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"content": "\u003cp>It’s that time of year again. Time to bundle up, walk out into the cold, and… head down to the Herbst Theater for a couple of hours of archival film footage. Sponsored by the \u003ca href=\"http://www.longnow.org/\">Long Now Foundation\u003c/a> and curated by Rick Prelinger, the first person I know of to earn the label \u003ca href=\"http://en.wikipedia.org/wiki/Rick_Prelinger\">guerrilla archivist\u003c/a>, the \u003cb>Lost Landscapes\u003c/b> series has become an annual San Francisco tradition, showcasing the best of whatever leftover industrial videos and home movies Prelinger has added to or discovered in his copious collection since last year.\u003c/p>\n\u003cp>Prelinger started the \u003ca href=\"http://www.archive.org/details/prelinger\">Prelinger Archive\u003c/a> in the early 1980s after coming to the following epiphany: the United States throws out more media than most other countries produce. Prelinger began collecting exactly the kind of films that others found inconsequential: educational films, promotional films, home movies, etc. In 1999, he digitized his collection and made it available for free online (not such a popular decision at the time). Eventually, the archive was bought by the Library of Congress, where it remains, appropriation friendly, in digital perpetuity.\u003c/p>\n\u003cp>My favorite clip from last year’s \u003cb>Lost Landscapes\u003c/b> is a 1969 BART promotional film that combines proud shots of city infrastructure and construction with images of children digging in sandboxes and the sounds of an idealistic folk guitar. The singer croons, “over the hill and all along the way, we’re building a dream for tomorrow.” Ah, progress.\u003c/p>\n\u003cp>Other goodies include \u003cb>Youth on the Street\u003c/b>, black and white footage of two groups of young men loitering on their neighborhood corners, and \u003cb>Wartime Home Movies\u003c/b>, where a mom and dad in Bernal Heights humorously struggle to break ground for their victory garden and their army-enrolled son does handstands and gives his girlfriend flowers before swooping her off her feet.\u003c/p>\n\u003cp>Part of the charm is the films themselves, but the experience of watching images of San Francisco and its citizens roll by you as you engage in a game of recognition and misrecognition with a theater full of strangers and friends is also pretty special. On top of this, Prelinger usually invites a special guest to help him narrate the films.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Unfortunately, the show has become so popular that it sold out within a few days of being announced, although there will be a few walk up tickets available. Lucky for us — and true to Prelinger’s project — the Long Now Foundation makes \u003ca href=\"http://fora.tv/2009/12/04/Rick_Prelinger_Lost_Landscapes_of_San_Francisco_4\">all previous years’ films\u003c/a> available for download.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Lost Landscapes 5\u003c/b> plays at the Herbst Theater on December 16, 2010. For \u003ca href=\"http://www.longnow.org/seminars/02010/dec/16/lost-landscapes-san-francisco-5/\">more information\u003c/a> visit longnow.org.\u003c/p>\n\n",
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"content": "\u003cp>One of the most encouraging trends in classical music these days has been the rise of the multimedia concert event. Whether it’s \u003cb>Video Games Live\u003c/b>, \u003cb>Pictures at an Exhibition\u003c/b> with newly commissioned art, or John Adams’s \u003cb>El Niño\u003c/b> with dancers and projections, it seems as though everyone is recognizing that modern audiences need not only to be immersed in the event, but to know more about it. So it’s refreshing to see an entire festival based on the principle that there’s more to the music than meets the ear. For the last seven years \u003ca href=\"http://musicatmenlo.org/\">Music@Menlo\u003c/a> has invited world-class musicians, artists and teachers to the South Bay for a yearly festival that looks at its theme from multiple angles, in multiple media. This year’s theme is \u003cb>Maps and Legends\u003c/b>, running July 23 through August 14, 2010, with concerts, classes and conversations covering everything from 18th century Venice to fin-de-siècle Paris to the devastation of post-World War II Germany.\u003c/p>\n\u003cp>\u003cb>Music@Menlo\u003c/b> was founded in 2003 by David Finckel, the cellist of the Grammy-Award-winning \u003ca href=\"http://emersonquartet.com/\">Emerson String Quartet\u003c/a>, and his wife, pianist Wu Han, who had already established themselves as pioneers with their owned-and-operated web-based recording label ArtistLed. Music@Menlo was, in a lot of ways, an excuse to do what they loved best: playing chamber music with their enormously talented friends, talking about what went on behind the music, and sharing their passions with each other, with their students, and with anyone who wanted to sit in (i.e., an audience). What they put together is kind of like one of those language-immersion vacations you can take to another country, only here the “country” is a theme, and the sights to see include a visual artist-in-residence (this year, it’s aerial photographer \u003ca href=\"http://alexmaclean.com/\">Alex MacLean\u003c/a>), public master classes with young musicians-in-training, concerts with conversation on the topic at hand, and the chance to get up close and personal with extraordinary musicians like pianists Jeffrey Kahane and Gilbert Kalish, violinists Jorja Fleezanis and Ian Swensen, guitarist Jason Vieaux, mezzo-soprano Sasha Cooke and San Francisco Symphony members Scott Pingel and Jonathan Fischer.