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"content": "\u003cp>In 2008, Jazz pianist Fred Hersch went into a two-month coma caused by an HIV virus that had traveled to his brain, which then triggered AIDS-related dementia. The experience revealed to him how difficult it is to articulate what being sick sounds and looks like. Hersch decided to create a language — visual and musical, private and open — to describe living with a long-term illness. That language developed into a multi-media performance called \u003cb>My Coma Dreams\u003c/b>.\u003c/p>\n\u003cp>Built around a series of dreams and nightmares that Fred experienced while recovering from his coma, the live performance includes an 11-piece orchestra, singing, spoken word and projections of animation and other visual effects that illustrate Hersch’s experience of sinking into and beginning to heal from a gravely serious and lifelong illness.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"300\" src=\"http://www.youtube.com/embed/YPBYRnIsxLA\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>After reading about Hersch in \u003ci>The New York Times\u003c/i>, filmmakers Charlotte Lagarde and Carrie Lozano were inspired to develop a full-length documentary film tracing the production of \u003cb>My Coma Dreams\u003c/b> from its first notes to its live performances in venues around the world. This Thursday, Lagarde and Lozano will screen clips and have a conversation about their documentary-in-progress in the screening room at Yerba Buena Center for the Arts.\u003c/p>\n\u003cp>The screening will show pieces of the documentary in its nascent stage (filming began last December). In a telephone conversation, Charlotte Lagarde noted that she and Lozano are using the making of \u003cb>My Coma Dreams\u003c/b>, which is the largest work Hersch has ever produced, as “the spine for the story about the story of Fred.” He is a prolific artist and an inspiring activist. “There is something very appealing about Hersch, since he is into creating this huge piece and sending [it] out into the world.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Charlotte continued, “Dreams are natural transitions to intimate portraits of Fred,” and the filmmakers see these dreams as points of entry into Fred’s process composing this epic project. Up until now, the documentary has focused primarily on the behind-the-scenes making of \u003cb>My Coma Dreams\u003c/b>. Charlotte and Carrie are setting out to also develop an intimate portrait of the man as a musician and an activist within the medical community.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"420\" height=\"345\" src=\"http://www.youtube.com/embed/w0DdXxClnsk\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>The filmmakers are adamant that this is not just a biography. Lagarde and Lozano are focusing on Fred as he is now and how he approaches every day with urgency and precision. The conversation and screening will be an excellent introduction to Hersch as a musician, activist and leader. Even while doing the most simple daily tasks, Fred’s personality and aggressive motivation to live every day to its fullest make him a great documentary subject.\u003c/p>\n\u003cp>Hersch’s live performance of \u003cb>My Coma Dreams\u003c/b> will debut in San Francisco on October 30, 2011 at the Herbst Theater.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Filming Performance: Work-in-Progress Screening and Discussion with Carrie Lozano and Charlotte Lagarde\u003c/b> is Thursday, September 8, 7:30pm at Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://ybca.org/filming-performance\">more information\u003c/a> visit ybca.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2008, Jazz pianist Fred Hersch went into a two-month coma caused by an HIV virus that had traveled to his brain, which then triggered AIDS-related dementia. The experience revealed to him how difficult it is to articulate what being sick sounds and looks like. Hersch decided to create a language — visual and musical, private and open — to describe living with a long-term illness. That language developed into a multi-media performance called \u003cb>My Coma Dreams\u003c/b>.\u003c/p>\n\u003cp>Built around a series of dreams and nightmares that Fred experienced while recovering from his coma, the live performance includes an 11-piece orchestra, singing, spoken word and projections of animation and other visual effects that illustrate Hersch’s experience of sinking into and beginning to heal from a gravely serious and lifelong illness.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"300\" src=\"http://www.youtube.com/embed/YPBYRnIsxLA\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>After reading about Hersch in \u003ci>The New York Times\u003c/i>, filmmakers Charlotte Lagarde and Carrie Lozano were inspired to develop a full-length documentary film tracing the production of \u003cb>My Coma Dreams\u003c/b> from its first notes to its live performances in venues around the world. This Thursday, Lagarde and Lozano will screen clips and have a conversation about their documentary-in-progress in the screening room at Yerba Buena Center for the Arts.\u003c/p>\n\u003cp>The screening will show pieces of the documentary in its nascent stage (filming began last December). In a telephone conversation, Charlotte Lagarde noted that she and Lozano are using the making of \u003cb>My Coma Dreams\u003c/b>, which is the largest work Hersch has ever produced, as “the spine for the story about the story of Fred.” He is a prolific artist and an inspiring activist. “There is something very appealing about Hersch, since he is into creating this huge piece and sending [it] out into the world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Charlotte continued, “Dreams are natural transitions to intimate portraits of Fred,” and the filmmakers see these dreams as points of entry into Fred’s process composing this epic project. Up until now, the documentary has focused primarily on the behind-the-scenes making of \u003cb>My Coma Dreams\u003c/b>. Charlotte and Carrie are setting out to also develop an intimate portrait of the man as a musician and an activist within the medical community.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"420\" height=\"345\" src=\"http://www.youtube.com/embed/w0DdXxClnsk\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>The filmmakers are adamant that this is not just a biography. Lagarde and Lozano are focusing on Fred as he is now and how he approaches every day with urgency and precision. The conversation and screening will be an excellent introduction to Hersch as a musician, activist and leader. Even while doing the most simple daily tasks, Fred’s personality and aggressive motivation to live every day to its fullest make him a great documentary subject.\u003c/p>\n\u003cp>Hersch’s live performance of \u003cb>My Coma Dreams\u003c/b> will debut in San Francisco on October 30, 2011 at the Herbst Theater.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Filming Performance: Work-in-Progress Screening and Discussion with Carrie Lozano and Charlotte Lagarde\u003c/b> is Thursday, September 8, 7:30pm at Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://ybca.org/filming-performance\">more information\u003c/a> visit ybca.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On the first Friday night of every month, downtown Oakland is transformed from mildly populated business center to densely packed social scene. As the sun sets and neon signs blink to life, the Great Wall of Oakland offers an innovative public art program during \u003ca href=\"http://oaklandartmurmur.org/\">Oakland Art Murmur\u003c/a>, the popular gallery crawl on First Fridays. From 8 to 11pm, people line sidewalks and perch on medians to watch videos screened from around the world, projected 100′ x 100′ on the exterior of a building on West Grand, between Broadway and Valley Streets.\u003c/p>\n\u003cp>The audio is broadcast on 89.5 FM and amplified from boom boxes jerry-rigged in the parking lot below. A beam of light from an adjacent rooftop indicates the location of the 15,000 Lumens Eiki projector. It is a charmingly simple production and a great example of an innovative public art initiative, low budget and non-invasive. The curatorial philosophy, as articulated by curator Issabella Shields Grantham, focuses “on cutting-edge motion art appropriate for the whole family, with an emphasis on local artists whenever possible.” Submissions are accepted on a rolling basis; selected artists receive a modest honoraria and documentation of the screening.\u003c/p>\n\u003cp>The outgrowth of a defunct project called the “Illuminated Corridor,” the Great Wall of Oakland developed into its own non-profit organization in 2006. It is funded by various city funds and helmed by executive director Chris Curtis. Oakland Museum of California senior curator René de Guzman and Oakland Standard new media producer Stijn Schiffeleers, along with members of the City of Oakland Cultural Arts Department, serve as curatorial advisors.\u003c/p>\n\u003cp>In August the Great Wall featured \u003cb>A Celebration of Animation\u003c/b>, a selection that explored various styles, from hand-drawn illustrations to cut-paper and computer-generated imagery. The work, compiled from submissions and public portfolios on Vimeo.com, hailed from disparate cities including Tokyo, Mallorca, London, Paris, Toronto, Lugano, Sarasota, and Austin. (Markedly absent was the inclusion of a local artist, which seems odd given the area’s relationship to animation. Another recent program however featured the personal videos of Pixar employees.) There were twelve videos, ranging in time from 30 seconds up to nearly 8 minutes. The total program ran around 40 minutes and played several times throughout the evening.\u003c/p>\n\u003cp>A few resonating examples included Joseph Pierce’s hand-drawn \u003cb>A Family Portrait\u003c/b>, which depicts the emotional complexities in a family portrait session; and \u003cb>The Shore\u003c/b> by Eric Power, a compelling cut-paper animated music video for a tune by Wiretree. Less engaging non-narrative work, such as Andreas Gysin’s unfinished \u003cb>Anthem of Hearts\u003c/b>, an abstract display of dot-like forms, created an interesting balance in the program, like breathing room. People took a break from craning their necks to look around and compare notes with friends and strangers. “Not so into this one,” I overheard. “Really? I kind of like it,” came a reply.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many of the videos negotiated the ambiguous aesthetic terrain between artwork and music video, but this indeterminate distinction seemed to have no bearing on the viewers. Whether or not the works were visually compelling determined their success, measured only by the attention span of the audience. Either people stayed to watch or they didn’t. Despite the uneven quality of the videos, or perhaps because of it, a fair number of viewers were intent to stay for the duration. Knowing that the videos won’t exceed seven minutes means that you don’t have to wait long to see the next piece.\u003c/p>\n\u003cp>Premised on the most basic criteria of public art — \u003ci>does it engage people? does it animate the environment?\u003c/i> — without the usual pitfall of long-term commitments, either to the artwork or from the audience, the Great Wall is indeed a great success and, once a month, a very compelling place to see and be seen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Great Wall of Oakland screens a new program every first Friday during Oakland Art Murmur, 8-11pm. The next program is on Friday, September 2, 2011.For \u003ca href=\"http://www.greatwallofoakland.org\">more information\u003c/a> visit greatwallofoakland.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the first Friday night of every month, downtown Oakland is transformed from mildly populated business center to densely packed social scene. As the sun sets and neon signs blink to life, the Great Wall of Oakland offers an innovative public art program during \u003ca href=\"http://oaklandartmurmur.org/\">Oakland Art Murmur\u003c/a>, the popular gallery crawl on First Fridays. From 8 to 11pm, people line sidewalks and perch on medians to watch videos screened from around the world, projected 100′ x 100′ on the exterior of a building on West Grand, between Broadway and Valley Streets.\u003c/p>\n\u003cp>The audio is broadcast on 89.5 FM and amplified from boom boxes jerry-rigged in the parking lot below. A beam of light from an adjacent rooftop indicates the location of the 15,000 Lumens Eiki projector. It is a charmingly simple production and a great example of an innovative public art initiative, low budget and non-invasive. The curatorial philosophy, as articulated by curator Issabella Shields Grantham, focuses “on cutting-edge motion art appropriate for the whole family, with an emphasis on local artists whenever possible.” Submissions are accepted on a rolling basis; selected artists receive a modest honoraria and documentation of the screening.\u003c/p>\n\u003cp>The outgrowth of a defunct project called the “Illuminated Corridor,” the Great Wall of Oakland developed into its own non-profit organization in 2006. It is funded by various city funds and helmed by executive director Chris Curtis. Oakland Museum of California senior curator René de Guzman and Oakland Standard new media producer Stijn Schiffeleers, along with members of the City of Oakland Cultural Arts Department, serve as curatorial advisors.\u003c/p>\n\u003cp>In August the Great Wall featured \u003cb>A Celebration of Animation\u003c/b>, a selection that explored various styles, from hand-drawn illustrations to cut-paper and computer-generated imagery. The work, compiled from submissions and public portfolios on Vimeo.com, hailed from disparate cities including Tokyo, Mallorca, London, Paris, Toronto, Lugano, Sarasota, and Austin. (Markedly absent was the inclusion of a local artist, which seems odd given the area’s relationship to animation. Another recent program however featured the personal videos of Pixar employees.) There were twelve videos, ranging in time from 30 seconds up to nearly 8 minutes. The total program ran around 40 minutes and played several times throughout the evening.\u003c/p>\n\u003cp>A few resonating examples included Joseph Pierce’s hand-drawn \u003cb>A Family Portrait\u003c/b>, which depicts the emotional complexities in a family portrait session; and \u003cb>The Shore\u003c/b> by Eric Power, a compelling cut-paper animated music video for a tune by Wiretree. Less engaging non-narrative work, such as Andreas Gysin’s unfinished \u003cb>Anthem of Hearts\u003c/b>, an abstract display of dot-like forms, created an interesting balance in the program, like breathing room. People took a break from craning their necks to look around and compare notes with friends and strangers. “Not so into this one,” I overheard. “Really? I kind of like it,” came a reply.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many of the videos negotiated the ambiguous aesthetic terrain between artwork and music video, but this indeterminate distinction seemed to have no bearing on the viewers. Whether or not the works were visually compelling determined their success, measured only by the attention span of the audience. Either people stayed to watch or they didn’t. Despite the uneven quality of the videos, or perhaps because of it, a fair number of viewers were intent to stay for the duration. Knowing that the videos won’t exceed seven minutes means that you don’t have to wait long to see the next piece.\u003c/p>\n\u003cp>Premised on the most basic criteria of public art — \u003ci>does it engage people? does it animate the environment?\u003c/i> — without the usual pitfall of long-term commitments, either to the artwork or from the audience, the Great Wall is indeed a great success and, once a month, a very compelling place to see and be seen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Great Wall of Oakland screens a new program every first Friday during Oakland Art Murmur, 8-11pm. The next program is on Friday, September 2, 2011.For \u003ca href=\"http://www.greatwallofoakland.org\">more information\u003c/a> visit greatwallofoakland.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Rare Treat: Bay Area Animation",
