mansfield’s breasts and their own personal failure (“God wasted two whole spaces on us as human integers. We’re nils in terms of becoming all that we can become”). The surprises here come not through plot development but rapid changes in subject; every time you think you know where they’re headed, they cut into new and strange verbal territory. Discussing whether \u003cem>pustulent\u003c/em> is a word, one says: “I see \u003cem>pestilent\u003c/em> and \u003cem>postulant\u003c/em>, but no \u003cem>pustulent\u003c/em>. You look momentarily like a sloppy vampire when you say it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Where \u003cem>The Interrogative Mood\u003c/em> seemed to be drawing from sources unknown, \u003cem>You & Me\u003c/em> points to a more recognizable influence, most notably Samuel Beckett’s \u003cem>Waiting for Godot\u003c/em>. But even with that guiding light, Powell remains gloriously untethered. His characters are free of family, back story and obligation. One says: “I have a vision of our sitting here, rather nattily somehow, in a clean place unbothered by biographical detritus and other riprap.” The other (or is it the same one?) later says: “A man and all his effects … is a sad business, you get right down to it. … He can’t get rid of the crap that weighs him down. … He needs a house fire, of course, but he also needs a mind fire.” Powell, in his recent work, has set his mind ablaze. And nothing but exquisite and deeply strange language is left to emerge from the ashes. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2012 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Two+Drunken+Dudes+Prioritize+Language+In+%27You+%26+Me%27&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"excerpt": "In his latest novel, \u003cem>You & Me\u003c/em>, Padgett Powell continues the experimentation of his previous work \u003cem>The Interrogative Mood\u003c/em>. Here, two Southern men sit on a porch, discussing everything from R. Crumb to human failure. No action, no attribution — just dialogue.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With his 2009 \u003cem>The Interrogative Mood: A Novel?\u003c/em>, Padgett Powell produced one of the most readable literary oddities of the past decade. In that book, a narrator — perhaps the author himself — fired off questions (and \u003cem>only\u003c/em> questions) that come to read less like a novel than a personality test gone haywire: “Should a tree be pruned? Are you perplexed by what to do with underwear whose elastic is spent but which is otherwise in good shape? Do you dance?” And so on, for more than 150 pages.\u003c/p>\n\u003cp>It could have been an exhausting gimmick, but instead Powell’s queries — some direct, others hilariously complex — achieved an intricately constructed randomness. Was it a novel? Maybe, though it lacked most of the things traditional novels have, such as character development, setting, plot. Whatever it was, it certainly was a long way from Powell’s previous work, notably the coming-of-age debut \u003cem>Edisto\u003c/em> (1984), a \u003cem>Catcher in the Rye\u003c/em>-influenced novel in which a 12-year-old boy prepares, under his mother’s direction, to become a writer by reading the classics. In fact, although it bears an interesting resemblance to the French author Edouard Leve’s more declarative \u003cem>Autoportrait\u003c/em>, published in the U.S. this year, \u003cem>The Interrogative Mood\u003c/em> feels so divorced from literary heritage that readers would be forgiven for positing their own question: What next?\u003c/p>\n\u003cp>The answer, Powell’s \u003cem>You & Me\u003c/em>, has arrived — a comic dialogue between two men who, one gathers, are middle-aged, jobless, Southern, white and \u003cem>drunk\u003c/em>. Though it doubles \u003cem>The Interrogative Mood\u003c/em>‘s number of characters, the new book is, like its predecessor, a fairly stripped-down affair. There is a setting, sort of, identified in the stage direction that opens the book: “\u003cem>Somewhere between Bakersfield, California, and Jacksonville, Florida — we think spiritually nearer the former and geographically nearer the latter — two weirdly agreeable dudes are on a porch in a not upscale neighborhood, apparently within walking distance of a liquor store, talking a lot\u003c/em>.” Beyond that, it’s pure, 200-proof tete-a-tete, with the two speakers distinguished by nothing except paragraph breaks — no attribution, no character names, and not much character development.\u003c/p>\n\u003cp>In fact, there’s almost no physical action. These two besotted dudes occasionally consider abandoning the porch — “Let’s go down to the creek and stare Despair down” — but they never leave. This, it turns out, is a strength: Distilling his two dudes down to bare dialogue, Powell frees himself to focus entirely on their exchange, which cuts and swerves with an astonishing, off-kilter cadence. His characters might be all talk and no walk, but what wonderful talk it is:\u003c/p>\n\u003cblockquote>\n\u003cp>In what environments should a man have it together? In a chamber of surgery, with a scalpel in hand?\u003c/p>\n\u003cp>Yes. There he should have it together in the extreme.\u003c/p>\n\u003cp>Are there other venues where he should really have it together?