\u003c/p>\n\u003cp>The centerpiece of Music@Menlo is always the concert program, but you might learn more from the ancillary events. \u003cb>Maps and Legends\u003c/b> includes \u003cb>The Seasons\u003c/b> (July 23), \u003cb>The English Voice\u003c/b> (July 25-27), \u003cb>Vienna\u003c/b> (July 31 ? August 2), \u003cb>Aftermath: 1945\u003c/b> (August 4-5), \u003cb>La Ville-Lumière: Paris, 1920-28\u003c/b> (August 7), \u003cb>Spanish Inspirations\u003c/b> (August 9-10), and \u003cb>Dvořák’s America\u003c/b> (August 13-14). That may be enough of a journey by itself, but there are also multimedia evenings covering London, Vienna and Paris, informal Cafe Conversations with the musicians, and a chance for the guest artists to indulge in their singular passions, from a Schubert song cycle to 200th anniversary concerts of Chopin and Schumann.\u003c/p>\n\u003cp>But wait, there’s more! Finckel and Han are deeply involved in music education, and part of the Festival’s mission is the training of young musicians. Hearing chamber music at its best is like watching a hockey or basketball team at the top of its game: outstanding individual performances that amount to more than the sum of their parts. It’s a skill that can only be acquired in a group setting, and the \u003cb>Chamber Music Institute\u003c/b> offers talented students from junior high school to pre-professional levels the chance to learn together. If my own student experiences are any guide, these young players are going to have the time of their lives.\u003c/p>\n\u003cp>Music@Menlo runs July 23 through August 14, 2010 with concerts in Atherton, Palo Alto, and Menlo Park, including the new, state-of-the-art Center for the Performing Arts at Menlo-Atherton. From concerts to master classes, exhibitions to encounters, Music@Menlo is a hothouse for listening, learning and experiencing. For \u003ca href=\"http://musicatmenlo.org/\">tickets and information \u003c/a> visit musicatmenlo.org, and find out where \u003cb>Maps and Legends\u003c/b> might lead you.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the most encouraging trends in classical music these days has been the rise of the multimedia concert event. Whether it’s \u003cb>Video Games Live\u003c/b>, \u003cb>Pictures at an Exhibition\u003c/b> with newly commissioned art, or John Adams’s \u003cb>El Niño\u003c/b> with dancers and projections, it seems as though everyone is recognizing that modern audiences need not only to be immersed in the event, but to know more about it. So it’s refreshing to see an entire festival based on the principle that there’s more to the music than meets the ear. For the last seven years \u003ca href=\"http://musicatmenlo.org/\">Music@Menlo\u003c/a> has invited world-class musicians, artists and teachers to the South Bay for a yearly festival that looks at its theme from multiple angles, in multiple media. This year’s theme is \u003cb>Maps and Legends\u003c/b>, running July 23 through August 14, 2010, with concerts, classes and conversations covering everything from 18th century Venice to fin-de-siècle Paris to the devastation of post-World War II Germany.\u003c/p>\n\u003cp>\u003cb>Music@Menlo\u003c/b> was founded in 2003 by David Finckel, the cellist of the Grammy-Award-winning \u003ca href=\"http://emersonquartet.com/\">Emerson String Quartet\u003c/a>, and his wife, pianist Wu Han, who had already established themselves as pioneers with their owned-and-operated web-based recording label ArtistLed. Music@Menlo was, in a lot of ways, an excuse to do what they loved best: playing chamber music with their enormously talented friends, talking about what went on behind the music, and sharing their passions with each other, with their students, and with anyone who wanted to sit in (i.e., an audience). What they put together is kind of like one of those language-immersion vacations you can take to another country, only here the “country” is a theme, and the sights to see include a visual artist-in-residence (this year, it’s aerial photographer \u003ca href=\"http://alexmaclean.com/\">Alex MacLean\u003c/a>), public master classes with young musicians-in-training, concerts with conversation on the topic at hand, and the chance to get up close and personal with extraordinary musicians like pianists Jeffrey Kahane and Gilbert Kalish, violinists Jorja Fleezanis and Ian Swensen, guitarist Jason Vieaux, mezzo-soprano Sasha Cooke and San Francisco Symphony members Scott Pingel and Jonathan Fischer.\u003c/p>\n\u003cp>The centerpiece of Music@Menlo is always the concert program, but you might learn more from the ancillary events. \u003cb>Maps and Legends\u003c/b> includes \u003cb>The Seasons\u003c/b> (July 23), \u003cb>The English Voice\u003c/b> (July 25-27), \u003cb>Vienna\u003c/b> (July 31 ? August 2), \u003cb>Aftermath: 1945\u003c/b> (August 4-5), \u003cb>La Ville-Lumière: Paris, 1920-28\u003c/b> (August 7), \u003cb>Spanish Inspirations\u003c/b> (August 9-10), and \u003cb>Dvořák’s America\u003c/b> (August 13-14). That may be enough of a journey by itself, but there are also multimedia evenings covering London, Vienna and Paris, informal Cafe Conversations with the musicians, and a chance for the guest artists to indulge in their singular passions, from a Schubert song cycle to 200th anniversary concerts of Chopin and Schumann.\u003c/p>\n\u003cp>But wait, there’s more! Finckel and Han are deeply involved in music education, and part of the Festival’s mission is the training of young musicians. Hearing chamber music at its best is like watching a hockey or basketball team at the top of its game: outstanding individual performances that amount to more than the sum of their parts. It’s a skill that can only be acquired in a group setting, and the \u003cb>Chamber Music Institute\u003c/b> offers talented students from junior high school to pre-professional levels the chance to learn together. If my own student experiences are any guide, these young players are going to have the time of their lives.