"headTitle": "A Rare Treat: Bay Area Animation | KQED",
"content": "\u003cp>This week at Berkeley’s Pacific Film Archive Theater, guest curator Karl Cohen will introduce audiences to a wealth of animated shorts, all produced in the Bay Area, all vastly removed from what we have come to think of as animation in the era of Pixar and Dreamworks.\u003c/p>\n\u003cp>The two-part program of 25 short works arose after Cohen — president, among other roles, of the San Francisco branch of ASIFA (International Animated Film Association) — prepared a screening of experimental animation for the PFA’s 2010 \u003cb>Radical Light\u003c/b> series. Works shown at that event covered the late 1940s to the late 1980s, but Cohen wanted more. “So much is happening right now,” he realized. It was time to bring the program up to date.\u003c/p>\n\u003cp>Cohen’s selections are not the result of a single curatorial theme — the featured shorts are a wonderfully eclectic mix — but the screenings evince his own enthusiasm and respect for the works presented. According to Cohen, \u003cb>Bay Area Animation\u003c/b> is best summed up as a “collection of individual personalities and personal pursuits executed with a great deal of mastery.”\u003c/p>\n\u003cp>Without corporate oversight and the pressure to succeed commercially, independent animators are both blessed and cursed. While they might have the freedom to create highly personal and thematically challenging animations, the distribution channels available to larger productions are simply not open to them. Nights like the \u003cb>Bay Area Animation\u003c/b> screenings are few and far between, relying on the dedication of people such as Karl Cohen to pull these disparate artworks together into a persuasive argument for the persistence of independent animation.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/quasi.jpg\" alt=\"\">\u003cbr>\nQuasi at the Quackadero \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The August 24 program features twelve twentieth-century animations, including products of the psychedelic era and early computer animations. Sally Cruikshank’s \u003cb>Quasi at the Quackadero\u003c/b> (1975) is the trippy and bizarre story of a duck’s visit to an amusement park with his simpering girlfriend Anita and a pet robot. Various attractions at the park promise to make visible hidden layers of the mind. Signs proclaim “Relive One of the Shining Moments of Your Life” and “See Last Night’s Dreams Today.” The saturated colors, hard edges, and constant movement of Cruikshank’s animation could be source material for the future realization of \u003cb>Pee-wee’s Playhouse\u003c/b>.\u003c/p>\n\u003cp>Steve Segal’s \u003cb>Dance of the Stumblers\u003c/b> (1987) was made on what Cohen terms a “prehistoric computer.” Low-resolution shapes sprout arms and legs to dance, balance, and trip like clumsy confetti. While the technology is simplistic by today’s standards, the animation transcends any lapse of time with its playful humor. The final credits read “made in Steve’s bedroom,” attesting to the independent and innovative spirit of early computer animation.\u003c/p>\n\u003cp>Triumphantly closing out the first night of screenings is Tim Hittle’s \u003cb>Canhead\u003c/b> (1996). In this slapstick claymation, the traveler Jay Clay braves a hostile landscape to reunite with his black-footed dog. The piece has elements of a more commercial strain of animation, but it’s also surprisingly off-kilter. A \u003cb>Wallace & Gromit\u003c/b>-loving child would be more than slightly disturbed by the monsters inhabiting Hittle’s narrative.\u003c/p>\n\u003cp>[vimeo 20726306 w=480 h=360] \u003c/p>\n\u003cp>On August 28, the second night of \u003cb>Bay Area Animation\u003c/b> features works from the twenty-first century. Cohen’s picks move through the 2000s in an even-wider smattering of style and subject matter. The animations range from lighthearted to meditative, pairing absurdist narratives with pointed social commentary.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/abc.jpg\" alt=\"\">\u003cbr>\nLos ABCs \u003c/p>\n\u003cp>Notable selections include Nina Paley’s \u003cb>Fetch\u003c/b> (2002), a lighthearted exploration of the trickeries of perspective. In it, an owner pursues his dog (who pursues a ball) through a world of increasingly complex optical illusions. John Jota Leaños’s “\u003cb>Los ABCs\u003c/b> (2005) is a primer, led by a mariachi band, on the various global conflicts and injustices that lead to death. Sung as an A to Z — “N is for Natalia, lost in the Walmart” — the tune is unabashedly upbeat and catchy. Similarly, Leaños’s visuals are bright and crisp, an unsettling contrast to the horrors portrayed.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/enrique.jpg\" alt=\"\">\u003cbr>\nEnrique Wrecks the World \u003c/p>\n\u003cp>In the final animation of the series, David Chai’s \u003cb>Enrique Wrecks the World\u003c/b> (2010), a child sets off a terrifying chain reaction with his slingshot. As disasters mount on a global scale, increasingly bloody and ridiculous, poor Enrique suffers light years beyond a simple “look what you did.” The audience’s laughter will be uncontainable.\u003c/p>\n\u003cp>It is this opportunity for a communal viewing experience that makes \u003cb>Bay Area Animation\u003c/b> worth seeing. A number of the featured animations can be found online, but the screenings at the PFA offer an audience the chance to see independent animations introduced by the knowledgeable Karl Cohen, projected in a theater, and treated with the respect they deserve.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Bay Area Animation\u003c/b> will screen \u003cb>Twentieth-Century Animations\u003c/b> on August 24 and \u003cb>Twenty-First Century Animations\u003c/b> on August 28, 2011 at the Pacific Film Archive Theater in Berkeley. For \u003ca href=\"http://bampfa.berkeley.edu/\">tickets and information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\n",
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"excerpt": "Pacific Film Archive's two-part program features 25 short animated works produced by Bay Area animators.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week at Berkeley’s Pacific Film Archive Theater, guest curator Karl Cohen will introduce audiences to a wealth of animated shorts, all produced in the Bay Area, all vastly removed from what we have come to think of as animation in the era of Pixar and Dreamworks.\u003c/p>\n\u003cp>The two-part program of 25 short works arose after Cohen — president, among other roles, of the San Francisco branch of ASIFA (International Animated Film Association) — prepared a screening of experimental animation for the PFA’s 2010 \u003cb>Radical Light\u003c/b> series. Works shown at that event covered the late 1940s to the late 1980s, but Cohen wanted more. “So much is happening right now,” he realized. It was time to bring the program up to date.\u003c/p>\n\u003cp>Cohen’s selections are not the result of a single curatorial theme — the featured shorts are a wonderfully eclectic mix — but the screenings evince his own enthusiasm and respect for the works presented. According to Cohen, \u003cb>Bay Area Animation\u003c/b> is best summed up as a “collection of individual personalities and personal pursuits executed with a great deal of mastery.”\u003c/p>\n\u003cp>Without corporate oversight and the pressure to succeed commercially, independent animators are both blessed and cursed. While they might have the freedom to create highly personal and thematically challenging animations, the distribution channels available to larger productions are simply not open to them. Nights like the \u003cb>Bay Area Animation\u003c/b> screenings are few and far between, relying on the dedication of people such as Karl Cohen to pull these disparate artworks together into a persuasive argument for the persistence of independent animation.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/quasi.jpg\" alt=\"\">\u003cbr>\nQuasi at the Quackadero \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The August 24 program features twelve twentieth-century animations, including products of the psychedelic era and early computer animations. Sally Cruikshank’s \u003cb>Quasi at the Quackadero\u003c/b> (1975) is the trippy and bizarre story of a duck’s visit to an amusement park with his simpering girlfriend Anita and a pet robot. Various attractions at the park promise to make visible hidden layers of the mind. Signs proclaim “Relive One of the Shining Moments of Your Life” and “See Last Night’s Dreams Today.” The saturated colors, hard edges, and constant movement of Cruikshank’s animation could be source material for the future realization of \u003cb>Pee-wee’s Playhouse\u003c/b>.\u003c/p>\n\u003cp>Steve Segal’s \u003cb>Dance of the Stumblers\u003c/b> (1987) was made on what Cohen terms a “prehistoric computer.” Low-resolution shapes sprout arms and legs to dance, balance, and trip like clumsy confetti. While the technology is simplistic by today’s standards, the animation transcends any lapse of time with its playful humor. The final credits read “made in Steve’s bedroom,” attesting to the independent and innovative spirit of early computer animation.\u003c/p>\n\u003cp>Triumphantly closing out the first night of screenings is Tim Hittle’s \u003cb>Canhead\u003c/b> (1996). In this slapstick claymation, the traveler Jay Clay braves a hostile landscape to reunite with his black-footed dog. The piece has elements of a more commercial strain of animation, but it’s also surprisingly off-kilter. A \u003cb>Wallace & Gromit\u003c/b>-loving child would be more than slightly disturbed by the monsters inhabiting Hittle’s narrative.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>On August 28, the second night of \u003cb>Bay Area Animation\u003c/b> features works from the twenty-first century. Cohen’s picks move through the 2000s in an even-wider smattering of style and subject matter. The animations range from lighthearted to meditative, pairing absurdist narratives with pointed social commentary.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/abc.jpg\" alt=\"\">\u003cbr>\nLos ABCs \u003c/p>\n\u003cp>Notable selections include Nina Paley’s \u003cb>Fetch\u003c/b> (2002), a lighthearted exploration of the trickeries of perspective. In it, an owner pursues his dog (who pursues a ball) through a world of increasingly complex optical illusions. John Jota Leaños’s “\u003cb>Los ABCs\u003c/b> (2005) is a primer, led by a mariachi band, on the various global conflicts and injustices that lead to death. Sung as an A to Z — “N is for Natalia, lost in the Walmart” — the tune is unabashedly upbeat and catchy. Similarly, Leaños’s visuals are bright and crisp, an unsettling contrast to the horrors portrayed.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/enrique.jpg\" alt=\"\">\u003cbr>\nEnrique Wrecks the World \u003c/p>\n\u003cp>In the final animation of the series, David Chai’s \u003cb>Enrique Wrecks the World\u003c/b> (2010), a child sets off a terrifying chain reaction with his slingshot. As disasters mount on a global scale, increasingly bloody and ridiculous, poor Enrique suffers light years beyond a simple “look what you did.” The audience’s laughter will be uncontainable.\u003c/p>\n\u003cp>It is this opportunity for a communal viewing experience that makes \u003cb>Bay Area Animation\u003c/b> worth seeing. A number of the featured animations can be found online, but the screenings at the PFA offer an audience the chance to see independent animations introduced by the knowledgeable Karl Cohen, projected in a theater, and treated with the respect they deserve.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Bay Area Animation\u003c/b> will screen \u003cb>Twentieth-Century Animations\u003c/b> on August 24 and \u003cb>Twenty-First Century Animations\u003c/b> on August 28, 2011 at the Pacific Film Archive Theater in Berkeley. For \u003ca href=\"http://bampfa.berkeley.edu/\">tickets and information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Missed Outside Lands or just want to relive it all again? Then this recap is for you.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/outsidelands500-stage.jpg\">\u003c/p>\n\u003cp>\u003ci>Photo credit: Wendy Goodfriend\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>DAY 1:\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The plan was to start Outside Lands right by seeing \u003cb>Toro y Moi\u003c/b>. Turns out the Box Office didn’t get the memo or my name on the list. I wasn’t going to let that keep me down so I took to the road on the pauper side of the fence, found a cozy log on a hillside overlooking the Twin Peaks stage, where I was soon accompanied by various Haight Street folk and their dogs. Despite being in a different zip code, Toro y Moi was everything I wanted and more, elevating their ambient chill-wave sound and even getting straight-up dancey, as evidenced by the video below. The street kids dug it too, in case you were wondering.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=WfGXrlR0sGM&version=3&showinfo=0&hl=en_US&rel=0]\u003c/p>\n\u003cp>I then returned to the scene of my you’re-not-on-the-list shame, where peace negotiations took place that ended with a media bracelet on my wrist. \u003cb>MGMT\u003c/b> played “Time to Pretend” somewhere in the trees and it sounded perfect.\u003c/p>\n\u003cp>After a walk through a Burning Man-esque village and a spin on a rope swing/wind chime, I found my way to \u003cb>Clap Your Hands Say Yeah\u003c/b>. Unfortunately, they were just OK and I was way more into watching a drunk boy accidentally put his lit cigarette on his backpack, causing a little smokey scene. Maybe the band should consider incorporating more pyrotechnics?\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/structure500.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/parachute500.jpg\">\u003c/p>\n\u003cp>\u003ci>Photo credit: Wendy Goodfriend\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To follow up this lackluster set, I headed over to the Panhandle stage to see \u003cb>The Limousines\u003c/b>, a Bay Area band I had never heard of. With the help of masked drummers, the duo served pure electronica and the crowd ate it up. Then, the sound went out…five or six times, apparently, during the band’s best song. Luckily for everyone involved, the Limousines saved the day with a cover of Paul Simon’s “You Can Call Me Al.”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=1jkKMlZVVz4&version=3&showinfo=0&hl=en_US&rel=0]\u003c/p>\n\u003cp>Instead of trekking over to Phish, I staked my ground for \u003cb>Best Coast\u003c/b>. It didn’t take long to realize I was one of the oldest people there. I actually heard a girl complain about how early her mom wanted to pick her up. But Best Coast put on a show that was worth feeling a bit ancient. Bethany Cosentino’s voice doesn’t come across as particularly strong on the studio album, but she really has some pipes, not to mention just the right amount of attitude, especially considering she was sick and had to have a shot of B-12 before performing.