\u003c/p>\n\u003cp>No. Let us say he is holding on to the back of a garbage truck and stepping off it as cans of garbage on the curb are approached and swinging these cans of garbage into the truck and setting them down empty, or tossing them any old way, and stepping back on the truck (which has not come to a real stop) as it progresses toward the hundreds or thousands of cans remaining on the route — he does not need to have it together for this, and this is essentially not unlike any other human endeavor on earth just now, except for surgery.\u003c/p>\n\u003c/blockquote>\n\u003cp>Absurd, crude and full of dipso insight, these men hold forth on a number of topics: Jesse Owens, Robert Crumb, flying dogs, Jayne Mansfield’s breasts and their own personal failure (“God wasted two whole spaces on us as human integers. We’re nils in terms of becoming all that we can become”). The surprises here come not through plot development but rapid changes in subject; every time you think you know where they’re headed, they cut into new and strange verbal territory. Discussing whether \u003cem>pustulent\u003c/em> is a word, one says: “I see \u003cem>pestilent\u003c/em> and \u003cem>postulant\u003c/em>, but no \u003cem>pustulent\u003c/em>. You look momentarily like a sloppy vampire when you say 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>\n\u003cp>Where \u003cem>The Interrogative Mood\u003c/em> seemed to be drawing from sources unknown, \u003cem>You & Me\u003c/em> points to a more recognizable influence, most notably Samuel Beckett’s \u003cem>Waiting for Godot\u003c/em>. But even with that guiding light, Powell remains gloriously untethered. His characters are free of family, back story and obligation. One says: “I have a vision of our sitting here, rather nattily somehow, in a clean place unbothered by biographical detritus and other riprap.” The other (or is it the same one?) later says: “A man and all his effects … is a sad business, you get right down to it. … He can’t get rid of the crap that weighs him down. … He needs a house fire, of course, but he also needs a mind fire.” Powell, in his recent work, has set his mind ablaze. And nothing but exquisite and deeply strange language is left to emerge from the ashes. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2012 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Two+Drunken+Dudes+Prioritize+Language+In+%27You+%26+Me%27&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tomorrow night the writer and filmmaker George Csicsery, an undersung Oakland-based stalwart of the Bay Area cinema scene, returns to the Roxie for a screening and discussion of his most recent film. And if anything can fill out a perfect double-bill with \u003ci>Sprout Wings and Fly\u003c/i>, local legend Les Blank’s half-hour documentary appreciation of Appalachian fiddler Tommy Jarrell, it has to be Csicsery’s \u003ci>Songs Along a Stony Road\u003c/i>.\u003c/p>\n\u003cp>A German native born to Hungarian parents, Csicsery came to the U.S. in 1951 and has been cranking out films according less to commercial fashion than to his own curiosities since the late 1960s. Over the years his unpretentious cultural chronicles, mostly in the documentary mode, have introduced viewers to unionized hookers, false accusers, romance writers, Black Panthers (and the cops who clashed with them), eccentric mathematicians, and many other highly authentic human figures.\u003c/p>\n\u003cp>His latest, made with co-producer Chris Teerink, spends an hour with Transylvanian ethnomusicologist Zoltán Kallós gathering music and folklore from throughout the villages and hills and misty fields of a hauntingly medieval-sounding Romania. As becomes aurally apparent, Kallós’ project is not unlike a similar one long ago undertaken by the Hungarian master Béla Bartók, whose radically proto-modern orchestral compositions surged with the vitality of Eastern European folk music.\u003c/p>\n\u003cp>Csicsery has said he intended this film partly as preservation of “a vanishing heritage,” and that much becomes poignantly clear as he and Kallós come upon people well past what we’d call retirement age — fiddlers, flutists, farmers — with faces like features of their ancient rural landscapes and music flowing through their lives as naturally and as fleetingly as breath. Singing mournful tales to themselves and each other over strenuous manual labor, sipping shots of homemade brandy with shaky hands, they seem gravely accustomed to displacement — as if at peace with an impending return to the well-toiled earth, and with being gone from tomorrow’s world.\u003c/p>\n\u003cp>“Things are better than they were in \u003ca href=\"http://en.wikipedia.org/wiki/Nicolae_Ceau%C8%99escu\">Ceausescu\u003c/a>‘s days,” Kallós says with conviction but also wistfulness; since having deposed its dictator in 1989, and opened itself to European integration, Romania obviously has not been and never will be the same. The gift of \u003ci>Songs Along a Stony Road\u003c/i> is its way of letting us hear the rhythmic difference between history’s march and a rueful, tuneful roam.