\u003c/p>\n\u003cp>Music@Menlo runs July 23 through August 14, 2010 with concerts in Atherton, Palo Alto, and Menlo Park, including the new, state-of-the-art Center for the Performing Arts at Menlo-Atherton. From concerts to master classes, exhibitions to encounters, Music@Menlo is a hothouse for listening, learning and experiencing. For \u003ca href=\"http://musicatmenlo.org/\">tickets and information \u003c/a> visit musicatmenlo.org, and find out where \u003cb>Maps and Legends\u003c/b> might lead you.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When Buddy Guy takes the stage in Aptos Village Park on Sunday, May 30, 2010 for the \u003cb>Santa Cruz Blues Festival\u003c/b>, he will be on familiar terrain. Guy has been at the top of the Blues Fest bill four times counting this year’s appearance — the others were in 1994, 1998 and 2004 — and this is the third time he’s played on the same day as Coco Montoya.\u003c/p>\n\u003cp>Which is not to say that the Memorial Day weekend festival is in a rut when it comes to booking acts. In fact, 2010 brings one of the most diverse lineups in years.\u003c/p>\n\u003cp>Saturday begins especially strong with Eric Lindell, a newcomer who blends Clapton-like chops with New Orleans funk. More New Orleans influences are on tap with Ivan Neville’s Dumpstaphunk, which features a pair of Nevilles (the name is music royalty in the Crescent City) as well as a pair of bassists.\u003c/p>\n\u003cp>Artist and folk-rocker Joseph Arthur, who began his music career opening for Ben Harper, continues the day’s less-than-pure-blues theme. Then comes Taj Mahal, who you’d think might be as much of a Blues Fest mainstay as Buddy Guy, but is actually making his first appearance here. Mahal, whose style is sort of a blues-meets-world-music hybrid, is the opposite of Arthur when it comes to the day’s headliner, Ben Harper, Mahal actually gave Harper his start when he took the slide guitar wizard on tour with him.\u003c/p>\n\u003cp>For his part, Harper has become enough of a fixture on the pop-culture landscape that no one blinked twice when he appeared alongside comedian Will Ferrell, Billy Gibbons of ZZ top, and Beck for a rendition of the most clichéd and requested of all rock anthems, “Free Bird,” at the end of Conan O’Brien’s final \u003cb>Tonight Show\u003c/b>. After the upcoming gig in Santa Cruz, which is his only Northern California stop this summer, Harper and his band, Relentless 7, head to Europe to open a string of dates for Pearl Jam and headline a few of their own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sunday is the day for blues traditionalists, although it won’t begin that way. Was Not Was opens the show, with Sweet Pea Atkinson and Sir Harry Bowens on soulful vocals, Randy Jacobs of the Boneshakers on guitar, and Don Was on bass. (Was just finished producing 10 previously unreleased tracks for the re-release of \u003cb>Exile on Main Street\u003c/b> by some band from England called the Rolling Stones…)\u003c/p>\n\u003cp>Eric Burdon and the Animals will bring back the ’60s with a slew of their hits, while guitarist Coco Montoya will show everyone why he was tapped by John Mayall to join the blue-eyed bluesman’s legendary Bluesbreakers. By mid-afternoon, husband-and-wife team Derek Trucks and Susan Tedeschi, he of Allman Brothers fame and she of, well, Susan Tedeschi fame, will continue the day’s guitar-heavy vein. And then Chicago’s Buddy Guy, perhaps the most influential blues guitarist of the second half of the 20th century, closes out the day with what promises to be a spirited show from one of the few blues artists inducted in the Rock and Roll Hall of Fame. \u003c/p>\n\u003cp>Before you go, a couple of logistical tips: First, the pricier tickets for the seats up front are totally worth it. Second, since parking is at an offsite lot and you need to rely on the festival buses to get you back to your car, you need to plan your escape. If you insist on beating the lines, expect to miss the last 15 minutes of so of Guy or Harper in order to do so. Otherwise, be prepared to dawdle a bit — it’s far more pleasant to hang out in the park waiting for the bus lines to thin out than it is to wait in the lines themselves.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Santa Cruz Blues Festival\u003c/b> is held on Memorial Day weekend, May 29 and 30, 2010. For \u003ca href=\"http://www.santacruzbluesfestival.com/index.php\">tickets and information\u003c/a>, visit santacruzbluesfestival.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Buddy Guy takes the stage in Aptos Village Park on Sunday, May 30, 2010 for the \u003cb>Santa Cruz Blues Festival\u003c/b>, he will be on familiar terrain. Guy has been at the top of the Blues Fest bill four times counting this year’s appearance — the others were in 1994, 1998 and 2004 — and this is the third time he’s played on the same day as Coco Montoya.\u003c/p>\n\u003cp>Which is not to say that the Memorial Day weekend festival is in a rut when it comes to booking acts. In fact, 2010 brings one of the most diverse lineups in years.\u003c/p>\n\u003cp>Saturday begins especially strong with Eric Lindell, a newcomer who blends Clapton-like chops with New Orleans funk. More New Orleans influences are on tap with Ivan Neville’s Dumpstaphunk, which features a pair of Nevilles (the name is music royalty in the Crescent City) as well as a pair of bassists.\u003c/p>\n\u003cp>Artist and folk-rocker Joseph Arthur, who began his music career opening for Ben Harper, continues the day’s less-than-pure-blues theme. Then comes Taj Mahal, who you’d think might be as much of a Blues Fest mainstay as Buddy Guy, but is actually making his first appearance here. Mahal, whose style is sort of a blues-meets-world-music hybrid, is the opposite of Arthur when it comes to the day’s headliner, Ben Harper, Mahal actually gave Harper his start when he took the slide guitar wizard on tour with him.