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=8WOy6KZxBao&version=3&showinfo=0&hl=en_US&rel=0]\u003c/p>\n\u003cp>From there, it was off to the sardine-packed field in front of the \u003cb>Shins\u003c/b>. It was dark, but I’m pretty sure some people cried.\u003c/p>\n\u003cp>\u003cb>DAY 2:\u003c/b>\u003c/p>\n\u003cp>Blisters on my feet, mud on my new shoes, and general exhaustion kept me from Outside Lands Day 2, but I did listen to a bit of it from the nearby Botanical Gardens as I munched on Arizmendi bread and hummus and slipped in and out of a nap surrounded by geese.\u003c/p>\n\u003cp>\u003cb>DAY 3:\u003c/b>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tuneyards500.jpg\">\u003c/p>\n\u003cp>\u003ci>Merrill Garbus of tUnE-yArDs\u003cbr>Photo credit: Wendy Goodfriend\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I had a hunch that \u003cb>tUnE-yArDs\u003c/b> should not be missed and boy was I right! Merrill Garbus is a musical genius, pure and simple. With a mischievous grin and some paint on her face, she was constantly juggling sounds, from looping her glorious voice to smashing drums to playing the ukelele. Her live music experiment blew my brain out the back of my head and I couldn’t have been happier. After her set, a jock turned to his friend and said, “Dude, that girl is insane!” Here’s hoping she never finds sanity.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mavis-staples500.jpg\">\u003c/p>\n\u003cp>\u003ci>Mavis Staples with Win Butler of Arcade Fire\u003cbr>Photo credit: Wendy Goodfriend\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a daze after transforming into one giant goose bump, I caught some of \u003cb>Mavis Staples\u003c/b>, who had a ton of soul and hand gestures to match, on my way to the media tent (free beer and super fancy bathrooms — we’re talking marble sinks and flushing toilets). \u003c/p>\n\u003cp>One of the best acts I saw the entire weekend was by pure accident. While walking from one stage to another through food truck alley, my path was blocked by the liveliest bateria imaginable called the \u003cb>\u003ca href=\"http://www.theloydfamilyplayers.com/\">Loyd Family Players\u003c/a>\u003c/b>. Bystanders with various dancing abilities were compelled to join the professional movers and shakers and, while I didn’t partake, I did actively gape for a good 30 minutes.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/loyd-family-players500.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/loyd-family-players500a.jpg\">\u003c/p>\n\u003cp>\u003ci>The Loyd Family Players\u003cbr>Photo credit: Wendy Goodfriend\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More dancing was had at \u003cb>Major Lazer\u003c/b>, which can be best described as a nightclub without the benefit of dark lighting. Lots of messy booty popping.\u003c/p>\n\u003cp>With a gut full of frickles (deep-fried pickles!), I made my way to the Sutro stage to get a good spot for Beirut and accidentally caught Sweden’s \u003cb>Little Dragon\u003c/b>. I saw them being interviewed without knowing who they were earlier in the day in the media tent and here they were, a few hours later, making a fan boy out of me. \u003cb>Beirut\u003c/b> continued the international flavor with their accordion-heavy Balkan rhythms and had the packed crowd swooning.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/arcadefire500a.jpg\">\u003c/p>\n\u003cp>\u003ci>Regine Chassagne and Win Butler of Arcade Fire\u003cbr>Photo credit: Wendy Goodfriend\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Then it was finally time for the main event: \u003cb>Arcade Fire\u003c/b>! Surprisingly uncrowded in the beginning (at least compared to the mob scene that gathered for Radiohead four years ago), there was a divide between the fans who knew all the words and the people who had been drinking since noon and were in various stages of collapse or stumble. I worked my way towards the sound tent where I found a group of about 20 teens. They spent their time either jumping up and down while WOOHOO-ing, group hugging while chanting YEAH, SENIORS! (no joke), and moshing. After an entire weekend of resisting and being irked by similar youngsters, they finally broke me. Obscured by the dark, I joined their clan for most of the Arcade Fire set and adopted their rabid excitement so well that I made it into more than one of their group hugs. Turns out freaking out is super fun and I learned a valuable lesson. If you can’t beat ’em, join ’em.\u003c/p>\n\u003cp>A few more thoughts on this year’s Outside Lands festival:\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[\u003ca href=\"http://storify.com/kqedarts/outside-lands\" target=\"blank\" rel=\"noopener\">View the story “Outside Lands” on Storify]\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Missed Outside Lands or just want to relive it all again? Then this recap is for you.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/outsidelands500-stage.jpg\">\u003c/p>\n\u003cp>\u003ci>Photo credit: Wendy Goodfriend\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>DAY 1:\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The plan was to start Outside Lands right by seeing \u003cb>Toro y Moi\u003c/b>. Turns out the Box Office didn’t get the memo or my name on the list. I wasn’t going to let that keep me down so I took to the road on the pauper side of the fence, found a cozy log on a hillside overlooking the Twin Peaks stage, where I was soon accompanied by various Haight Street folk and their dogs. Despite being in a different zip code, Toro y Moi was everything I wanted and more, elevating their ambient chill-wave sound and even getting straight-up dancey, as evidenced by the video below. The street kids dug it too, in case you were wondering.\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/WfGXrlR0sGM'\n title='//www.youtube.com/embed/WfGXrlR0sGM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>I then returned to the scene of my you’re-not-on-the-list shame, where peace negotiations took place that ended with a media bracelet on my wrist. \u003cb>MGMT\u003c/b> played “Time to Pretend” somewhere in the trees and it sounded perfect.\u003c/p>\n\u003cp>After a walk through a Burning Man-esque village and a spin on a rope swing/wind chime, I found my way to \u003cb>Clap Your Hands Say Yeah\u003c/b>. Unfortunately, they were just OK and I was way more into watching a drunk boy accidentally put his lit cigarette on his backpack, causing a little smokey scene. Maybe the band should consider incorporating more pyrotechnics?\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/structure500.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/parachute500.jpg\">\u003c/p>\n\u003cp>\u003ci>Photo credit: Wendy Goodfriend\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To follow up this lackluster set, I headed over to the Panhandle stage to see \u003cb>The Limousines\u003c/b>, a Bay Area band I had never heard of. With the help of masked drummers, the duo served pure electronica and the crowd ate it up. Then, the sound went out…five or six times, apparently, during the band’s best song. Luckily for everyone involved, the Limousines saved the day with a cover of Paul Simon’s “You Can Call Me Al.”\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/1jkKMlZVVz4'\n title='//www.youtube.com/embed/1jkKMlZVVz4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Instead of trekking over to Phish, I staked my ground for \u003cb>Best Coast\u003c/b>. It didn’t take long to realize I was one of the oldest people there. I actually heard a girl complain about how early her mom wanted to pick her up. But Best Coast put on a show that was worth feeling a bit ancient. Bethany Cosentino’s voice doesn’t come across as particularly strong on the studio album, but she really has some pipes, not to mention just the right amount of attitude, especially considering she was sick and had to have a shot of B-12 before performing.\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/8WOy6KZxBao'\n title='//www.youtube.com/embed/8WOy6KZxBao'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>From there, it was off to the sardine-packed field in front of the \u003cb>Shins\u003c/b>. It was dark, but I’m pretty sure some people cried.\u003c/p>\n\u003cp>\u003cb>DAY 2:\u003c/b>\u003c/p>\n\u003cp>Blisters on my feet, mud on my new shoes, and general exhaustion kept me from Outside Lands Day 2, but I did listen to a bit of it from the nearby Botanical Gardens as I munched on Arizmendi bread and hummus and slipped in and out of a nap surrounded by geese.\u003c/p>\n\u003cp>\u003cb>DAY 3:\u003c/b>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tuneyards500.jpg\">\u003c/p>\n\u003cp>\u003ci>Merrill Garbus of tUnE-yArDs\u003cbr>Photo credit: Wendy Goodfriend\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I had a hunch that \u003cb>tUnE-yArDs\u003c/b> should not be missed and boy was I right! Merrill Garbus is a musical genius, pure and simple. With a mischievous grin and some paint on her face, she was constantly juggling sounds, from looping her glorious voice to smashing drums to playing the ukelele. Her live music experiment blew my brain out the back of my head and I couldn’t have been happier. After her set, a jock turned to his friend and said, “Dude, that girl is insane!” Here’s hoping she never finds sanity.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mavis-staples500.jpg\">\u003c/p>\n\u003cp>\u003ci>Mavis Staples with Win Butler of Arcade Fire\u003cbr>Photo credit: Wendy Goodfriend\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a daze after transforming into one giant goose bump, I caught some of \u003cb>Mavis Staples\u003c/b>, who had a ton of soul and hand gestures to match, on my way to the media tent (free beer and super fancy bathrooms — we’re talking marble sinks and flushing toilets). \u003c/p>\n\u003cp>One of the best acts I saw the entire weekend was by pure accident. While walking from one stage to another through food truck alley, my path was blocked by the liveliest bateria imaginable called the \u003cb>\u003ca href=\"http://www.theloydfamilyplayers.com/\">Loyd Family Players\u003c/a>\u003c/b>. Bystanders with various dancing abilities were compelled to join the professional movers and shakers and, while I didn’t partake, I did actively gape for a good 30 minutes.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/loyd-family-players500.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/loyd-family-players500a.jpg\">\u003c/p>\n\u003cp>\u003ci>The Loyd Family Players\u003cbr>Photo credit: Wendy Goodfriend\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More dancing was had at \u003cb>Major Lazer\u003c/b>, which can be best described as a nightclub without the benefit of dark lighting. Lots of messy booty popping.\u003c/p>\n\u003cp>With a gut full of frickles (deep-fried pickles!), I made my way to the Sutro stage to get a good spot for Beirut and accidentally caught Sweden’s \u003cb>Little Dragon\u003c/b>. I saw them being interviewed without knowing who they were earlier in the day in the media tent and here they were, a few hours later, making a fan boy out of me. \u003cb>Beirut\u003c/b> continued the international flavor with their accordion-heavy Balkan rhythms and had the packed crowd swooning.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/arcadefire500a.jpg\">\u003c/p>\n\u003cp>\u003ci>Regine Chassagne and Win Butler of Arcade Fire\u003cbr>Photo credit: Wendy Goodfriend\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Then it was finally time for the main event: \u003cb>Arcade Fire\u003c/b>! Surprisingly uncrowded in the beginning (at least compared to the mob scene that gathered for Radiohead four years ago), there was a divide between the fans who knew all the words and the people who had been drinking since noon and were in various stages of collapse or stumble. I worked my way towards the sound tent where I found a group of about 20 teens. They spent their time either jumping up and down while WOOHOO-ing, group hugging while chanting YEAH, SENIORS! (no joke), and moshing. After an entire weekend of resisting and being irked by similar youngsters, they finally broke me. Obscured by the dark, I joined their clan for most of the Arcade Fire set and adopted their rabid excitement so well that I made it into more than one of their group hugs. Turns out freaking out is super fun and I learned a valuable lesson. If you can’t beat ’em, join ’em.\u003c/p>\n\u003cp>A few more thoughts on this year’s Outside Lands festival:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Cult Filmmaker Monte Hellman Returns with Road to Nowhere",
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"content": "\u003cp>There’s not as big a difference as you think between the ragtag assortment of low-budget horror and crime-film directors in every country and the artiest, most iconoclastic Cannes-friendly filmmakers (Terence Malick, Bela Tarr, Carlos Reygadas, Claire Denis, Nuri Bilge Ceylan, et al). They’re all wrestling with the same challenge, namely finding innovative ways of telling stories in worn-out genres.\u003c/p>\n\u003cp>Given the abridged distance between high and low, it’s only natural that a scuffler on the margins, if he or she hangs in long enough, will receive some of the acclaim and affection heaped on upper-echelon directors. That’s what’s happening with 69-year-old Monte Hellman, who’s out with his first new film in 20 years. \u003cb>Road to Nowhere\u003c/b>, a curiously fascinating yet ultimately slight parable of life imitating art on a movie set, receives its Bay Area release this Friday, backed by an appearance by Hellman and a week-long revival of three of his best-known yet little-screened films.\u003c/p>\n\u003cp>The New York native, a graduate of Roger Corman’s real-world school of ultra-low-budget filmmaking, made a few waves in Hollywood in the ’60s and early ’70s when the new youth culture turned the fissures in the old-guard studio system into cracks big enough for Robert Altman, Bob Rafleson, Hal Ashby, Francis Ford Coppola and Martin Scorsese to crash through.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ride-whirlwind.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>“Ride in the Whirlwind”\u003c/p>\n\u003cp>Teaming up with Jack Nicholson, a friend from the Corman days, Hellman made a pair of off-off-offbeat Westerns, \u003cb>The Shooting\u003c/b> and \u003cb>Ride in the Whirlwind\u003c/b>, in the mid-’60s. The testosterone-inflected titles notwithstanding, the films aren’t driven by plot so much as by the characters’ internal, unexpressed dilemmas. That also applies to Hellman’s cult success, \u003cb>Two-Lane Blacktop\u003c/b> (1971), featuring the deeply stoned, once-in-a-lifetime casting of North Carolina singer-songwriter James Taylor, Beach Boys drummer Dennis Wilson and laconic character actor Warren Oates.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/two-lane.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>“Two-Lane Blacktop”\u003c/p>\n\u003cp>There’s no pot of gold at the end of their journey for Hellman’s typically male characters. The best they can expect is a revelation, an inevitably expensive insight, a hot, bright light cast on their soul. \u003cb>Road to Nowhere\u003c/b> is a title made in heaven for Hellman, but don’t be scared off: Self-deception, not nihilism, is what he’s interested in.