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Sprout Wings and Fly\u003c/i> and \u003ci>Songs Along a Stony Road\u003c/i> screen on Thursday, July 12, 2012, with directors Les Blank and George Csicsery in person, at the Roxie in San Francisco. For \u003ca href=\"http://www.roxie.com/events/details.cfm?eventID=8F4F40C6-1143-DBB3-C6A5424C3B7DA78E\"> tickets and more information\u003c/a>, visit roxie.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tomorrow night the writer and filmmaker George Csicsery, an undersung Oakland-based stalwart of the Bay Area cinema scene, returns to the Roxie for a screening and discussion of his most recent film. And if anything can fill out a perfect double-bill with \u003ci>Sprout Wings and Fly\u003c/i>, local legend Les Blank’s half-hour documentary appreciation of Appalachian fiddler Tommy Jarrell, it has to be Csicsery’s \u003ci>Songs Along a Stony Road\u003c/i>.\u003c/p>\n\u003cp>A German native born to Hungarian parents, Csicsery came to the U.S. in 1951 and has been cranking out films according less to commercial fashion than to his own curiosities since the late 1960s. Over the years his unpretentious cultural chronicles, mostly in the documentary mode, have introduced viewers to unionized hookers, false accusers, romance writers, Black Panthers (and the cops who clashed with them), eccentric mathematicians, and many other highly authentic human figures.\u003c/p>\n\u003cp>His latest, made with co-producer Chris Teerink, spends an hour with Transylvanian ethnomusicologist Zoltán Kallós gathering music and folklore from throughout the villages and hills and misty fields of a hauntingly medieval-sounding Romania. As becomes aurally apparent, Kallós’ project is not unlike a similar one long ago undertaken by the Hungarian master Béla Bartók, whose radically proto-modern orchestral compositions surged with the vitality of Eastern European folk music.\u003c/p>\n\u003cp>Csicsery has said he intended this film partly as preservation of “a vanishing heritage,” and that much becomes poignantly clear as he and Kallós come upon people well past what we’d call retirement age — fiddlers, flutists, farmers — with faces like features of their ancient rural landscapes and music flowing through their lives as naturally and as fleetingly as breath. Singing mournful tales to themselves and each other over strenuous manual labor, sipping shots of homemade brandy with shaky hands, they seem gravely accustomed to displacement — as if at peace with an impending return to the well-toiled earth, and with being gone from tomorrow’s world.\u003c/p>\n\u003cp>“Things are better than they were in \u003ca href=\"http://en.wikipedia.org/wiki/Nicolae_Ceau%C8%99escu\">Ceausescu\u003c/a>‘s days,” Kallós says with conviction but also wistfulness; since having deposed its dictator in 1989, and opened itself to European integration, Romania obviously has not been and never will be the same. The gift of \u003ci>Songs Along a Stony Road\u003c/i> is its way of letting us hear the rhythmic difference between history’s march and a rueful, tuneful roam.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It was that time of year again. Thousands of galleries, collectors, artists, consultants, and passersby rubbed fashionable shoulders in Miami for art fair season. While the largest fair of all is Miami Basel (it is also amongst the largest in the world with 260 international galleries represented), there are officially nineteen unique fairs that take place over the weekend, ranging from Pulse, Scope, NADA, Aqua, Design Miami. It’s a lot to take in, and felt, for this artist, both encouraging and demoralizing; the art world is thriving, but only for those who can afford its cost. I have attempted to sum up a few of the highlights of the experience.\u003c/p>\n\u003cp>1. The Alligator Park. Miami is only forty-five minutes from the \u003ca href=\"http://www.nps.gov/ever/index.htm\">Everglades National Park\u003c/a>; contrary to popular belief, the water is not a swamp, but a very, very slow moving river which feeds into the Atlantic ocean. More famously, the everglades are home to Florida alligators. I took an airboat ride through the water, led by a man named Bubba, who later wrestled an alligator and held a scorpion a foot from my face. It may have been under an hour from downtown Miami, but it was a world away from Miami’s reality.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/silverman.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Silverman Gallery\u003cbr>\u003c/center>\n\u003cp>2. San Francisco Galleries. San Francisco galleries were represented at various fairs, including \u003ca href=\"http://www.wolfecontemporary.com/\">Mark Wolfe\u003c/a> and \u003ca href=\"http://basebasebase.com/\">Triple Base\u003c/a> at Aqua, \u003ca href=\"http://altmansiegel.com/main.php?menu=&page=\">Altman Siegel\u003c/a>, \u003ca href=\"http://www.silverman-gallery.com/\">Silverman Gallery\u003c/a> and \u003ca href=\"http://www.ratio3.org/\">Ratio 3\u003c/a> at NADA. Of the booths, all of which looked strong, Silverman and Altman Siegel were the real stand-outs, with perfectly curated selections. Silverman elected to show only one artist, the Toronto-based Hugh Scott-Douglass, while Altman Siegel went with several (a Trevor Paglen print was amongst the largest and most stunning in the group). Regardless of my Bay Area affinities, I would have found both booths among the most considered, and least cluttered, of the fair.