\u003c/p>\n\u003cp>For his part, Harper has become enough of a fixture on the pop-culture landscape that no one blinked twice when he appeared alongside comedian Will Ferrell, Billy Gibbons of ZZ top, and Beck for a rendition of the most clichéd and requested of all rock anthems, “Free Bird,” at the end of Conan O’Brien’s final \u003cb>Tonight Show\u003c/b>. After the upcoming gig in Santa Cruz, which is his only Northern California stop this summer, Harper and his band, Relentless 7, head to Europe to open a string of dates for Pearl Jam and headline a few of their own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sunday is the day for blues traditionalists, although it won’t begin that way. Was Not Was opens the show, with Sweet Pea Atkinson and Sir Harry Bowens on soulful vocals, Randy Jacobs of the Boneshakers on guitar, and Don Was on bass. (Was just finished producing 10 previously unreleased tracks for the re-release of \u003cb>Exile on Main Street\u003c/b> by some band from England called the Rolling Stones…)\u003c/p>\n\u003cp>Eric Burdon and the Animals will bring back the ’60s with a slew of their hits, while guitarist Coco Montoya will show everyone why he was tapped by John Mayall to join the blue-eyed bluesman’s legendary Bluesbreakers. By mid-afternoon, husband-and-wife team Derek Trucks and Susan Tedeschi, he of Allman Brothers fame and she of, well, Susan Tedeschi fame, will continue the day’s guitar-heavy vein. And then Chicago’s Buddy Guy, perhaps the most influential blues guitarist of the second half of the 20th century, closes out the day with what promises to be a spirited show from one of the few blues artists inducted in the Rock and Roll Hall of Fame. \u003c/p>\n\u003cp>Before you go, a couple of logistical tips: First, the pricier tickets for the seats up front are totally worth it. Second, since parking is at an offsite lot and you need to rely on the festival buses to get you back to your car, you need to plan your escape. If you insist on beating the lines, expect to miss the last 15 minutes of so of Guy or Harper in order to do so. Otherwise, be prepared to dawdle a bit — it’s far more pleasant to hang out in the park waiting for the bus lines to thin out than it is to wait in the lines themselves.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Santa Cruz Blues Festival\u003c/b> is held on Memorial Day weekend, May 29 and 30, 2010. For \u003ca href=\"http://www.santacruzbluesfestival.com/index.php\">tickets and information\u003c/a>, visit santacruzbluesfestival.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In making his movie \u003cb>Tenderloin\u003c/b>, Marin-based director Michael Anderson had a few disadvantages.\u003c/p>\n\u003cp>First, it would seem that he is not the other, more famous Michael Anderson — the Oscar-nominated British director of, among other things, \u003cb>The Dam Busters\u003c/b>, \u003cb>Around the World in Eighty Days\u003c/b> and \u003cb>Logan’s Run\u003c/b>.\u003c/p>\n\u003cp>Second, the provenance of our Anderson’s film, while self-evident to denizens of San Francisco, might strike more far-flung viewers as misleading. Alas, this is not a movie about a luxurious cut of beef. It is a movie about the city’s most famously downtrodden neighborhood.\u003c/p>\n\u003cp>It is also the setting of local filmmaker Rob Nilsson’s \u003cb>9 @ Night\u003c/b> cycle of interconnected, community-made feature films, which premiered here two years ago and remains in its way definitive, a tough act to follow. Which is not to say that there’s only one way (or nine ways) to make a movie about a place like this.\u003c/p>\n\u003cp>Downtrodden, yes. Famously? Was that the right word? Well, after that \u003ca href=\"http://www.nytimes.com/2010/04/12/us/12tenderloin.html?adxnnl=1&emc=eta1&adxnnlx=1273600869-pOA6OmLHzdKwAgocZGgVbQ\">article about Tenderloin tourism\u003c/a> in the \u003ci>New York Times\u003c/i> the other day, it might soon be. And perhaps this fact constitutes the thorniest of Anderson’s disadvantages: the potential for the romanticization of disadvantage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To be sure, \u003cb>Tenderloin\u003c/b>, has an amateurish air, but that’s at least in part because it’s obviously a labor of love, self-evidently so affectionate toward the beleaguered neighborhood. We can tell right away this isn’t some slick glossing over by a Hollywood carpetbagger. Anderson doesn’t flinch from squalor. If anything, he almost revels in it.\u003c/p>\n\u003cp>Kurt Yaeger plays Ben, an Iraq war veteran whose tour of duty in Fallujah cost him a leg and whose subsequent anger mismanagement cost him a happily-ever-after life with his wife and young son. Now he’s found work as the manager of a local residential hotel, fixing skuzzy toilets, dodging all manner of neighborhood menace and trying to avoid handing out eviction notices on behalf his sleazebag boss.\u003c/p>\n\u003cp>Ned Miller’s script seems occasionally confused and often contrived, but it is not without a certain rangy, streety charm. Its central concern, expressed clearly enough, is the question of whether Ben will be stuck here, just one more permanent transient with nowhere left to go, or if the Tenderloin can offer him, at last, a community to which he belongs. His neighbors are a motley but affable bunch, many contending with vicious cycles of their own. As one new friend, a sweetly flirty tranny, puts it, “I hook because I need the junk; I need the junk because I hook.” Another, when told he needs to get a life, says, “They don’t make ’em in my size.”\u003c/p>\n\u003cp>Anderson also has helped his cause by stocking his cast with compellingly lived-in faces (some of them familiar to Bay Area theater and movie loyalists). Where the dramatics of \u003cb>Tenderloin\u003c/b> don’t always succeed, its portraiture of place seems impeccably genuine.\u003c/p>\n\u003cp>Which perhaps goes to show, as anyone who’s ever spent any time in the Tenderloin probably already knows, that being no stranger to disadvantage sometimes can become an advantage.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Tenderloin\u003c/b> plays Wednesday, May 12, 2010 at the Christopher B. Smith Rafael Film Center in San Rafael, with director Michael Anderson, screenwriter Ned Miller and star Kurt Yaeger in person. For \u003ca href=\"http://www.cafilm.org\">tickets and information\u003c/a>, visit cafilm.org.\u003c/p>\n\n",