\u003c/p>\n\u003cp>Adapted from a script by Steven Gaydos, a longtime staffer for the venerable show-biz trade magazine \u003ci>Variety\u003c/i>, \u003cb>Road to Nowhere\u003c/b> follows a likable, unexpectedly modest, 30-something director as he embarks on what he hopes will be his breakthrough studio picture. The story he’s filming involves betrayal, murder, faked disappearances and a very large insurance settlement. The movie-within-the-movie is based on a true story, we’re told, and that proves to be the wild card in the deck.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/roadtonowhere.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>“Road to Nowhere”\u003c/p>\n\u003cp>\u003cb>Road to Nowhere\u003c/b>, which premiered last fall at the Venice Film Festival (remember what I said about narrowing distinctions between directors?), is about filmmaking as much as male-female (dis)trust. The director (played by Tygh Runyan) instinctively cast his unknown lead actress (Shannyn Sossamon) on the basis of watching her in an unreleased exploitation movie. As the shoot progresses, he falls gradually in love. Of course, this being the ambitious world of the movies, it’s difficult to differentiate between his personal feelings and his professional need for her to give a great performance, and therefore be supported in any way necessary. That particular mystery gets cleared up in a harrowing and beautiful way in the last few minutes.\u003c/p>\n\u003cp>Hellman has fun making us guess if each new scene is from the movie-in-progress or “real life.” Unfortunately, the script isn’t quite sharp enough, nor are the characters beyond the main duo sufficiently developed, to entwine us fully in the twisty puzzle. Instead, we’re often left wondering why Hellman sticks with shots, and scenes, past the point where most directors would cut and move on.\u003c/p>\n\u003cp>It’s quite clear, actually. Hellman is doing what he’s always done, pushing back against convention and cliché, provoking unanticipated reactions and stretching a genre beyond its usual shape. That’s the job the man signed up for, and he’s too young to retire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Road to Nowhere\u003c/b> opens Friday, July 22, 2011 and “Monte Hellman: On the Road Again” runs Saturday-Monday, July 23-25 at the Roxie Theatre in San Francisco and the Smith Rafael Film Center in San Rafael. Hellman appears after the 7pm show on opening night at the Roxie, and after the 4:30pm show of \u003cb>The Shooting\u003c/b> on Saturday at the Rafael. For \u003ca href=\"http://www.roxie.com/events/details.cfm?eventID=AA8AA3EB-1143-DBB3-C690BB3F4B25F868\">information on Roxie screenings\u003c/a> visit roxie.com and \u003ca href=\"http://www.cafilm.org/rfc/films/1572.html\">information on Rafael Film Center screenings\u003c/a> visit cafilm.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s not as big a difference as you think between the ragtag assortment of low-budget horror and crime-film directors in every country and the artiest, most iconoclastic Cannes-friendly filmmakers (Terence Malick, Bela Tarr, Carlos Reygadas, Claire Denis, Nuri Bilge Ceylan, et al). They’re all wrestling with the same challenge, namely finding innovative ways of telling stories in worn-out genres.\u003c/p>\n\u003cp>Given the abridged distance between high and low, it’s only natural that a scuffler on the margins, if he or she hangs in long enough, will receive some of the acclaim and affection heaped on upper-echelon directors. That’s what’s happening with 69-year-old Monte Hellman, who’s out with his first new film in 20 years. \u003cb>Road to Nowhere\u003c/b>, a curiously fascinating yet ultimately slight parable of life imitating art on a movie set, receives its Bay Area release this Friday, backed by an appearance by Hellman and a week-long revival of three of his best-known yet little-screened films.\u003c/p>\n\u003cp>The New York native, a graduate of Roger Corman’s real-world school of ultra-low-budget filmmaking, made a few waves in Hollywood in the ’60s and early ’70s when the new youth culture turned the fissures in the old-guard studio system into cracks big enough for Robert Altman, Bob Rafleson, Hal Ashby, Francis Ford Coppola and Martin Scorsese to crash through.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ride-whirlwind.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>“Ride in the Whirlwind”\u003c/p>\n\u003cp>Teaming up with Jack Nicholson, a friend from the Corman days, Hellman made a pair of off-off-offbeat Westerns, \u003cb>The Shooting\u003c/b> and \u003cb>Ride in the Whirlwind\u003c/b>, in the mid-’60s. The testosterone-inflected titles notwithstanding, the films aren’t driven by plot so much as by the characters’ internal, unexpressed dilemmas. That also applies to Hellman’s cult success, \u003cb>Two-Lane Blacktop\u003c/b> (1971), featuring the deeply stoned, once-in-a-lifetime casting of North Carolina singer-songwriter James Taylor, Beach Boys drummer Dennis Wilson and laconic character actor Warren Oates.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/two-lane.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>“Two-Lane Blacktop”\u003c/p>\n\u003cp>There’s no pot of gold at the end of their journey for Hellman’s typically male characters. The best they can expect is a revelation, an inevitably expensive insight, a hot, bright light cast on their soul. \u003cb>Road to Nowhere\u003c/b> is a title made in heaven for Hellman, but don’t be scared off: Self-deception, not nihilism, is what he’s interested in.\u003c/p>\n\u003cp>Adapted from a script by Steven Gaydos, a longtime staffer for the venerable show-biz trade magazine \u003ci>Variety\u003c/i>, \u003cb>Road to Nowhere\u003c/b> follows a likable, unexpectedly modest, 30-something director as he embarks on what he hopes will be his breakthrough studio picture. The story he’s filming involves betrayal, murder, faked disappearances and a very large insurance settlement. The movie-within-the-movie is based on a true story, we’re told, and that proves to be the wild card in the deck.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/roadtonowhere.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>“Road to Nowhere”\u003c/p>\n\u003cp>\u003cb>Road to Nowhere\u003c/b>, which premiered last fall at the Venice Film Festival (remember what I said about narrowing distinctions between directors?), is about filmmaking as much as male-female (dis)trust. The director (played by Tygh Runyan) instinctively cast his unknown lead actress (Shannyn Sossamon) on the basis of watching her in an unreleased exploitation movie. As the shoot progresses, he falls gradually in love. Of course, this being the ambitious world of the movies, it’s difficult to differentiate between his personal feelings and his professional need for her to give a great performance, and therefore be supported in any way necessary. That particular mystery gets cleared up in a harrowing and beautiful way in the last few minutes.\u003c/p>\n\u003cp>Hellman has fun making us guess if each new scene is from the movie-in-progress or “real life.” Unfortunately, the script isn’t quite sharp enough, nor are the characters beyond the main duo sufficiently developed, to entwine us fully in the twisty puzzle. Instead, we’re often left wondering why Hellman sticks with shots, and scenes, past the point where most directors would cut and move on.\u003c/p>\n\u003cp>It’s quite clear, actually. Hellman is doing what he’s always done, pushing back against convention and cliché, provoking unanticipated reactions and stretching a genre beyond its usual shape. That’s the job the man signed up for, and he’s too young to retire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Road to Nowhere\u003c/b> opens Friday, July 22, 2011 and “Monte Hellman: On the Road Again” runs Saturday-Monday, July 23-25 at the Roxie Theatre in San Francisco and the Smith Rafael Film Center in San Rafael. Hellman appears after the 7pm show on opening night at the Roxie, and after the 4:30pm show of \u003cb>The Shooting\u003c/b> on Saturday at the Rafael. For \u003ca href=\"http://www.roxie.com/events/details.cfm?eventID=AA8AA3EB-1143-DBB3-C690BB3F4B25F868\">information on Roxie screenings\u003c/a> visit roxie.com and \u003ca href=\"http://www.cafilm.org/rfc/films/1572.html\">information on Rafael Film Center screenings\u003c/a> visit cafilm.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Looking at Books in Stanford and San Jose",
"headTitle": "Looking at Books in Stanford and San Jose | KQED",
"content": "\u003cp>Do books matter anymore? It was hard not to think about this question on recent visits to the Cantor Arts Center to see \u003cb>The Art of the Book in California: Five Contemporary Presses\u003c/b>, through August 28, 2011, and the San Jose Museum of Art to ponder \u003cb>The Bible Illuminated: R. Crumb’s Book of Genesis\u003c/b>, through September 25. During the week I attended these shows, Borders announced it would finally shutter its doors. A few days later, a movie based on a book, \u003cb>Harry Potter and the Deathly Hallows: Part 2\u003c/b>, sold roughly half-a-billion bucks in tickets worldwide.\u003c/p>\n\u003cp>Clearly we prefer noisy spectacles to clean, well-lighted places where we’re invited to curl up with a good book. On the other hand, I’ve read more books in the past couple of years than at any time in my life, but I have a Kindle to thank for that. Sorry, Borders; sorry Kepler’s, Cody’s and all the other independent bookstores either hanging by a thread or already gone. Print is dead.\u003c/p>\n\u003cp>No doubt the artists and printers represented at the Cantor would take issue with this statement, but they have the luxury of not having to concern themselves with mere cultural trends, let alone selling their work on a mass retail scale. These presses typically produce less than 100 copies of their hand-bound, hand-set, elaborately packaged books, whose pages are called leaves by people in the know. At best, their books are works of art, more like sculpture than prints even though they are printed. At worst, they are precious, insignificant indulgences.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/turkeypress.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Turkey Press, “The Standard,” 1997, Stanford Library Special Collections.\u003c/p>\n\u003cp>The Cantor show, which is beautifully presented — with the exception of a distracting video that drones on endlessly from one corner of the gallery — gives us a bit of both. On the plus side there are pieces like \u003cb>33 1/3: Off the Record\u003c/b> which consists of LP-shaped rubbings, prints, drawings, and paintings by Harry Reese of Turkey Press. As with many books in the show, the binding on this one is designed so pages can be removed and framed like traditional works of art. Also by Reese is a marvelously Duchampian work called \u003cb>The Standard\u003c/b>, whose glowing gold box encases a slender vertical book, plus a rat trap.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to numerous examples of books whose pages resemble accordions (\u003cb>The Real World of Manuel Córdova\u003c/b> by W.S. Merwin from Ninja Press is printed on handmade persimmon-washed-and-smoked paper that extends for 15 feet), there are plenty of titles whose complicated engineering and attention to detail are marvels to behold. Peter Rutledge Koch’s \u003cb>UR-Text vol. III\u003c/b> features covers of acid-etched zinc on one side, oxidized brass on the other. The book’s pages, whose edges are tinted black, are sewn to the book’s brass-and-aluminum spine with braided Dacron thread, while the covers are attached with braided silk. Naturally the portfolio protecting this exercise in magnificence boasts a hidden magnetic flap.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/kochprinters.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Peter Koch Printers, “UR-Text vol. II,” 1994. Courtesy of Peter Rutledge Koch.\u003c/p>\n\u003cp>You’re not supposed to judge a book by its cover, though, which in this case is good advice since Koch’s text consists solely of the word “words” repeated without spaces on every single page. While the juxtaposition between the book’s richly detailed presentation and its despairing content is obviously the point of the piece, \u003cb>UR-Text vol. III\u003c/b>, I fear, is just one more book that does not matter, regardless of its beauty or price.\u003c/p>\n\u003cp>R. Crumb’s pen-and-ink drawings for all 50 chapters of the Book of Genesis at the San Jose Museum of Art presents a different problem. They deliver too much information, but it wasn’t until I was several chapters into the thing that I realized there was no way I was going to read and absorb all of Crumb’s 207 pages in one sitting. Besides, while Genesis begins and ends well, its middle chapters, with all their smiting, begetting and occasional daughters-on-drunk-dad action (see Chapter 19), would likely make \u003cb>A Game of Thrones\u003c/b> author, George R. R. Martin, blush.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/crumb-genesis.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>“The Book of Genesis Illustrated by R. Crumb,” 2009, Chapter 8, page 24; Courtesy the artist; Paul Morris; and David Zwirner, New York\u003c/p>\n\u003cp>We get sucked in, though, because the content of Crumb’s Genesis is less about the word of God than the line of Crumb. I could look at his rain all day, and Crumb has no equal when it comes to depicting a woman’s thigh. Not important, I know, and it’s probably Crumb’s refusal to be high-minded that will keep his work from commanding the same level of academic respect as some of his peers at the Cantor. But I think Crumb’s correct to put his energy into the content between the covers of his book rather than preoccupying himself with questions about what those covers are made of.\u003c/p>\n\u003cp>\u003cb>The Art of the Book in California: Five Contemporary Presses\u003c/b> runs though August 28, 2011 at the Cantor Arts Center in Palo Alto. For \u003ca href=\"http://museum.stanford.edu/news_room/book-as-art.html\">more information\u003c/a> visit museum.stanford.edu. \u003cb>The Bible Illuminated: R. Crumb’s Book of Genesis\u003c/b> runs through September 25, 2011 at the San Jose Museum of Art. For \u003ca href=\"http://www.sanjosemuseumofart.org/r-crumb\">tickets and information\u003c/a> visit sanjosemuseumofart.org\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>.\u003c/p>\n\n",