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/collage.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Collage by Kader Attia\u003cbr>\u003c/center>\n\u003cp>3. Collage. I was delighted to see the amount of collage up on the walls, across all kinds of fairs. \u003ca href=\"http://www.jackhanley.com/db/posters/363.jpg\">Vince Roark at Jack Hanley\u003c/a>, \u003ca href=\"http://www.leokoenig.com/artist/view/443\">Nicole Eisenman at Leo Koenig\u003c/a>, \u003ca href=\"http://www.galeriekamm.de/kuenstler/michele-di-menna.html\">Michelle Di Menna at Galerie Kamm\u003c/a> (Berlin), \u003ca href=\"http://www.artnet.com/artists/kader-attia/\">Kader Attia,/a> at Galerie Krinzinger (Vienna), and \u003c/a>\u003ca href=\"http://en.wikipedia.org/wiki/Amanda_Ross-Ho\">Amanda Ross-Ho\u003c/a> at Mitchell-Innes and Nash, were a few of a varied and impressive collage selection.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>4.The NADA party. Half of the appeal of Miami art weekend is the wild socializing, in which outsiders can indulge in full-on Miami-style hedonism. The weather is warm, the outfits are outlandish (see number 7) and, after the sun sets, people really get down to business. While partying with fellow art folk can be a chance to rub shoulders with the “right” people, it can also be a chance to blow off art-fair steam. This party, one of many that night, was held around the pool of a South Beach hotel, and featured a performance artist who pulled scarves out of her vagina and a renegade who swam naked in the pool, then hid from the authorities behind a large, freestanding painting. It was weird.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rogan.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Works by Will Rogan\u003cbr>\u003c/center>\n\u003cp>5. \u003ca href=\"http://altmansiegel.com/main.php?menu=wrogan&page=pics\">Will Rogan\u003c/a>. The Bay Area-based artist was represented at the NADA fair by both Altman Siegel and Laurel Gitlin gallery (NY), which where in fact just feet away from one another. Both booths showed smaller works of Rogan’s, in which the artist delicately erased the majority of the content away (most of which are sourced from old magic magazines). The results are ghostly and spare, a kind of anti-collage craft. Amongst the larger and more bombastic pieces in the fair, these erasure pieces where a welcome point of entry.\u003c/p>\n\u003cp>6. Smaller Galleries and Independents. While their booths are the size of small walk-in closets, they make the most of what they’ve got. \u003ca href=\"http://www.facebook.com/pages/Rawson-Projects/129317910454729\">Rawson Projects\u003c/a>, run by Chris Lawson, featured small abstract paintings and photographs; \u003ca href=\"http://reginarex.org/\">Regina Rex\u003c/a> showed a beautiful wooden sculpture; and \u003ca href=\"http://www.toomerlabzda.com/Site/toomer_labzda_home.html\">Toomer Labzda\u003c/a>‘s whole booth was filled with an interactive colored plastic installation by Mia Taylor. All three spaces are in New York City, and likely adept at making smaller spaces work in their favor.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/outfits.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>7. The Outfits. I know this post is in danger of veering too far from the art itself, but at points, it appeared that attendees’ outfits were bettering the displays. No matter how people were dressed — shockingly sexy or just plain weird — no one threw on their outfit during the weekend by accident. Highlights included: a mother dressed in a leather bodice and red netting, pushing her toddler-aged daughter wearing the same outfit in a stroller, and a male/female couple with identical shaved heads and red dresses. At the very least, everyone put effort into their style. It can be hard to look at the spectacle on the wall with all this spectacle roaming the floors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>8. \u003ca href=\"http://en.wikipedia.org/wiki/Carol_Bove\">Carol Bove\u003c/a>. The artist, who has come into prominence since 2005’s \u003cb>Greater New York\u003c/b> exhibition, had half of a booth dedicated to her work, and she hit just the right tone within it. A combination of intricate chain-link paintings on the wall, and installation based sculpture (small objects carefully curated on a shelf and a table, linked by a single gold chain) was cryptic, cold and also strangely emotive.\u003c/p>\n\n",