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"content": "\u003cp>To prepare for getting the word out about Other Cinema’s \u003cb>Stereo Sound and Vision\u003c/b> 3D extravaganza this Saturday at the ATA, I contacted the evening’s featured performer, locally-based moving-image artist Kerry Laitala, and asked for a sneak peek at her recent work.\u003c/p>\n\u003cp>Laitala kindly supplied me with a vividly colorful little hand-made press kit, containing a DVD, some notes, and a pair of ChromaDepth 3D glasses, recommended for the optimal viewing experience. I noticed in the notes that she doesn’t call them films. She calls them “some 3D color/light/motion experiments.”\u003c/p>\n\u003cp>That’s deep. No, really, it is. Like, literally: 3D deep. ChromaDepth is a stereoscopic color diffraction effect that brings planes of depth — a distinctly “whoa-cool” foreground and background — into view. It’s the difference between looking at an image and looking inside it. And Laitala does wonders with it.\u003c/p>\n\u003cp>Of course, watching 3D color/light/motion experiments at home on the plasma screen is not truly optimal, but the glasses helped. It was tempting, and enlightening, to flip them off and on to see the difference they make. But it was also dangerous. Inside the frames, where it says, “Do not look into the sun with glasses,” it should also say, “Keep the glasses on, or off, but make up your mind or else your mind will ache.”\u003c/p>\n\u003cp>On Saturday, Laitala will be showing her stuff with a live performance by the electronically infectious bleep-booping Bay Area music concern known as Eats Tapes. You may know Eats Tapes from such compositions as “Face Shredder” and “Yes You Didn’t.” Well, now you do, anyway.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So, to approximate this scene, I called up Eats Tapes’ Myspace page, then donned some fancy headphones and of course the ChromaDepth specs (“not for extended wear, performing physical activity, driving or operating machinery”), and let fly with the kaleidoscopic crystalline abstractions, brightly throbbing pustules and blurred, blinking orbs of Laitala’s \u003cb>Chromatic Frenzy\u003c/b>, one of the definites in Saturday’s show. She describes this otherwise silent work as “a colorful cauldron where primaries are mixed to create a cornucopia of suspended and refracted spectrums of light.” Yes, that, or a narrowly averted lysergic catastrophe. Or maybe an inventive elaboration on some fond memory of original-series \u003cb>Star Trek\u003c/b> special effects. \u003cb>Chromatic Frenzy\u003c/b>, like a lot of Laitala’s work, can be many things to many people. It’s brilliant. Also, it works well with sounds made by Eats Tapes.\u003c/p>\n\u003cp>The evening will also include multi-screen works by Pad McLaughlin and Bob Bloomberg, plus Oakland artist Walter Funk’s \u003cb>Hologlyphics\u003c/b>, a live-action abstract sonic animation installation so insanely 3D that you don’t even need the glasses.\u003c/p>\n\u003cp>Wow. It just keeps getting deeper.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Stereo Sound and Vision\u003c/b> will appear on Saturday, April 24, 2010 at 8:30pm at Artists Television Access, 992 Valencia Street in San Francisco. For \u003ca href=\"http://www.othercinema.com\">more information\u003c/a>, visit othercinema.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To prepare for getting the word out about Other Cinema’s \u003cb>Stereo Sound and Vision\u003c/b> 3D extravaganza this Saturday at the ATA, I contacted the evening’s featured performer, locally-based moving-image artist Kerry Laitala, and asked for a sneak peek at her recent work.\u003c/p>\n\u003cp>Laitala kindly supplied me with a vividly colorful little hand-made press kit, containing a DVD, some notes, and a pair of ChromaDepth 3D glasses, recommended for the optimal viewing experience. I noticed in the notes that she doesn’t call them films. She calls them “some 3D color/light/motion experiments.”\u003c/p>\n\u003cp>That’s deep. No, really, it is. Like, literally: 3D deep. ChromaDepth is a stereoscopic color diffraction effect that brings planes of depth — a distinctly “whoa-cool” foreground and background — into view. It’s the difference between looking at an image and looking inside it. And Laitala does wonders with it.\u003c/p>\n\u003cp>Of course, watching 3D color/light/motion experiments at home on the plasma screen is not truly optimal, but the glasses helped. It was tempting, and enlightening, to flip them off and on to see the difference they make. But it was also dangerous. Inside the frames, where it says, “Do not look into the sun with glasses,” it should also say, “Keep the glasses on, or off, but make up your mind or else your mind will ache.”\u003c/p>\n\u003cp>On Saturday, Laitala will be showing her stuff with a live performance by the electronically infectious bleep-booping Bay Area music concern known as Eats Tapes. You may know Eats Tapes from such compositions as “Face Shredder” and “Yes You Didn’t.” Well, now you do, anyway.