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"excerpt": "On two new book shows in the South Bay: \u003cb>The Art of the Book in California: Five Contemporary Presses\u003c/b> at the Cantor Arts Center and the San Jose Museum of Art's \u003cb>The Bible Illuminated: R. Crumb's Book of Genesis\u003c/b>.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do books matter anymore? It was hard not to think about this question on recent visits to the Cantor Arts Center to see \u003cb>The Art of the Book in California: Five Contemporary Presses\u003c/b>, through August 28, 2011, and the San Jose Museum of Art to ponder \u003cb>The Bible Illuminated: R. Crumb’s Book of Genesis\u003c/b>, through September 25. During the week I attended these shows, Borders announced it would finally shutter its doors. A few days later, a movie based on a book, \u003cb>Harry Potter and the Deathly Hallows: Part 2\u003c/b>, sold roughly half-a-billion bucks in tickets worldwide.\u003c/p>\n\u003cp>Clearly we prefer noisy spectacles to clean, well-lighted places where we’re invited to curl up with a good book. On the other hand, I’ve read more books in the past couple of years than at any time in my life, but I have a Kindle to thank for that. Sorry, Borders; sorry Kepler’s, Cody’s and all the other independent bookstores either hanging by a thread or already gone. Print is dead.\u003c/p>\n\u003cp>No doubt the artists and printers represented at the Cantor would take issue with this statement, but they have the luxury of not having to concern themselves with mere cultural trends, let alone selling their work on a mass retail scale. These presses typically produce less than 100 copies of their hand-bound, hand-set, elaborately packaged books, whose pages are called leaves by people in the know. At best, their books are works of art, more like sculpture than prints even though they are printed. At worst, they are precious, insignificant indulgences.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/turkeypress.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Turkey Press, “The Standard,” 1997, Stanford Library Special Collections.\u003c/p>\n\u003cp>The Cantor show, which is beautifully presented — with the exception of a distracting video that drones on endlessly from one corner of the gallery — gives us a bit of both. On the plus side there are pieces like \u003cb>33 1/3: Off the Record\u003c/b> which consists of LP-shaped rubbings, prints, drawings, and paintings by Harry Reese of Turkey Press. As with many books in the show, the binding on this one is designed so pages can be removed and framed like traditional works of art. Also by Reese is a marvelously Duchampian work called \u003cb>The Standard\u003c/b>, whose glowing gold box encases a slender vertical book, plus a rat trap.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to numerous examples of books whose pages resemble accordions (\u003cb>The Real World of Manuel Córdova\u003c/b> by W.S. Merwin from Ninja Press is printed on handmade persimmon-washed-and-smoked paper that extends for 15 feet), there are plenty of titles whose complicated engineering and attention to detail are marvels to behold. Peter Rutledge Koch’s \u003cb>UR-Text vol. III\u003c/b> features covers of acid-etched zinc on one side, oxidized brass on the other. The book’s pages, whose edges are tinted black, are sewn to the book’s brass-and-aluminum spine with braided Dacron thread, while the covers are attached with braided silk. Naturally the portfolio protecting this exercise in magnificence boasts a hidden magnetic flap.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/kochprinters.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Peter Koch Printers, “UR-Text vol. II,” 1994. Courtesy of Peter Rutledge Koch.\u003c/p>\n\u003cp>You’re not supposed to judge a book by its cover, though, which in this case is good advice since Koch’s text consists solely of the word “words” repeated without spaces on every single page. While the juxtaposition between the book’s richly detailed presentation and its despairing content is obviously the point of the piece, \u003cb>UR-Text vol. III\u003c/b>, I fear, is just one more book that does not matter, regardless of its beauty or price.\u003c/p>\n\u003cp>R. Crumb’s pen-and-ink drawings for all 50 chapters of the Book of Genesis at the San Jose Museum of Art presents a different problem. They deliver too much information, but it wasn’t until I was several chapters into the thing that I realized there was no way I was going to read and absorb all of Crumb’s 207 pages in one sitting. Besides, while Genesis begins and ends well, its middle chapters, with all their smiting, begetting and occasional daughters-on-drunk-dad action (see Chapter 19), would likely make \u003cb>A Game of Thrones\u003c/b> author, George R. R. Martin, blush.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/crumb-genesis.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>“The Book of Genesis Illustrated by R. Crumb,” 2009, Chapter 8, page 24; Courtesy the artist; Paul Morris; and David Zwirner, New York\u003c/p>\n\u003cp>We get sucked in, though, because the content of Crumb’s Genesis is less about the word of God than the line of Crumb. I could look at his rain all day, and Crumb has no equal when it comes to depicting a woman’s thigh. Not important, I know, and it’s probably Crumb’s refusal to be high-minded that will keep his work from commanding the same level of academic respect as some of his peers at the Cantor. But I think Crumb’s correct to put his energy into the content between the covers of his book rather than preoccupying himself with questions about what those covers are made of.\u003c/p>\n\u003cp>\u003cb>The Art of the Book in California: Five Contemporary Presses\u003c/b> runs though August 28, 2011 at the Cantor Arts Center in Palo Alto. For \u003ca href=\"http://museum.stanford.edu/news_room/book-as-art.html\">more information\u003c/a> visit museum.stanford.edu. \u003cb>The Bible Illuminated: R. Crumb’s Book of Genesis\u003c/b> runs through September 25, 2011 at the San Jose Museum of Art. For \u003ca href=\"http://www.sanjosemuseumofart.org/r-crumb\">tickets and information\u003c/a> visit sanjosemuseumofart.org\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Where is it possible to see country-music mainstay Loretta Lynn, lo-fi rockers The Black Keys, rock legend Neil Young, and rapper \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=137132636\">Eminem\u003c/a> all in one evening? Then to continue that evening — morning at this point — with jam band The String Cheese Incident and the Santa Cruz electronic group STS9? And then to do it all over again the next three days?\u003c/p>\n\u003cp>Nowhere on planet earth, that’s for sure.\u003c/p>\n\u003cp>That is, unless you count the \u003ca href=\"http://www.bonnaroo.com/\"> Bonnaroo Music & Arts Festival\u003c/a> as rooted in terra firma — which, as anyone who has ever attended could tell you — it truly isn’t.\u003c/p>\n\u003cp>The festival just celebrated its tenth anniversary this past weekend, June 9-12, 2011 \u003ca href=\"http://bonnaroo.com/gallery/view.aspx?year=2011&day=Saturday&artist=Festival%20Atmosphere\">and it did so with a bang\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bonnaroo-fireworks.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Photo: C. Taylor Crothers. C. 2011, Bonnaroo Music & Arts Festival\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>For those unfamiliar, Bonnaroo is an annual, four-day long music and arts festival held every June on a \u003ca href=\"http://www.greatstagepark.com/\">700-acre site in Manchester, Tennessee\u003c/a>. There are five main performance venues, a slew of smaller stages, and countless local artists and vendors selling the most eclectic goods under the (\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=137056463\">absolutely unrelenting\u003c/a>) Tennessee sun. In a time when people say that all the big festivals are homogenizing their lineups, \u003ca href=\"http://www.bonnaroo.com/artists.aspx\">this year’s Bonnaroo lineup\u003c/a> was remarkably diverse, featuring big names from every genre. (Organizers created a \u003ca href=\"http://mindreader2011.bonnaroo.com/index.html\">“Bonnaroo Mindreader”\u003c/a> featuring sample tunes by most of the bands in the schedule. Check it out to get a feel for the variety of music on offer.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/robert-plant.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Robert Plant and the Band of Joy at Bonnaroo. Photo: Adam Susaneck\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>This diversity of acts is one of the aspects of Bonnaroo that make it so unique compared with other similar music festivals (an \u003ca href=\"http://www.npr.org/blogs/therecord/2011/04/14/135396905/a-strategically-limited-statistical-analysis-of-2011s-summer-music-festivals\">April NPR Music post\u003c/a> noted that Bonnaroo is one of the most “inclusive” festivals). What truly separates Bonnaroo from the rest, however, is the bubble from reality that the festival engenders. Bonnaroo has its own culture, one where sleep and comfort and basic hygiene become secondary and everybody becomes cheerily extroverted due to the shared experience of being plastered with dirt, soaked with sweat, and inundated with sound (be it the sound of the eclectic collection of artists, the varied sounds of anguish and ecstasy emanating from the camp grounds, or the traditional Bonnaroo greeting and cheer: “Bonna-ROOOO!”).\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"303\" src=\"http://www.youtube.com/embed/iDWB6xQXEUY\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>This culture is a function of both the length of the festival — the grounds opened on the night of Wednesday, the 8th, and the last people were leaving on the morning of Monday, the 13th — and that nearly all of Bonnaroo’s 80,000 patrons (and 5,000 staff members) either camp or RV. As well, despite the fact that the festival is geographically in the south, the sheer diversity of flags flying over people’s campsites — being used as landmarks for people to find their way back — can attest to the international audience the festival attracts. Near me: United Arab Emirates, Australia, and Norway. (I’m proud to say that my Californian flag attracted a healthy number of “Go Bears” and even prompted a conversation with a passerby over the merits of the hotlink vs. the traditional frankfurter at \u003ca href=\"http://www.topdoghotdogs.com/index.html\"> Top Dog \u003c/a>.) \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"303\" src=\"http://www.youtube.com/embed/qHSgepn9xyU\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\u003c/center>\n\u003cp>Musical highlights of the festival included Canadian indie-rockers \u003ca href=\"http://www.npr.org/artists/16334660/arcade-fire\">Arcade Fire\u003c/a>, playing a set well-balanced across all of their albums. The Kentucky group \u003ca href=\"http://www.npr.org/artists/15189632/my-morning-jacket\">My Morning Jacket\u003c/a> \u003ca href=\"http://bonnaroo.com/gallery/view.aspx?year=2011&day=friday&artist=My%20Morning%20Jacket\">played an epic set at dusk\u003c/a>, blasting their unique mixture of psychedelic rock and country music from Bonnaroo’s main stage, the “What Stage.” Also notable was singer \u003ca href=\"http://www.npr.org/artists/121555771/florence-and-the-machine\">Florence + the Machine’s\u003c/a> proud recognition as she removed her high heels that, “people always think from my voice that I’m six-feet tall; well, this is my real height!” Santa Cruz electronic group \u003ca href=\"http://sts9.com/\">STS9\u003c/a> also played an incredible set, starting at 2:30am, only to be cut short by the dawn. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"303\" src=\"http://www.youtube.com/embed/ylX0zZUU-Cw\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>You can hear a sampling of Bonnaroo’s musical offerings with the \u003ca href=\"http://www.customchannels.net/streaming/bonnaroo/radio/\">live radio webstream\u003c/a> provided on the festival’s website. As well, be sure to keep an eye out for \u003ca href=\"http://youtu.be/fnXktom89cE\">Ben & Jerry’s new Bonnaroo themed ice cream\u003c/a> the next time you’re at the supermarket!\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"425\" height=\"349\" src=\"http://www.youtube.com/embed/6fBu-4bFwgk\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Bonnaroo is a pilgrimage of sorts, one which I whole-heartedly endorse. Bay Area residents would have felt right at home in Centeroo what with the stress on being \u003ca href=\"http://www.bonnaroo.com/festival/greening-activism.aspx\">environmentally friendly\u003c/a>, the \u003ca href=\"http://www.bonnaroo.com/activities/food-on-the-move.aspx\">incredible food\u003c/a> (organic, vegetarian, vegan, etc.) and drink (\u003ca href=\"http://www.bonnaroo.com/activities/brooers-festival.aspx\">microbrewed, of course\u003c/a>), and the unique melting pot of people, which closely mirrored what I’ve noticed at least in Berkeley (ie, you had your hippies hanging out listening to music with college jocks, your hipsters mingling in the crowd with the — decidedly older — Neil Young and Robert Plant fans.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Pre-sale tickets for Bonnaroo 2012 \u003ca href=\"http://www.bonnaroo.com/tickets/2012-ga-vip-pre-sale.aspx\">just went on sale\u003c/a> Friday, June 17.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Where is it possible to see country-music mainstay Loretta Lynn, lo-fi rockers The Black Keys, rock legend Neil Young, and rapper \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=137132636\">Eminem\u003c/a> all in one evening? Then to continue that evening — morning at this point — with jam band The String Cheese Incident and the Santa Cruz electronic group STS9? And then to do it all over again the next three days?\u003c/p>\n\u003cp>Nowhere on planet earth, that’s for sure.\u003c/p>\n\u003cp>That is, unless you count the \u003ca href=\"http://www.bonnaroo.com/\"> Bonnaroo Music & Arts Festival\u003c/a> as rooted in terra firma — which, as anyone who has ever attended could tell you — it truly isn’t.\u003c/p>\n\u003cp>The festival just celebrated its tenth anniversary this past weekend, June 9-12, 2011 \u003ca href=\"http://bonnaroo.com/gallery/view.aspx?year=2011&day=Saturday&artist=Festival%20Atmosphere\">and it did so with a bang\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bonnaroo-fireworks.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Photo: C. Taylor Crothers. C. 2011, Bonnaroo Music & Arts Festival\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>For those unfamiliar, Bonnaroo is an annual, four-day long music and arts festival held every June on a \u003ca href=\"http://www.greatstagepark.com/\">700-acre site in Manchester, Tennessee\u003c/a>. There are five main performance venues, a slew of smaller stages, and countless local artists and vendors selling the most eclectic goods under the (\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=137056463\">absolutely unrelenting\u003c/a>) Tennessee sun. In a time when people say that all the big festivals are homogenizing their lineups, \u003ca href=\"http://www.bonnaroo.com/artists.aspx\">this year’s Bonnaroo lineup\u003c/a> was remarkably diverse, featuring big names from every genre. (Organizers created a \u003ca href=\"http://mindreader2011.bonnaroo.com/index.html\">“Bonnaroo Mindreader”\u003c/a> featuring sample tunes by most of the bands in the schedule. Check it out to get a feel for the variety of music on offer.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/robert-plant.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Robert Plant and the Band of Joy at Bonnaroo. Photo: Adam Susaneck\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>This diversity of acts is one of the aspects of Bonnaroo that make it so unique compared with other similar music festivals (an \u003ca href=\"http://www.npr.org/blogs/therecord/2011/04/14/135396905/a-strategically-limited-statistical-analysis-of-2011s-summer-music-festivals\">April NPR Music post\u003c/a> noted that Bonnaroo is one of the most “inclusive” festivals). What truly separates Bonnaroo from the rest, however, is the bubble from reality that the festival engenders. Bonnaroo has its own culture, one where sleep and comfort and basic hygiene become secondary and everybody becomes cheerily extroverted due to the shared experience of being plastered with dirt, soaked with sweat, and inundated with sound (be it the sound of the eclectic collection of artists, the varied sounds of anguish and ecstasy emanating from the camp grounds, or the traditional Bonnaroo greeting and cheer: “Bonna-ROOOO!”).