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"excerpt": "Thousands of galleries, collectors, artists, consultants, and passersby rubbed fashionable shoulders in Miami for art fair season. This writer's highlights include the Alligator Park just 45 minutes outside Miami.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was that time of year again. Thousands of galleries, collectors, artists, consultants, and passersby rubbed fashionable shoulders in Miami for art fair season. While the largest fair of all is Miami Basel (it is also amongst the largest in the world with 260 international galleries represented), there are officially nineteen unique fairs that take place over the weekend, ranging from Pulse, Scope, NADA, Aqua, Design Miami. It’s a lot to take in, and felt, for this artist, both encouraging and demoralizing; the art world is thriving, but only for those who can afford its cost. I have attempted to sum up a few of the highlights of the experience.\u003c/p>\n\u003cp>1. The Alligator Park. Miami is only forty-five minutes from the \u003ca href=\"http://www.nps.gov/ever/index.htm\">Everglades National Park\u003c/a>; contrary to popular belief, the water is not a swamp, but a very, very slow moving river which feeds into the Atlantic ocean. More famously, the everglades are home to Florida alligators. I took an airboat ride through the water, led by a man named Bubba, who later wrestled an alligator and held a scorpion a foot from my face. It may have been under an hour from downtown Miami, but it was a world away from Miami’s reality.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/silverman.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Silverman Gallery\u003cbr>\u003c/center>\n\u003cp>2. San Francisco Galleries. San Francisco galleries were represented at various fairs, including \u003ca href=\"http://www.wolfecontemporary.com/\">Mark Wolfe\u003c/a> and \u003ca href=\"http://basebasebase.com/\">Triple Base\u003c/a> at Aqua, \u003ca href=\"http://altmansiegel.com/main.php?menu=&page=\">Altman Siegel\u003c/a>, \u003ca href=\"http://www.silverman-gallery.com/\">Silverman Gallery\u003c/a> and \u003ca href=\"http://www.ratio3.org/\">Ratio 3\u003c/a> at NADA. Of the booths, all of which looked strong, Silverman and Altman Siegel were the real stand-outs, with perfectly curated selections. Silverman elected to show only one artist, the Toronto-based Hugh Scott-Douglass, while Altman Siegel went with several (a Trevor Paglen print was amongst the largest and most stunning in the group). Regardless of my Bay Area affinities, I would have found both booths among the most considered, and least cluttered, of the fair.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/collage.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Collage by Kader Attia\u003cbr>\u003c/center>\n\u003cp>3. Collage. I was delighted to see the amount of collage up on the walls, across all kinds of fairs. \u003ca href=\"http://www.jackhanley.com/db/posters/363.jpg\">Vince Roark at Jack Hanley\u003c/a>, \u003ca href=\"http://www.leokoenig.com/artist/view/443\">Nicole Eisenman at Leo Koenig\u003c/a>, \u003ca href=\"http://www.galeriekamm.de/kuenstler/michele-di-menna.html\">Michelle Di Menna at Galerie Kamm\u003c/a> (Berlin), \u003ca href=\"http://www.artnet.com/artists/kader-attia/\">Kader Attia,/a> at Galerie Krinzinger (Vienna), and \u003c/a>\u003ca href=\"http://en.wikipedia.org/wiki/Amanda_Ross-Ho\">Amanda Ross-Ho\u003c/a> at Mitchell-Innes and Nash, were a few of a varied and impressive collage selection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>4.The NADA party. Half of the appeal of Miami art weekend is the wild socializing, in which outsiders can indulge in full-on Miami-style hedonism. The weather is warm, the outfits are outlandish (see number 7) and, after the sun sets, people really get down to business. While partying with fellow art folk can be a chance to rub shoulders with the “right” people, it can also be a chance to blow off art-fair steam. This party, one of many that night, was held around the pool of a South Beach hotel, and featured a performance artist who pulled scarves out of her vagina and a renegade who swam naked in the pool, then hid from the authorities behind a large, freestanding painting. It was weird.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rogan.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Works by Will Rogan\u003cbr>\u003c/center>\n\u003cp>5. \u003ca href=\"http://altmansiegel.com/main.php?menu=wrogan&page=pics\">Will Rogan\u003c/a>. The Bay Area-based artist was represented at the NADA fair by both Altman Siegel and Laurel Gitlin gallery (NY), which where in fact just feet away from one another. Both booths showed smaller works of Rogan’s, in which the artist delicately erased the majority of the content away (most of which are sourced from old magic magazines). The results are ghostly and spare, a kind of anti-collage craft. Amongst the larger and more bombastic pieces in the fair, these erasure pieces where a welcome point of entry.\u003c/p>\n\u003cp>6. Smaller Galleries and Independents. While their booths are the size of small walk-in closets, they make the most of what they’ve got. \u003ca href=\"http://www.facebook.com/pages/Rawson-Projects/129317910454729\">Rawson Projects\u003c/a>, run by Chris Lawson, featured small abstract paintings and photographs; \u003ca href=\"http://reginarex.org/\">Regina Rex\u003c/a> showed a beautiful wooden sculpture; and \u003ca href=\"http://www.toomerlabzda.com/Site/toomer_labzda_home.html\">Toomer Labzda\u003c/a>‘s whole booth was filled with an interactive colored plastic installation by Mia Taylor. All three spaces are in New York City, and likely adept at making smaller spaces work in their favor.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/outfits.