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So, to approximate this scene, I called up Eats Tapes’ Myspace page, then donned some fancy headphones and of course the ChromaDepth specs (“not for extended wear, performing physical activity, driving or operating machinery”), and let fly with the kaleidoscopic crystalline abstractions, brightly throbbing pustules and blurred, blinking orbs of Laitala’s \u003cb>Chromatic Frenzy\u003c/b>, one of the definites in Saturday’s show. She describes this otherwise silent work as “a colorful cauldron where primaries are mixed to create a cornucopia of suspended and refracted spectrums of light.” Yes, that, or a narrowly averted lysergic catastrophe. Or maybe an inventive elaboration on some fond memory of original-series \u003cb>Star Trek\u003c/b> special effects. \u003cb>Chromatic Frenzy\u003c/b>, like a lot of Laitala’s work, can be many things to many people. It’s brilliant. Also, it works well with sounds made by Eats Tapes.\u003c/p>\n\u003cp>The evening will also include multi-screen works by Pad McLaughlin and Bob Bloomberg, plus Oakland artist Walter Funk’s \u003cb>Hologlyphics\u003c/b>, a live-action abstract sonic animation installation so insanely 3D that you don’t even need the glasses.\u003c/p>\n\u003cp>Wow. It just keeps getting deeper.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Stereo Sound and Vision\u003c/b> will appear on Saturday, April 24, 2010 at 8:30pm at Artists Television Access, 992 Valencia Street in San Francisco. For \u003ca href=\"http://www.othercinema.com\">more information\u003c/a>, visit othercinema.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>South by Southwest 2010 just wrapped up in Austin, Texas, leaving a tidal wave of ringing ears, exhausted bands, and permanently hungover attendees in its wake. I enjoy being a skeptic (and, perhaps, a cynic) about the value that SXSW can provide to any band hoping to set itself apart from the 1000+ other groups playing shows during the week, but the fact remains that I saw a ton of exciting new music over the past week.\u003c/p>\n\u003cp>Lo-fi sounds continue to dominate blog buzz, which meant that everyone-and-their-mothers’ garage-inspired groups were performing in Austin this year. Despite the overwhelming amount of bands crafting reverby pop, a few definitely managed to stand out. I’d seen New Jersey’s \u003ca href=\"http://www.myspace.com/realestate\">Real Estate\u003c/a> in SF earlier, but also caught one of the band’s ten shows at SXSW. The quartet’s self-titled record is excellent and their live performances vibrantly capture its beach pop jangle.\u003c/p>\n\u003cp>The real discovery for me on the lo-fi front has to be Los Angeles’ \u003ca href=\"http://www.myspace.com/dumdumgirls\">Dum Dum Girls\u003c/a>, whose debut full length comes out on Sub Pop at the end of the month. Of the many ’60s-referencing bands around today, the Girls may be the most truly Spectorian, a group of impeccably dressed attractive women who play crazy-catchy backbeat-driven songs with strong three part harmonies. While the band members’ outfits were more goth than girl group, their lyrics seize on the melodrama intrinsic to both genres. Despite the girl group feel, there’s no Svengali at work behind the scenes — the band emerged from the solo writing and recording of leader Dee Dee, who appropriately deems the band’s sound “blissed-out buzz saw.”\u003c/p>\n\u003cp>On the Bay Area front, SXSW couldn’t have been better positioned for the Berkeley-born \u003ca href=\"http://www.myspace.com/themorningbenders\">The Morning Benders\u003c/a>, whose new album \u003cstrong>Big Echo\u003c/strong> was deemed “Best New Music” by Pitchfork just as the festival began. The overwhelmingly positive press for \u003cstrong>Big Echo\u003c/strong> is well-earned. It’s a terrifically lush and ambitious album that reinvents a band known for Beatles-esque linear pop-rock as one more interested in ambitious atmospheric indie rock. I caught the band’s first SXSW show on Wednesday, which, although hampered by some sound issues and cut too short, still managed to offer pieces of the new record’s grand, haunting swells. Better to check them out, I think, on the band’s headlining national tour, which comes to San Francisco on March 31st.\u003c/p>\n\u003cp>SXSW also offers me an opportunity to offer a mea culpa to \u003ca href=\"http://www.myspace.com/thexx\">The xx\u003c/a>, the British band who has soared to prominence on their 2009 debut, \u003cstrong>xx\u003c/strong>. I’ll confess to being a little underwhelmed by the record, given all of the hype, but I found myself quite impressed by a live set I caught last week. The record’s got plenty of perfectly catchy songs, but it’s also incredibly understated for my liking. Live, however, the bass and live-triggered drums are louder, more throbbing and insistent, making for a highly enjoyable set that felt human and vulnerable. When I listen to the album next, I’m planning on messing with my stereo to try and duplicate the same results.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not every set, though, was similarly revelatory. One of the most buzzed-about acts \u003ca href=\"http://www.myspace.com/brokenbells\">Broken Bells\u003c/a>, the new collaborative effort between producer Danger Mouse and The Shins’ James Mercer, left me surprisingly indifferent. Beyond the pedigree, I’m truly confused about the hype here, as the project seems to have neither Danger Mouse’s skill for creative sounds (demonstrated best in his work with Gnarls Barkley and Gorillaz) nor The Shins’ sublimely upbeat hooks. Instead, the group seems mired in a mid-tempo drudge that’s not bad so much as it is unmemorable.