\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"303\" src=\"http://www.youtube.com/embed/iDWB6xQXEUY\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>This culture is a function of both the length of the festival — the grounds opened on the night of Wednesday, the 8th, and the last people were leaving on the morning of Monday, the 13th — and that nearly all of Bonnaroo’s 80,000 patrons (and 5,000 staff members) either camp or RV. As well, despite the fact that the festival is geographically in the south, the sheer diversity of flags flying over people’s campsites — being used as landmarks for people to find their way back — can attest to the international audience the festival attracts. Near me: United Arab Emirates, Australia, and Norway. (I’m proud to say that my Californian flag attracted a healthy number of “Go Bears” and even prompted a conversation with a passerby over the merits of the hotlink vs. the traditional frankfurter at \u003ca href=\"http://www.topdoghotdogs.com/index.html\"> Top Dog \u003c/a>.) \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"303\" src=\"http://www.youtube.com/embed/qHSgepn9xyU\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\u003c/center>\n\u003cp>Musical highlights of the festival included Canadian indie-rockers \u003ca href=\"http://www.npr.org/artists/16334660/arcade-fire\">Arcade Fire\u003c/a>, playing a set well-balanced across all of their albums. The Kentucky group \u003ca href=\"http://www.npr.org/artists/15189632/my-morning-jacket\">My Morning Jacket\u003c/a> \u003ca href=\"http://bonnaroo.com/gallery/view.aspx?year=2011&day=friday&artist=My%20Morning%20Jacket\">played an epic set at dusk\u003c/a>, blasting their unique mixture of psychedelic rock and country music from Bonnaroo’s main stage, the “What Stage.” Also notable was singer \u003ca href=\"http://www.npr.org/artists/121555771/florence-and-the-machine\">Florence + the Machine’s\u003c/a> proud recognition as she removed her high heels that, “people always think from my voice that I’m six-feet tall; well, this is my real height!” Santa Cruz electronic group \u003ca href=\"http://sts9.com/\">STS9\u003c/a> also played an incredible set, starting at 2:30am, only to be cut short by the dawn. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"303\" src=\"http://www.youtube.com/embed/ylX0zZUU-Cw\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>You can hear a sampling of Bonnaroo’s musical offerings with the \u003ca href=\"http://www.customchannels.net/streaming/bonnaroo/radio/\">live radio webstream\u003c/a> provided on the festival’s website. As well, be sure to keep an eye out for \u003ca href=\"http://youtu.be/fnXktom89cE\">Ben & Jerry’s new Bonnaroo themed ice cream\u003c/a> the next time you’re at the supermarket!\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"425\" height=\"349\" src=\"http://www.youtube.com/embed/6fBu-4bFwgk\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Bonnaroo is a pilgrimage of sorts, one which I whole-heartedly endorse. Bay Area residents would have felt right at home in Centeroo what with the stress on being \u003ca href=\"http://www.bonnaroo.com/festival/greening-activism.aspx\">environmentally friendly\u003c/a>, the \u003ca href=\"http://www.bonnaroo.com/activities/food-on-the-move.aspx\">incredible food\u003c/a> (organic, vegetarian, vegan, etc.) and drink (\u003ca href=\"http://www.bonnaroo.com/activities/brooers-festival.aspx\">microbrewed, of course\u003c/a>), and the unique melting pot of people, which closely mirrored what I’ve noticed at least in Berkeley (ie, you had your hippies hanging out listening to music with college jocks, your hipsters mingling in the crowd with the — decidedly older — Neil Young and Robert Plant fans.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Pre-sale tickets for Bonnaroo 2012 \u003ca href=\"http://www.bonnaroo.com/tickets/2012-ga-vip-pre-sale.aspx\">just went on sale\u003c/a> Friday, June 17.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We all remember what it’s like to be a teenager whose every emotion is heightened and blown way out of proportion. A break-up becomes the end of civilization, the never-ending battle with the parents becomes an updated version of when those British guys fought those other British guys for independence. We also remember what it’s like to put all that exaggerated angst to paper, hiding it away from prying eyes, while believing that what was just written could very well be an award-worthy poem, or at least a hit song. Years later, we realize we were wrong about that. All that dramatization was quite simply bad writing.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=raWLS2_PEfI&fs=1&hl=en_US&rel=0]\u003c/p>\n\u003cp>In Vernon Lott’s documentary, \u003cb>Bad Writing\u003c/b>, he explores his own embarrassing past, when he pounded beers and typewriter keys all night, churning out one crappy poem after another, all the while utterly convinced that he was an undiscovered genius and the heir to the glory of the Beats. A sample poem from this time in his life reads:\u003c/p>\n\u003cp>God I’m drunk\u003cbr>and frightened\u003cbr>as I write\u003cbr>the tears well\u003cbr>and the battle continues\u003c/p>\n\u003cp>He doesn’t hesitate to share videos of the drunken poetry readings from his 20s nor does he hide the fact that he optimistically preserved all of his poetry in his mother’s basement for his future archive. The present-day Lott has since eaten some humble pie and accepted his status as an anti-hero, who, in showing how bad of a writer he was, also shows that being honest about your imperfections can prove more honorable than being perfect.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is a documentary for writers or people who used to think they could be writers or simply people who respect the written word. Lott travels around the country to find answers to the fundamental question of what makes a piece of writing good or bad, with the help of literati superstars, such as Margaret Atwood, George Saunders, and David Sedaris (Lott was so nervous when he interviewed the latter that he focused the camera on Sedaris’ hands instead of his face).\u003c/p>\n\u003cp>Lott also pays a visit to \u003ca href=\"http://www.getmortified.com/\">Mortified\u003c/a>, the national project where people bust out old diaries and journals, read their most cringe-worthy entries, and “share the shame.” Just like Lott does in this documentary, the Mortified participants expose and cleanse themselves of their humiliating former selves for laughs. These airings of past mortification become a communal comedic experience. After all, none of us are immune to purposeful poetry about our bleeding hearts and souls or a really unfortunate senior yearbook quote.\u003c/p>\n\u003cp>Although mostly entertaining and engaging, \u003cb>Bad Writing\u003c/b> seems to have missed one of the crucial points in avoiding bad writing: editing. The doc drags on a bit too long and could have benefited from some cutting for a tighter, snappier result. But what the documentary teaches us is that an imperfect result is better than never having tried.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The message of \u003cb>Bad Writing\u003c/b> is not to point and laugh at a terrible turn-of-phrase, but to recognize that we all share a common history: one littered with failure, rejection, and embarrassing amateurism. The more important thing is what comes next. So what if the last chapter sucked? You can always write a new one. A better one. And all signs indicate that Lott will do just that.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We all remember what it’s like to be a teenager whose every emotion is heightened and blown way out of proportion. A break-up becomes the end of civilization, the never-ending battle with the parents becomes an updated version of when those British guys fought those other British guys for independence. We also remember what it’s like to put all that exaggerated angst to paper, hiding it away from prying eyes, while believing that what was just written could very well be an award-worthy poem, or at least a hit song. Years later, we realize we were wrong about that. All that dramatization was quite simply bad writing.\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/raWLS2_PEfI'\n title='//www.youtube.com/embed/raWLS2_PEfI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In Vernon Lott’s documentary, \u003cb>Bad Writing\u003c/b>, he explores his own embarrassing past, when he pounded beers and typewriter keys all night, churning out one crappy poem after another, all the while utterly convinced that he was an undiscovered genius and the heir to the glory of the Beats. A sample poem from this time in his life reads:\u003c/p>\n\u003cp>God I’m drunk\u003cbr>and frightened\u003cbr>as I write\u003cbr>the tears well\u003cbr>and the battle continues\u003c/p>\n\u003cp>He doesn’t hesitate to share videos of the drunken poetry readings from his 20s nor does he hide the fact that he optimistically preserved all of his poetry in his mother’s basement for his future archive. The present-day Lott has since eaten some humble pie and accepted his status as an anti-hero, who, in showing how bad of a writer he was, also shows that being honest about your imperfections can prove more honorable than being perfect.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is a documentary for writers or people who used to think they could be writers or simply people who respect the written word. Lott travels around the country to find answers to the fundamental question of what makes a piece of writing good or bad, with the help of literati superstars, such as Margaret Atwood, George Saunders, and David Sedaris (Lott was so nervous when he interviewed the latter that he focused the camera on Sedaris’ hands instead of his face).\u003c/p>\n\u003cp>Lott also pays a visit to \u003ca href=\"http://www.getmortified.com/\">Mortified\u003c/a>, the national project where people bust out old diaries and journals, read their most cringe-worthy entries, and “share the shame.” Just like Lott does in this documentary, the Mortified participants expose and cleanse themselves of their humiliating former selves for laughs. These airings of past mortification become a communal comedic experience. After all, none of us are immune to purposeful poetry about our bleeding hearts and souls or a really unfortunate senior yearbook quote.\u003c/p>\n\u003cp>Although mostly entertaining and engaging, \u003cb>Bad Writing\u003c/b> seems to have missed one of the crucial points in avoiding bad writing: editing. The doc drags on a bit too long and could have benefited from some cutting for a tighter, snappier result. But what the documentary teaches us is that an imperfect result is better than never having tried.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The message of \u003cb>Bad Writing\u003c/b> is not to point and laugh at a terrible turn-of-phrase, but to recognize that we all share a common history: one littered with failure, rejection, and embarrassing amateurism. The more important thing is what comes next. So what if the last chapter sucked? You can always write a new one. A better one. And all signs indicate that Lott will do just that.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A few years ago, I visited Steven Weinberg’s studio in the Mission where he told me about a book he was illustrating. Written by his girlfriend, Casey Scieszka, it would include their true stories about teaching English abroad after college, traveling the world, eating noodles, and being in love. The nearly 500-page saga, \u003cb>To Timbuktu\u003c/b>, has finally hit the shelves. It’s fun to read and conveniently doubles as an approachable book for young people considering their own international adventures.\u003c/p>\n\u003cp>While very thick, the book is a light read and light to carry around. It made the last couple weeks of my commute very enjoyable. I found myself looking forward to diving back into Casey and Steven’s stories, though it felt a bit voyeuristic to be reading so many personal details about a couple I’d only met once or twice. Now I know all of their beeswax and I feel like we’re best friends.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/timbuktu.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>Some of the best parts of the book are about their teaching victories. Suspicious that his students were afraid of his big nose, Steven took Casey’s advice and knelt down to the kids’ level (a golden rule for communicating with children). He let the students touch his nose to diffuse their fear, which might sound silly, but is written about so endearingly. Another sweet story happens when a student insists on making her parents wait until Casey is finished cleaning up after class so they can ride the elevator together and hold hands.\u003c/p>\n\u003cp>Also affective in the book are Casey’s descriptions of eating their way across China, which made me have to order noodles more than once while making my way through that chapter. The couple’s relationship is prominent, as they were a fairly new item when they set out on their two-year voyage. After China they visit or live in many other places, including Thailand, Mali, and yes, even Timbuktu.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe src=\"http://media.barnesandnoble.com/linking/index.jsp?skin=oneclip&ehv=http://media.barnesandnoble.com&fr_story=c7fdb89def99286dc5489e0c3d896a2f713c22e1&rf=ev&hl=true\" width=\"413\" height=\"355\" scrolling=\"no\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\">\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>While the book is written from Casey’s first person perspective, Steven’s drawings communicate his own perception of the situations. Sometimes his accounts are just like his partner’s, and sometimes they are vaguely different. Drawings accompany the text on every page, and you could understand many of the stories’ nuances through the black-and-white sketches alone. In fact, Steven’s drawings were one of his main teaching tools. Though Casey identifies more as a writer, and Steven as an artist, they both seem like qualified creators and storytellers. I’d like to see them switch roles for their next published travel diary, which I would gladly read.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Unfortunately for San Francisco, they’ve now settled in Brooklyn, but \u003ca href=\"http://telephoneandsoup.com/blog\">keep an eye on their blog\u003c/a> because they’ve been known to host drawing sessions at Shotwell’s Bar when they’re in town for a visit. In the meantime, get all up in their business by picking up a copy of \u003cb>To Timbuktu\u003c/b> online or at local bookshops including \u003ca href=\"http://www.missioncomicsandart.com/\">Mission: Comics and Art\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few years ago, I visited Steven Weinberg’s studio in the Mission where he told me about a book he was illustrating. Written by his girlfriend, Casey Scieszka, it would include their true stories about teaching English abroad after college, traveling the world, eating noodles, and being in love. The nearly 500-page saga, \u003cb>To Timbuktu\u003c/b>, has finally hit the shelves. It’s fun to read and conveniently doubles as an approachable book for young people considering their own international adventures.\u003c/p>\n\u003cp>While very thick, the book is a light read and light to carry around. It made the last couple weeks of my commute very enjoyable. I found myself looking forward to diving back into Casey and Steven’s stories, though it felt a bit voyeuristic to be reading so many personal details about a couple I’d only met once or twice. Now I know all of their beeswax and I feel like we’re best friends.