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>7. The Outfits. I know this post is in danger of veering too far from the art itself, but at points, it appeared that attendees’ outfits were bettering the displays. No matter how people were dressed — shockingly sexy or just plain weird — no one threw on their outfit during the weekend by accident. Highlights included: a mother dressed in a leather bodice and red netting, pushing her toddler-aged daughter wearing the same outfit in a stroller, and a male/female couple with identical shaved heads and red dresses. At the very least, everyone put effort into their style. It can be hard to look at the spectacle on the wall with all this spectacle roaming the floors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>8. \u003ca href=\"http://en.wikipedia.org/wiki/Carol_Bove\">Carol Bove\u003c/a>. The artist, who has come into prominence since 2005’s \u003cb>Greater New York\u003c/b> exhibition, had half of a booth dedicated to her work, and she hit just the right tone within it. A combination of intricate chain-link paintings on the wall, and installation based sculpture (small objects carefully curated on a shelf and a table, linked by a single gold chain) was cryptic, cold and also strangely emotive.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Treasure Island Highlights: Sounds and Tastes of Indian Summer",
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"content": "\u003cp>This year’s Treasure Island Music Festival couldn’t have been more heavenly: Indian summer in full swing, out-of-control views, scantily clad hipsters, and of course hours and hours of great music. Check out photos of the scene, from the colorful crowds to the 60-foot Ferris wheel to scene-stealers St. Vincent and YACHT. It’s all here!\u003c/p>\n\u003cp>\u003cb>ARTS & CRAFTS\u003c/b>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.org/2011/10/17/TIMFnightscape500.jpg\">\u003c/p>\n\u003cp>\u003ci>Photo credit: Wendy Goodfriend\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The wonderful people from \u003ca href=\"http://www.workshopsf.org/\">Workshop\u003c/a> were camped out in a D.I.Y. tent, where they taught abbreviated versions of the classes they offer at their NOPA location. Need a cozy for your beer? No problem, they’ll teach you how to make one. Want to put together a terrarium and lug it back home for 2 hours on public transport? No sweat! Other notable art was the face painting booth, where I may or may not have gotten an Adam and the Ants inspired look two days in a row. Caution: rad face paint will attract excitable drunks.\u003c/p>\n\u003cp>The focal point of the festival was a Bliss sculpture by Marco Cochrane that presided over the whole affair. Made of steel that weighs a whopping 7,000 pounds and consumes a space 40 feet by 30 feet, this gigantic representation of the naked female form was the perfect reminder to let go of inhibitions and feel as free as you do in your birthday suit. Another Burning Man-esque attraction was a bus that was converted into a pirate ship. One brief trip up a ladder led to the top deck, where you could get a good survey of the land while feeling as though the bus might tip over and crush you at any moment.\u003c/p>\n\u003cp>\u003cb>SAN FRANDISCO\u003c/b>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.org/2011/10/17/silentdisco500.jpg\">\u003c/p>\n\u003cp>\u003ci>Photo credit: Wendy Goodfriend\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I thought the Silent Disco was a strange idea, until I paid a visit and saw the headphoned crowd grooving and then all freaking out at the same time to the same song unheard by non-participating spectators. Now I know what people on the street think when they look into my apartment and wonder if I’m having a seizure.\u003c/p>\n\u003cp>\u003cb>RANDOM REVELRY\u003c/b>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.org/2011/10/17/monsters500.jpg\">\u003c/p>\n\u003cp>\u003ci>Photo credit: Wendy Goodfriend\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Other revelers roaming around the festival were a posse of monsters who cut a grassy rug and the liveliest bateria imaginable called the \u003ca href=\"http://www.theloydfamilyplayers.com/\">Loyd Family Players\u003c/a>, who compelled bystanders with various dancing abilities to join the professional movers and shakers.\u003c/p>\n\u003cp>\u003cb>THE GRUB\u003c/b>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.org/2011/10/17/theamericangrilledcheese500.jpg\">\u003c/p>\n\u003cp>\u003ci>Photo credit: Wendy Goodfriend\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can’t really expect to dance and roam for 12 hours without some sustenance. Thankfully, there were some seriously delish food vendors on deck. The \u003ca href=\"http://theamericansf.com/\">American Grilled Cheese Kitchen\u003c/a> offered up that gooey classic with tomato and fresh jalapenos for added bite. Epic Cookies provided sugar rushes galore (the chocolate cookie and coconut macaroon were tops). And there were spinach and potato knishes (what’s that you ask? a dumpling of dough stuffed with goodness), as well as to more standard favorites like wraps and hot slices of pizza that were perfect for the chilly night shows. Everything tastes better when the sun’s out and cute people with face paint are smiling in your face.