\u003c/p>\n\u003cp>A better new band to check out would be \u003ca href=\"http://www.myspace.com/freelancewhales\">Freelance Whales\u003c/a>, whose debut album \u003cstrong>Weathervanes\u003c/strong> gets reissued on Frenchkiss/Mom and Pop on April 13th. Splitting the difference between big-sounding chamber rock bands like The Arcade Fire and more intimate ones like The Hidden Cameras, Freelance Whales layer keyboards, guitars, a banjo and a harmonium under some great group vocals. It’s all very, very catchy, even, perhaps, a little twee, but I think everyone needs a little sugar in their diets.\u003c/p>\n\u003cp>But a diet doesn’t need too much Tex-Mex or barbecue, two delicious tastes I’ll be happy to avoid for another year until the allure of seeing another 70+ bands in 4 days becomes too much to resist and I’m once again back in Texas. You win again, South by Southwest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director for \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>South by Southwest 2010 just wrapped up in Austin, Texas, leaving a tidal wave of ringing ears, exhausted bands, and permanently hungover attendees in its wake. I enjoy being a skeptic (and, perhaps, a cynic) about the value that SXSW can provide to any band hoping to set itself apart from the 1000+ other groups playing shows during the week, but the fact remains that I saw a ton of exciting new music over the past week.\u003c/p>\n\u003cp>Lo-fi sounds continue to dominate blog buzz, which meant that everyone-and-their-mothers’ garage-inspired groups were performing in Austin this year. Despite the overwhelming amount of bands crafting reverby pop, a few definitely managed to stand out. I’d seen New Jersey’s \u003ca href=\"http://www.myspace.com/realestate\">Real Estate\u003c/a> in SF earlier, but also caught one of the band’s ten shows at SXSW. The quartet’s self-titled record is excellent and their live performances vibrantly capture its beach pop jangle.\u003c/p>\n\u003cp>The real discovery for me on the lo-fi front has to be Los Angeles’ \u003ca href=\"http://www.myspace.com/dumdumgirls\">Dum Dum Girls\u003c/a>, whose debut full length comes out on Sub Pop at the end of the month. Of the many ’60s-referencing bands around today, the Girls may be the most truly Spectorian, a group of impeccably dressed attractive women who play crazy-catchy backbeat-driven songs with strong three part harmonies. While the band members’ outfits were more goth than girl group, their lyrics seize on the melodrama intrinsic to both genres. Despite the girl group feel, there’s no Svengali at work behind the scenes — the band emerged from the solo writing and recording of leader Dee Dee, who appropriately deems the band’s sound “blissed-out buzz saw.”\u003c/p>\n\u003cp>On the Bay Area front, SXSW couldn’t have been better positioned for the Berkeley-born \u003ca href=\"http://www.myspace.com/themorningbenders\">The Morning Benders\u003c/a>, whose new album \u003cstrong>Big Echo\u003c/strong> was deemed “Best New Music” by Pitchfork just as the festival began. The overwhelmingly positive press for \u003cstrong>Big Echo\u003c/strong> is well-earned. It’s a terrifically lush and ambitious album that reinvents a band known for Beatles-esque linear pop-rock as one more interested in ambitious atmospheric indie rock. I caught the band’s first SXSW show on Wednesday, which, although hampered by some sound issues and cut too short, still managed to offer pieces of the new record’s grand, haunting swells. Better to check them out, I think, on the band’s headlining national tour, which comes to San Francisco on March 31st.\u003c/p>\n\u003cp>SXSW also offers me an opportunity to offer a mea culpa to \u003ca href=\"http://www.myspace.com/thexx\">The xx\u003c/a>, the British band who has soared to prominence on their 2009 debut, \u003cstrong>xx\u003c/strong>. I’ll confess to being a little underwhelmed by the record, given all of the hype, but I found myself quite impressed by a live set I caught last week. The record’s got plenty of perfectly catchy songs, but it’s also incredibly understated for my liking. Live, however, the bass and live-triggered drums are louder, more throbbing and insistent, making for a highly enjoyable set that felt human and vulnerable. When I listen to the album next, I’m planning on messing with my stereo to try and duplicate the same results.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not every set, though, was similarly revelatory. One of the most buzzed-about acts \u003ca href=\"http://www.myspace.com/brokenbells\">Broken Bells\u003c/a>, the new collaborative effort between producer Danger Mouse and The Shins’ James Mercer, left me surprisingly indifferent. Beyond the pedigree, I’m truly confused about the hype here, as the project seems to have neither Danger Mouse’s skill for creative sounds (demonstrated best in his work with Gnarls Barkley and Gorillaz) nor The Shins’ sublimely upbeat hooks. Instead, the group seems mired in a mid-tempo drudge that’s not bad so much as it is unmemorable.\u003c/p>\n\u003cp>A better new band to check out would be \u003ca href=\"http://www.myspace.com/freelancewhales\">Freelance Whales\u003c/a>, whose debut album \u003cstrong>Weathervanes\u003c/strong> gets reissued on Frenchkiss/Mom and Pop on April 13th. Splitting the difference between big-sounding chamber rock bands like The Arcade Fire and more intimate ones like The Hidden Cameras, Freelance Whales layer keyboards, guitars, a banjo and a harmonium under some great group vocals. It’s all very, very catchy, even, perhaps, a little twee, but I think everyone needs a little sugar in their diets.\u003c/p>\n\u003cp>But a diet doesn’t need too much Tex-Mex or barbecue, two delicious tastes I’ll be happy to avoid for another year until the allure of seeing another 70+ bands in 4 days becomes too much to resist and I’m once again back in Texas. You win again, South by Southwest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director for \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "James Greer: The Failure",