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/timbuktu.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>Some of the best parts of the book are about their teaching victories. Suspicious that his students were afraid of his big nose, Steven took Casey’s advice and knelt down to the kids’ level (a golden rule for communicating with children). He let the students touch his nose to diffuse their fear, which might sound silly, but is written about so endearingly. Another sweet story happens when a student insists on making her parents wait until Casey is finished cleaning up after class so they can ride the elevator together and hold hands.\u003c/p>\n\u003cp>Also affective in the book are Casey’s descriptions of eating their way across China, which made me have to order noodles more than once while making my way through that chapter. The couple’s relationship is prominent, as they were a fairly new item when they set out on their two-year voyage. After China they visit or live in many other places, including Thailand, Mali, and yes, even Timbuktu.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe src=\"http://media.barnesandnoble.com/linking/index.jsp?skin=oneclip&ehv=http://media.barnesandnoble.com&fr_story=c7fdb89def99286dc5489e0c3d896a2f713c22e1&rf=ev&hl=true\" width=\"413\" height=\"355\" scrolling=\"no\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\">\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>While the book is written from Casey’s first person perspective, Steven’s drawings communicate his own perception of the situations. Sometimes his accounts are just like his partner’s, and sometimes they are vaguely different. Drawings accompany the text on every page, and you could understand many of the stories’ nuances through the black-and-white sketches alone. In fact, Steven’s drawings were one of his main teaching tools. Though Casey identifies more as a writer, and Steven as an artist, they both seem like qualified creators and storytellers. I’d like to see them switch roles for their next published travel diary, which I would gladly read.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Unfortunately for San Francisco, they’ve now settled in Brooklyn, but \u003ca href=\"http://telephoneandsoup.com/blog\">keep an eye on their blog\u003c/a> because they’ve been known to host drawing sessions at Shotwell’s Bar when they’re in town for a visit. In the meantime, get all up in their business by picking up a copy of \u003cb>To Timbuktu\u003c/b> online or at local bookshops including \u003ca href=\"http://www.missioncomicsandart.com/\">Mission: Comics and Art\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last Christmas, my family gave me a Kindle. I hadn’t bought a book since, and didn’t think I would again until I came across the first two installments of \u003cb>Pulp History\u003c/b>, a new series of graphic histories from Simon & Schuster. The brainchild of Salon.com founder, David Talbot, and his journalist sister, Margaret (I wish we hadn’t been told in the first sentence of Talbot’s ‘Acknowledgments’ that they hatched the idea in a bar…), the first two titles are \u003cb>Devil Dog: The Amazing True Story of the Man Who Saved America\u003c/b> by Talbot and underground cartoonist Spain Rodriguez, and \u003cb>Shadow Knights: The Secret War Against Hitler\u003c/b> by Salon’s executive editor, Gary Kamiya, and illustrator Jeffrey Smith.\u003c/p>\n\u003cp>Fans of Bernard DeVoto and Doris Kearns Goodwin who might be expecting a meticulously detailed, and sober, chronicle of these somewhat obscure pages in history are probably going to be disappointed, but let ’em sulk. Talbot and Kamiya’s histories are, after all, billed as “pulp” — the words “UNBELIEVABLE AND ALL TRUE!” trumpet the series’ sensationalist strategy on the books’ back covers. You want Robert Caro? Have at it. This approach to history may never win Pulitzers, but that doesn’t appear to be its aim. It’s too busy kicking ass.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/pulp1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>A spread from “Devil Dog” by David Talbot, illustration by Spain Rodriguez\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Talbot’s fast-paced encapsulation follows the storied life of Smedley Butler, from his experiences in 1900 during China’s Boxer Rebellion to his exposure in 1934 of an alleged plot by Wall Street fat cats such as J. P. Morgan and Irénée du Pont to remove President Franklin Roosevelt from office. It seems the nefarious financiers were secretly raising money to oust FDR, who they considered a dangerous radical and a threat to their freedom to make obscene amounts of money. One can only wonder what Butler would have made of the Supreme Court-sanctioned shenanigans that occurred during the last election cycle.\u003c/p>\n\u003cp>Despite the arresting and cheerfully lurid illustrations by Rodriguez, as well as the numerous historical photographs and examples of ephemera that pepper the pages of designer Norma Tennis’s handsome layout, it’s the language that drives the action in \u003cb>Devil Dog\u003c/b>. Talbot is deliberately breathless in his descriptions of his hero, whom he early on calls a “bantam rooster of a boy-man.” Later, he tells us, “Butler stuck his sharp beak in the other man’s mug.” The text is straight out of Film Noir, which the layout obligingly augments with a movie poster of a minor Humphrey Bogart film. It’s juicy, page-turning history — no boring parts; just the good stuff — whose anecdotes are made accessible through maps by the book’s designer, along with plenty of sex and violence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/pulp2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Cover of “Shadow Knights” by Gary Kamiya, illustrations by Jeffrey Smith\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Kamiya’s \u003cb>Shadow Knights\u003c/b>, which has no acts or chapters but is organized by diary-like datelines, is more like a scrap book. While the visual tone of Smith’s illustrations is more painterly than Rodriguez’s, his imagery is not necessarily more subdued — the first Smith illo we encounter depicts one of this title’s heroes, Harry Ree, attempting to gouge a Gestapo agent’s eyes out. The scope of the book differs from Talbot’s too: \u003cb>Devil Dog\u003c/b> follows one man’s exploits over the course of some 40 years; \u003cb>Shadow Knights\u003c/b> focuses on just four, 1940 to 1944.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/pulp3.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>A spread from “Shadow Knights” by Gary Kamiya, illustration by Jeffrey Smith\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>On a line-by-line, word-by-word basis, Talbot’s style is more sensationalist than Kamiya’s, so you could say \u003cb>Devil Dog\u003c/b> is truer to its newly created genre than \u003cb>Shadow Knights\u003c/b>. Still, I preferred the way Kamiya’s overlapping narratives followed Churchill’s citizen soldiers, who were known collectively as the Baker Street Irregulars. Along with Ree, we meet an Indian wireless operator stationed in Paris and a tough group of Norwegian commandoes. In telling their stories, Kamiya’s tone may be more traditional than Talbot’s, but he knows the importance of a good cliffhanger.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://pages.simonandschuster.com/pulphistory/home\">more information\u003c/a> about the first two titles in the \u003cb>Pulp History\u003c/b> series visit pulphistory.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last Christmas, my family gave me a Kindle. I hadn’t bought a book since, and didn’t think I would again until I came across the first two installments of \u003cb>Pulp History\u003c/b>, a new series of graphic histories from Simon & Schuster. The brainchild of Salon.com founder, David Talbot, and his journalist sister, Margaret (I wish we hadn’t been told in the first sentence of Talbot’s ‘Acknowledgments’ that they hatched the idea in a bar…), the first two titles are \u003cb>Devil Dog: The Amazing True Story of the Man Who Saved America\u003c/b> by Talbot and underground cartoonist Spain Rodriguez, and \u003cb>Shadow Knights: The Secret War Against Hitler\u003c/b> by Salon’s executive editor, Gary Kamiya, and illustrator Jeffrey Smith.\u003c/p>\n\u003cp>Fans of Bernard DeVoto and Doris Kearns Goodwin who might be expecting a meticulously detailed, and sober, chronicle of these somewhat obscure pages in history are probably going to be disappointed, but let ’em sulk. Talbot and Kamiya’s histories are, after all, billed as “pulp” — the words “UNBELIEVABLE AND ALL TRUE!” trumpet the series’ sensationalist strategy on the books’ back covers. You want Robert Caro? Have at it. This approach to history may never win Pulitzers, but that doesn’t appear to be its aim. It’s too busy kicking ass.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/pulp1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>A spread from “Devil Dog” by David Talbot, illustration by Spain Rodriguez\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Talbot’s fast-paced encapsulation follows the storied life of Smedley Butler, from his experiences in 1900 during China’s Boxer Rebellion to his exposure in 1934 of an alleged plot by Wall Street fat cats such as J. P. Morgan and Irénée du Pont to remove President Franklin Roosevelt from office. It seems the nefarious financiers were secretly raising money to oust FDR, who they considered a dangerous radical and a threat to their freedom to make obscene amounts of money. One can only wonder what Butler would have made of the Supreme Court-sanctioned shenanigans that occurred during the last election cycle.\u003c/p>\n\u003cp>Despite the arresting and cheerfully lurid illustrations by Rodriguez, as well as the numerous historical photographs and examples of ephemera that pepper the pages of designer Norma Tennis’s handsome layout, it’s the language that drives the action in \u003cb>Devil Dog\u003c/b>. Talbot is deliberately breathless in his descriptions of his hero, whom he early on calls a “bantam rooster of a boy-man.” Later, he tells us, “Butler stuck his sharp beak in the other man’s mug.” The text is straight out of Film Noir, which the layout obligingly augments with a movie poster of a minor Humphrey Bogart film. It’s juicy, page-turning history — no boring parts; just the good stuff — whose anecdotes are made accessible through maps by the book’s designer, along with plenty of sex and violence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/pulp2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Cover of “Shadow Knights” by Gary Kamiya, illustrations by Jeffrey Smith\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Kamiya’s \u003cb>Shadow Knights\u003c/b>, which has no acts or chapters but is organized by diary-like datelines, is more like a scrap book. While the visual tone of Smith’s illustrations is more painterly than Rodriguez’s, his imagery is not necessarily more subdued — the first Smith illo we encounter depicts one of this title’s heroes, Harry Ree, attempting to gouge a Gestapo agent’s eyes out. The scope of the book differs from Talbot’s too: \u003cb>Devil Dog\u003c/b> follows one man’s exploits over the course of some 40 years; \u003cb>Shadow Knights\u003c/b> focuses on just four, 1940 to 1944.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/pulp3.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>A spread from “Shadow Knights” by Gary Kamiya, illustration by Jeffrey Smith\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>On a line-by-line, word-by-word basis, Talbot’s style is more sensationalist than Kamiya’s, so you could say \u003cb>Devil Dog\u003c/b> is truer to its newly created genre than \u003cb>Shadow Knights\u003c/b>. Still, I preferred the way Kamiya’s overlapping narratives followed Churchill’s citizen soldiers, who were known collectively as the Baker Street Irregulars. Along with Ree, we meet an Indian wireless operator stationed in Paris and a tough group of Norwegian commandoes. In telling their stories, Kamiya’s tone may be more traditional than Talbot’s, but he knows the importance of a good cliffhanger.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://pages.simonandschuster.com/pulphistory/home\">more information\u003c/a> about the first two titles in the \u003cb>Pulp History\u003c/b> series visit pulphistory.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sex, Drugs And 'Life' -- The Year's Best Guilty Reads",
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"content": "\u003cp>Recently, I stayed up for two days with Keith Richards. I took a bath with Chelsea Handler, snuggled with Jenny McCarthy, and sipped tea with Nora Ephron. Just last week, I slept with Rick Springfield.\u003c/p>\n\u003cp>I’ve been indulging my guiltiest pleasure: Celebrity tell-alls. What can I say? I generally read hard-hitting nonfiction. But sometimes — when the year is coming to an end and I’m mentally going on vacation — I just want to read about famous people’s bad plastic surgery, failing memories and drug habits. So sue me.\u003c/p>\n\u003cp>This year I indulged in a confession-fest: Five books by celebrities occupying different ranks in the pop-culture pantheon. 2010 has seen more than its share of memoirs and dish, but I found myself most attracted to books by 1) rock stars who’ve slept with or ingested everything, and 2) sexy, drunken, smart-mouthed women.\u003c/p>\n\u003cp>Their books bare their souls to one degree or another — but at a price. Are any of these guilty pleasures worth the sheckles? Well, yeah, actually.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/artslife/books/2010/05/what-were-reading/chelsea_custom.jpg?t=1272924866&s=12\" style=\"float:left;margin-right: 15px;margin-bottom: 10px\" alt=\"Chelsea Chelsea Bang Bang\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Chelsea Chelsea Bang Bang\u003c/strong>\u003c/p>\n\u003cp>By Chelsea Handler; hardcover, 256 pages; Grand Central, list price, $25.99\u003c/p>\n\u003cp>I began with that fabulous, Wicked Wit of the East, comedienne Chelsea Handler. I love Handler’s sense of the absurd and her rapid-fire monologues on cable. Her latest book, \u003cem>Chelsea Chelsea Bang Bang\u003c/em>, relates her madcap antics during third grade, vacations and family pow-wows. It’s chock full of sexual awakenings, bickering emails and obscene language: What’s not to love?\u003c/p>\n\u003cp>Some of \u003cem>Chelsea Chelsea Bang Bang \u003c/em>is gutsy and perversely funny: When she fabricates a comedy based on the Challenger disaster starring herself and Meryl Streep, I chortled out loud. Other times? Well, her book is like stand-up: Your enjoyment depends a lot upon your mood, your willingness to be charmed — and, at least in my case, how many martinis you’ve consumed.\u003c/p>\n\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/artslife/books/2010/11/i-remember-nothing/ephronbook_custom.jpg?t=1289233159&s=12\" style=\"float:left;margin-right: 15px;margin-bottom: 10px\" alt=\"I Remember Nothing\">\u003c/p>\n\u003cp>\u003cstrong>I Remember Nothing\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>By Nora Ephron; hardcover, 160 pages; Knopf, list price: $22.95\u003c/p>\n\u003cp>A second guilty pleasure of mine is to pass judgment on things I know nothing about. As such, I picked up Nora Ephron’s latest, \u003cem>I Remember Nothing, \u003c/em>predisposed not to like it. Why? I have absolutely no idea, except that she’s so popular in my hometown of New York and so good at everything she does (including writing about what she supposedly doesn’t do well) that it brings out the begrudgery in me.