\u003c/p>\n\u003cp>\u003cb>THE MUSIC\u003c/b>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.org/2011/10/17/stvincent500.jpg\">\u003c/p>\n\u003cp>\u003ci>Photo credit: Wendy Goodfriend\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=71226\">my Treasure Island preview\u003c/a>, I said that you would be a fool to miss St. Vincent’s live set and I’m taking this opportunity to tap myself on the back because I was infinitely right about that. From the moment Annie Clark came out on the stage, she commanded the entire festival’s attention. Her voice was immaculate, her guitar throttling was so intense that she broke a string, and her general demeanor was that of the girl you just fell perilously in love with.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.org/2011/10/18/friendlyfires500.jpg\">\u003c/p>\n\u003cp>\u003ci>Photo credit: Wendy Goodfriend\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The biggest surprise of the festival was British band Friendly Fires. I knew next to nothing about them, but my friend advised me that I should get ready to dance my heart out. Lead singer Ed Macfarlane is perhaps the goofiest dancer I’ve ever seen, hand placed at the back of his head and hips everywhere. His dancing with abandon was utterly infectious and had the crowd spazzing out as the sun blasted its rays into our faces. Every time the set seemed to be winding down, the band would surprise us with another conniption. Hysteria never felt so good.\u003c/p>\n\u003cp>Whoever orchestrated Beach House playing at sunset deserves a promotion. The golden light was the perfect glaze for the band’s euphoric sonic dreams. The usually reserved Victoria Legrand was downright playful with the crowd and the band unveiled brand new songs that prove beyond a doubt that this duo is just getting started.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.org/2011/10/17/yacht500.jpg\">\u003c/p>\n\u003cp>\u003ci>Photo credit: Wendy Goodfriend\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With the San Francisco skyline serving as a backdrop, YACHT took to the stage and delivered a high-energy set full of positivity and coordinated dance moves. Claire L. Evans played the role of the slinky temptress as Joan Bechtolt played every instrument on the stage. “Come on over, we’re having a party for you,” they sing on “Psychic City,” and it truly felt like these two were putting on a fiesta for just us, their best friends.\u003c/p>\n\u003cp>The six members of The Head and the Heart met at an open mic night they all frequented in Seattle and went on to hone their sound in their practice space: a public library. That setting must have rubbed off on them because the lyrics of their harmonious folk tunes are perfectly worded and evocative. For example: “One day, we’ll all be ghosts trippin’ around in someone else’s home.” The band appeared to be having the time of their lives on stage. It’s always nice to witness people living out their dreams.\u003c/p>\n\u003cp>For those who want to see more of all the Treasure Island happenings and for those who just want to relive it all, check out our slideshow of all the festival’s greatness below. Only 52 weeks to go until we do it all again!\u003c/p>\n\u003cp>\u003ca href=\"http://m.flickr.com/#/photos/bayareabites/sets/72157627916992866/\">SATURDAY SLIDESHOW mobile version\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://m.flickr.com/#/photos/bayareabites/sets/72157627796046357/\">SUNDAY SLIDESHOW mobile version\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The wonderful people from \u003ca href=\"http://www.workshopsf.org/\">Workshop\u003c/a> were camped out in a D.I.Y. tent, where they taught abbreviated versions of the classes they offer at their NOPA location. Need a cozy for your beer? No problem, they’ll teach you how to make one. Want to put together a terrarium and lug it back home for 2 hours on public transport? No sweat! Other notable art was the face painting booth, where I may or may not have gotten an Adam and the Ants inspired look two days in a row. Caution: rad face paint will attract excitable drunks.\u003c/p>\n\u003cp>The focal point of the festival was a Bliss sculpture by Marco Cochrane that presided over the whole affair. Made of steel that weighs a whopping 7,000 pounds and consumes a space 40 feet by 30 feet, this gigantic representation of the naked female form was the perfect reminder to let go of inhibitions and feel as free as you do in your birthday suit. Another Burning Man-esque attraction was a bus that was converted into a pirate ship. One brief trip up a ladder led to the top deck, where you could get a good survey of the land while feeling as though the bus might tip over and crush you at any moment.\u003c/p>\n\u003cp>\u003cb>SAN FRANDISCO\u003c/b>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.org/2011/10/17/silentdisco500.jpg\">\u003c/p>\n\u003cp>\u003ci>Photo credit: Wendy Goodfriend\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I thought the Silent Disco was a strange idea, until I paid a visit and saw the headphoned crowd grooving and then all freaking out at the same time to the same song unheard by non-participating spectators. Now I know what people on the street think when they look into my apartment and wonder if I’m having a seizure.\u003c/p>\n\u003cp>\u003cb>RANDOM REVELRY\u003c/b>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.org/2011/10/17/monsters500.jpg\">\u003c/p>\n\u003cp>\u003ci>Photo credit: Wendy Goodfriend\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Other revelers roaming around the festival were a posse of monsters who cut a grassy rug and the liveliest bateria imaginable called the \u003ca href=\"http://www.theloydfamilyplayers.com/\">Loyd Family Players\u003c/a>, who compelled bystanders with various dancing abilities to join the professional movers and shakers.\u003c/p>\n\u003cp>\u003cb>THE GRUB\u003c/b>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.org/2011/10/17/theamericangrilledcheese500.jpg\">\u003c/p>\n\u003cp>\u003ci>Photo credit: Wendy Goodfriend\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can’t really expect to dance and roam for 12 hours without some sustenance. Thankfully, there were some seriously delish food vendors on deck. The \u003ca href=\"http://theamericansf.com/\">American Grilled Cheese Kitchen\u003c/a> offered up that gooey classic with tomato and fresh jalapenos for added bite. Epic Cookies provided sugar rushes galore (the chocolate cookie and coconut macaroon were tops). And there were spinach and potato knishes (what’s that you ask? a dumpling of dough stuffed with goodness), as well as to more standard favorites like wraps and hot slices of pizza that were perfect for the chilly night shows. Everything tastes better when the sun’s out and cute people with face paint are smiling in your face.\u003c/p>\n\u003cp>\u003cb>THE MUSIC\u003c/b>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.org/2011/10/17/stvincent500.jpg\">\u003c/p>\n\u003cp>\u003ci>Photo credit: Wendy Goodfriend\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=71226\">my Treasure Island preview\u003c/a>, I said that you would be a fool to miss St. Vincent’s live set and I’m taking this opportunity to tap myself on the back because I was infinitely right about that. From the moment Annie Clark came out on the stage, she commanded the entire festival’s attention. Her voice was immaculate, her guitar throttling was so intense that she broke a string, and her general demeanor was that of the girl you just fell perilously in love with.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.org/2011/10/18/friendlyfires500.jpg\">\u003c/p>\n\u003cp>\u003ci>Photo credit: Wendy Goodfriend\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The biggest surprise of the festival was British band Friendly Fires. I knew next to nothing about them, but my friend advised me that I should get ready to dance my heart out. Lead singer Ed Macfarlane is perhaps the goofiest dancer I’ve ever seen, hand placed at the back of his head and hips everywhere. His dancing with abandon was utterly infectious and had the crowd spazzing out as the sun blasted its rays into our faces. Every time the set seemed to be winding down, the band would surprise us with another conniption. Hysteria never felt so good.\u003c/p>\n\u003cp>Whoever orchestrated Beach House playing at sunset deserves a promotion. The golden light was the perfect glaze for the band’s euphoric sonic dreams. The usually reserved Victoria Legrand was downright playful with the crowd and the band unveiled brand new songs that prove beyond a doubt that this duo is just getting started.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.org/2011/10/17/yacht500.jpg\">\u003c/p>\n\u003cp>\u003ci>Photo credit: Wendy Goodfriend\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With the San Francisco skyline serving as a backdrop, YACHT took to the stage and delivered a high-energy set full of positivity and coordinated dance moves. Claire L. Evans played the role of the slinky temptress as Joan Bechtolt played every instrument on the stage. “Come on over, we’re having a party for you,” they sing on “Psychic City,” and it truly felt like these two were putting on a fiesta for just us, their best friends.\u003c/p>\n\u003cp>The six members of The Head and the Heart met at an open mic night they all frequented in Seattle and went on to hone their sound in their practice space: a public library. That setting must have rubbed off on them because the lyrics of their harmonious folk tunes are perfectly worded and evocative. For example: “One day, we’ll all be ghosts trippin’ around in someone else’s home.” The band appeared to be having the time of their lives on stage. It’s always nice to witness people living out their dreams.\u003c/p>\n\u003cp>For those who want to see more of all the Treasure Island happenings and for those who just want to relive it all, check out our slideshow of all the festival’s greatness below. Only 52 weeks to go until we do it all again!\u003c/p>\n\u003cp>\u003ca href=\"http://m.flickr.com/#/photos/bayareabites/sets/72157627916992866/\">SATURDAY SLIDESHOW mobile version\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://m.flickr.com/#/photos/bayareabites/sets/72157627796046357/\">SUNDAY SLIDESHOW mobile version\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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