\u003c/p>\n\u003cp>And yet, within the first three pages, I was giggling out loud. Though I’m more of Handler’s generation, I laughed in recognition at Ephron’s tales — perhaps because, while I’ve never proposed a comedy based on the space shuttle disaster, I have, like Ephron, “attended many legendary rock concerts and spent them wondering when they would end and where we would eat afterward.” No topic is too abstract or trivial: she serves up poignant musings on divorce, failure and aging, as well as first-rate comedic kvetching over stuff like Teflon, email, and dessert spoons.\u003c/p>\n\u003cp>\u003cem>I Remember Nothing \u003c/em>has a likable, every-person sensibility and a fierce, consoling wit. I enjoyed it so much, in fact, that I happily paid for it instead of indulging in my third (and worst) guilty pleasure — reading entire books in the store while hiding behind a shelf.\u003c/p>\n\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/img/2010/12/03/lust-love_custom.jpg?t=1291396172&s=12\" style=\"float:left;margin-right: 15px;margin-bottom: 10px\" alt=\"Love, Lust and Faking It\">\u003c/p>\n\u003cp>\u003cstrong>Love, Lust, And Faking It\u003c/strong>\u003c/p>\n\u003cp>By Jenny McCarthy; hardcover, 256 pages; Harper, list price: $24.99\u003c/p>\n\u003cp>And now for something completely different: Over the years, Jenny McCarthy has managed to establish herself as both a Playboy Playmate and an autism activist — no easy feat, I’d say. She’s made a career of the knowing comic wink. Or in her case, the burp, that explodes the facade of her bombshell looks.\u003c/p>\n\u003cp>Her new book, titled \u003cem>Love, Lust and Faking It,\u003c/em> is like spending an afternoon with your best friend, a copy of \u003cem>Cosmo \u003c/em>and a low-fat milkshake. McCarthy confides personal stories of heartbreak and humiliation that are truly affecting. Yet these are padded with Twitter surveys, pop psychology and bedroom horoscopes. The result: total junk food. Yummy but substance-less. In the end, I wanted more McCarthy, less artificial additives. Her book is the publishing equivalent of Doritos. Still, who doesn’t love Doritos? I polished off the book in a single sitting. I felt like an idiot; but whose fault was that?\u003c/p>\n\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/img/2010/12/03/late-late-at-night_custom.jpg?t=1291395864&s=12\" style=\"float:left;margin-right: 15px;margin-bottom: 10px\" alt=\"Late, Late at Night\">\u003c/p>\n\u003cp>\u003cstrong>Late, Late At Night\u003c/strong>\u003c/p>\n\u003cp>By Rick Springfield; hardcover, 336 pages; Touchstone, list price: $26\u003c/p>\n\u003cp>Which brings me to Rick Springfield: pop singer, soap star, ’80s heartthrob. His memoir, \u003cem>Late, Late at Night, \u003c/em>is like binge drinking. You know it’s a terrible idea, but it’s escapist and addictive; you can’t put it down.\u003c/p>\n\u003cp>His book has everything deliciously tawdry you want from a pop-start memoir. It attempts naked honesty about his roller-coaster career, marriage, depression and sex addiction. If that’s not enough, there are plenty of beefcake photos. Springfield is 61 and looks 38. Sadly, he writes like he’s 19. \u003cem>Late, Late at Night\u003c/em> groans with over-wrought confessions, cocky asides and adolescent soul-searching. There’s loads of bad behavior and contrition, but little real wisdom.\u003c/p>\n\u003cp>Which is a shame, because there’s powerful material here. At 17, Springfield attempted suicide. In 1968, he saw action in Vietnam — as an Australian entertaining the troops. This should be riveting, but his swagger makes it glib.\u003c/p>\n\u003cp>Still, if you ever adored Rick Springfield, you’ll probably do as I did: take him to bed, enjoy him more than you want to admit and hate yourself in the morning. \u003cem>Late Late at Night\u003c/em> is, like its author, unsatisfying but embarrassingly seductive.\u003c/p>\n\u003cp>But what did I expect, really?\u003c/p>\n\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/img/2010/11/05/keith-richards-life_custom.jpg?t=1288987366&s=12\" style=\"float:left;margin-right: 15px;margin-bottom: 10px\" alt=\"Life\">\u003c/p>\n\u003cp>\u003cstrong>Life\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>By Keith Richards with James Fox; hardcover, 576 pages; Little, Brown and Company, list price: $29.99\u003c/p>\n\u003cp>Well, enter Keith Richards and his memoir, \u003cem>Life. \u003c/em>To be fair, I’m a huge Rolling Stones fan. Richards could cough up a hairball and I’d think it was musical genius. Still, his book is surprising.\u003c/p>\n\u003cp>While it opens with a drug bust, ultimately, it isn’t about partying like a rock star but \u003cem>working\u003c/em> like one. We get pages and pages about his craft — how he listened repeatedly to blues albums, figuring out how his musical idols played particular riffs, then removed a string from his guitar to get the Stones’ raunchy, signature sound. The musical obsessions that have compelled him to keep playing for over 50 years seem to get more ink, in the end, than his dish about lovers, heroin, or his complicated relationship with Mick Jagger.\u003c/p>\n\u003cp>Relentless, impassioned and oddly humble, Richards isn’t unconscious in the least — though at times, he’s awesomely un-reflective. His homes and hotel rooms seem to catch fire with alarming frequency. He sleeps with a loaded gun under his pillow and brings his 7-year-old son on tour as his handler: all of this is mentioned without comment.\u003c/p>\n\u003cp>But Richards tells his epic, rock’n’roll life like it is — with salt and candor, and no apologies. The result is a pleasure to read. And there’s nothing guilty about it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=104566969\">My Guilty Pleasure\u003c/a>\u003cem> is edited and produced by Ellen Silva.\u003c/em>\u003c/p>\n\n",
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"excerpt": "If celebrity tell-all books are the snack-food of the literary world, author Susan Jane Gilman has been on a binge this year. Her picks may not be the proudest additions to your bookshelf, but they may be among the most amusing.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Recently, I stayed up for two days with Keith Richards. I took a bath with Chelsea Handler, snuggled with Jenny McCarthy, and sipped tea with Nora Ephron. Just last week, I slept with Rick Springfield.\u003c/p>\n\u003cp>I’ve been indulging my guiltiest pleasure: Celebrity tell-alls. What can I say? I generally read hard-hitting nonfiction. But sometimes — when the year is coming to an end and I’m mentally going on vacation — I just want to read about famous people’s bad plastic surgery, failing memories and drug habits. So sue me.\u003c/p>\n\u003cp>This year I indulged in a confession-fest: Five books by celebrities occupying different ranks in the pop-culture pantheon. 2010 has seen more than its share of memoirs and dish, but I found myself most attracted to books by 1) rock stars who’ve slept with or ingested everything, and 2) sexy, drunken, smart-mouthed women.\u003c/p>\n\u003cp>Their books bare their souls to one degree or another — but at a price. Are any of these guilty pleasures worth the sheckles? Well, yeah, actually.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/artslife/books/2010/05/what-were-reading/chelsea_custom.jpg?t=1272924866&s=12\" style=\"float:left;margin-right: 15px;margin-bottom: 10px\" alt=\"Chelsea Chelsea Bang Bang\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Chelsea Chelsea Bang Bang\u003c/strong>\u003c/p>\n\u003cp>By Chelsea Handler; hardcover, 256 pages; Grand Central, list price, $25.99\u003c/p>\n\u003cp>I began with that fabulous, Wicked Wit of the East, comedienne Chelsea Handler. I love Handler’s sense of the absurd and her rapid-fire monologues on cable. Her latest book, \u003cem>Chelsea Chelsea Bang Bang\u003c/em>, relates her madcap antics during third grade, vacations and family pow-wows. It’s chock full of sexual awakenings, bickering emails and obscene language: What’s not to love?\u003c/p>\n\u003cp>Some of \u003cem>Chelsea Chelsea Bang Bang \u003c/em>is gutsy and perversely funny: When she fabricates a comedy based on the Challenger disaster starring herself and Meryl Streep, I chortled out loud. Other times? Well, her book is like stand-up: Your enjoyment depends a lot upon your mood, your willingness to be charmed — and, at least in my case, how many martinis you’ve consumed.\u003c/p>\n\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/artslife/books/2010/11/i-remember-nothing/ephronbook_custom.jpg?t=1289233159&s=12\" style=\"float:left;margin-right: 15px;margin-bottom: 10px\" alt=\"I Remember Nothing\">\u003c/p>\n\u003cp>\u003cstrong>I Remember Nothing\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>By Nora Ephron; hardcover, 160 pages; Knopf, list price: $22.95\u003c/p>\n\u003cp>A second guilty pleasure of mine is to pass judgment on things I know nothing about. As such, I picked up Nora Ephron’s latest, \u003cem>I Remember Nothing, \u003c/em>predisposed not to like it. Why? I have absolutely no idea, except that she’s so popular in my hometown of New York and so good at everything she does (including writing about what she supposedly doesn’t do well) that it brings out the begrudgery in me.\u003c/p>\n\u003cp>And yet, within the first three pages, I was giggling out loud. Though I’m more of Handler’s generation, I laughed in recognition at Ephron’s tales — perhaps because, while I’ve never proposed a comedy based on the space shuttle disaster, I have, like Ephron, “attended many legendary rock concerts and spent them wondering when they would end and where we would eat afterward.” No topic is too abstract or trivial: she serves up poignant musings on divorce, failure and aging, as well as first-rate comedic kvetching over stuff like Teflon, email, and dessert spoons.\u003c/p>\n\u003cp>\u003cem>I Remember Nothing \u003c/em>has a likable, every-person sensibility and a fierce, consoling wit. I enjoyed it so much, in fact, that I happily paid for it instead of indulging in my third (and worst) guilty pleasure — reading entire books in the store while hiding behind a shelf.\u003c/p>\n\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/img/2010/12/03/lust-love_custom.jpg?t=1291396172&s=12\" style=\"float:left;margin-right: 15px;margin-bottom: 10px\" alt=\"Love, Lust and Faking It\">\u003c/p>\n\u003cp>\u003cstrong>Love, Lust, And Faking It\u003c/strong>\u003c/p>\n\u003cp>By Jenny McCarthy; hardcover, 256 pages; Harper, list price: $24.99\u003c/p>\n\u003cp>And now for something completely different: Over the years, Jenny McCarthy has managed to establish herself as both a Playboy Playmate and an autism activist — no easy feat, I’d say. She’s made a career of the knowing comic wink. Or in her case, the burp, that explodes the facade of her bombshell looks.\u003c/p>\n\u003cp>Her new book, titled \u003cem>Love, Lust and Faking It,\u003c/em> is like spending an afternoon with your best friend, a copy of \u003cem>Cosmo \u003c/em>and a low-fat milkshake. McCarthy confides personal stories of heartbreak and humiliation that are truly affecting. Yet these are padded with Twitter surveys, pop psychology and bedroom horoscopes. The result: total junk food. Yummy but substance-less. In the end, I wanted more McCarthy, less artificial additives. Her book is the publishing equivalent of Doritos. Still, who doesn’t love Doritos? I polished off the book in a single sitting. I felt like an idiot; but whose fault was that?\u003c/p>\n\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/img/2010/12/03/late-late-at-night_custom.jpg?t=1291395864&s=12\" style=\"float:left;margin-right: 15px;margin-bottom: 10px\" alt=\"Late, Late at Night\">\u003c/p>\n\u003cp>\u003cstrong>Late, Late At Night\u003c/strong>\u003c/p>\n\u003cp>By Rick Springfield; hardcover, 336 pages; Touchstone, list price: $26\u003c/p>\n\u003cp>Which brings me to Rick Springfield: pop singer, soap star, ’80s heartthrob. His memoir, \u003cem>Late, Late at Night, \u003c/em>is like binge drinking. You know it’s a terrible idea, but it’s escapist and addictive; you can’t put it down.\u003c/p>\n\u003cp>His book has everything deliciously tawdry you want from a pop-start memoir. It attempts naked honesty about his roller-coaster career, marriage, depression and sex addiction. If that’s not enough, there are plenty of beefcake photos. Springfield is 61 and looks 38. Sadly, he writes like he’s 19. \u003cem>Late, Late at Night\u003c/em> groans with over-wrought confessions, cocky asides and adolescent soul-searching. There’s loads of bad behavior and contrition, but little real wisdom.\u003c/p>\n\u003cp>Which is a shame, because there’s powerful material here. At 17, Springfield attempted suicide. In 1968, he saw action in Vietnam — as an Australian entertaining the troops. This should be riveting, but his swagger makes it glib.\u003c/p>\n\u003cp>Still, if you ever adored Rick Springfield, you’ll probably do as I did: take him to bed, enjoy him more than you want to admit and hate yourself in the morning. \u003cem>Late Late at Night\u003c/em> is, like its author, unsatisfying but embarrassingly seductive.\u003c/p>\n\u003cp>But what did I expect, really?\u003c/p>\n\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/img/2010/11/05/keith-richards-life_custom.jpg?t=1288987366&s=12\" style=\"float:left;margin-right: 15px;margin-bottom: 10px\" alt=\"Life\">\u003c/p>\n\u003cp>\u003cstrong>Life\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>By Keith Richards with James Fox; hardcover, 576 pages; Little, Brown and Company, list price: $29.99\u003c/p>\n\u003cp>Well, enter Keith Richards and his memoir, \u003cem>Life. \u003c/em>To be fair, I’m a huge Rolling Stones fan. Richards could cough up a hairball and I’d think it was musical genius. Still, his book is surprising.\u003c/p>\n\u003cp>While it opens with a drug bust, ultimately, it isn’t about partying like a rock star but \u003cem>working\u003c/em> like one. We get pages and pages about his craft — how he listened repeatedly to blues albums, figuring out how his musical idols played particular riffs, then removed a string from his guitar to get the Stones’ raunchy, signature sound. The musical obsessions that have compelled him to keep playing for over 50 years seem to get more ink, in the end, than his dish about lovers, heroin, or his complicated relationship with Mick Jagger.\u003c/p>\n\u003cp>Relentless, impassioned and oddly humble, Richards isn’t unconscious in the least — though at times, he’s awesomely un-reflective. His homes and hotel rooms seem to catch fire with alarming frequency. He sleeps with a loaded gun under his pillow and brings his 7-year-old son on tour as his handler: all of this is mentioned without comment.\u003c/p>\n\u003cp>But Richards tells his epic, rock’n’roll life like it is — with salt and candor, and no apologies. The result is a pleasure to read. And there’s nothing guilty about it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"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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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"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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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"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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},
"science-friday": {
"id": "science-friday",
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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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