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"content": "\u003cp>Welcome to March, aka Small Press Month. Not that you would know — there is not a lot of publicity or discussion surrounding the event. From the surface-level research I’ve done, Small Press Month boils down to a \u003ca>website\u003c/a> that offers free posters and encourages people to hold their own Small Press Month events. It’s also populated with inspirational quotes, like this one from Kay Ryan: “Small presses take chances. Chances are at the heart of all literature we later know as great.” This is your Poet Laureate, people. Listen up. You live in a city with venues that celebrate Small Press Month, so make the most of it.\u003c/p>\n\u003cp>Of course, one possible outcome of this wild thing known as chance-taking is a crappy book. And there are plenty out there. Luckily, James Greer’s newest release, \u003cb>The Failure\u003c/b>, published by \u003ca>Akashic Books\u003c/a>, is not one of these. \u003cb>The Failure\u003c/b> represents all things good about the possibilities of small press publishing: an over-the-top and enjoyable plot with witty writing that sustains its cleverness without becoming one-dimensional. It is just offbeat enough that it’s hard to imagine the book getting a chance from a major publishing house.\u003c/p>\n\u003cp>The Failure’s protagonist is Guy Forget (Ghee For-zhay). Seen as an underachiever by his family and an ambitious underachiever by his friends, Guy is “the failure” of \u003cb>The Failure\u003c/b>. Then again, so is (arguably) everyone and everything else. \u003cb>The Failure\u003c/b> revolves around Guy’s plot to obtain $50,000, which he needs to fund a demo-version of a subliminal Internet advertising application called Pandemonium:\u003c/p>\n\u003cp>“So that’s, like, more or less how it works.\u003c/p>\n\u003cp>How what works? asked one of the investors.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pandemonium. I just demonstrated it.\u003c/p>\n\u003cp>What do you mean?\u003c/p>\n\u003cp>When you clicked on that website, you got advertised to. Or however you want to say it.\u003c/p>\n\u003cp>I didn’t see anything, said one of the investors.\u003c/p>\n\u003cp>Didn’t you?\u003c/p>\n\u003cp>No.\u003c/p>\n\u003cp>Exactly.”\u003c/p>\n\u003cp>Central to Guy’s plan is an event subsequently known only as the Korean Check-Cashing Fiasco — so central, in fact, that every chapter of the novel is titled based on its chronological relationship to said event. Don’t imagine a countdown, however. The plot structure defies linearity. And, just in case you aren’t already clear that nothing turns out as planned, note again the use of the words “failure” and “fiasco.” I will also tell you up front that Greer opens the novel by telling us that Guy ends up in a coma, missing a legal inheritance of $50,000 by a matter of a hours.\u003c/p>\n\u003cp>Sucking a reader into your narrative by revealing its end before you’ve explained its beginning is a time-honored tradition, and even without the humor of Greer’s writing, the technique might have worked on me. But I have to say that the pleasure of encountering phrases like “emotional humidity” or sentences such as “Damien Hirst does not travel light, entouragely speaking,” elevated \u003cb>The Failure\u003c/b> beyond what its plot could have achieved alone. “I am more complex than I am,” says Guy’s friend Billy in response to the comment that he’s trying to make himself more complex than he is. Of course.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>James Greer will be \u003ca>reading at City Lights Books\u003c/a> on March 16, 2010, along with Mark Gluth and Dennis Cooper, who edits the \u003ca href=\"http://www.akashicbooks.com/dcstatement.htm\">Little House on the Bowery\u003c/a> arm of Akashic Books and is responsible for bringing forth \u003cb>The Failure\u003c/b>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to March, aka Small Press Month. Not that you would know — there is not a lot of publicity or discussion surrounding the event. From the surface-level research I’ve done, Small Press Month boils down to a \u003ca>website\u003c/a> that offers free posters and encourages people to hold their own Small Press Month events. It’s also populated with inspirational quotes, like this one from Kay Ryan: “Small presses take chances. Chances are at the heart of all literature we later know as great.” This is your Poet Laureate, people. Listen up. You live in a city with venues that celebrate Small Press Month, so make the most of it.\u003c/p>\n\u003cp>Of course, one possible outcome of this wild thing known as chance-taking is a crappy book. And there are plenty out there. Luckily, James Greer’s newest release, \u003cb>The Failure\u003c/b>, published by \u003ca>Akashic Books\u003c/a>, is not one of these. \u003cb>The Failure\u003c/b> represents all things good about the possibilities of small press publishing: an over-the-top and enjoyable plot with witty writing that sustains its cleverness without becoming one-dimensional. It is just offbeat enough that it’s hard to imagine the book getting a chance from a major publishing house.\u003c/p>\n\u003cp>The Failure’s protagonist is Guy Forget (Ghee For-zhay). Seen as an underachiever by his family and an ambitious underachiever by his friends, Guy is “the failure” of \u003cb>The Failure\u003c/b>. Then again, so is (arguably) everyone and everything else. \u003cb>The Failure\u003c/b> revolves around Guy’s plot to obtain $50,000, which he needs to fund a demo-version of a subliminal Internet advertising application called Pandemonium:\u003c/p>\n\u003cp>“So that’s, like, more or less how it works.\u003c/p>\n\u003cp>How what works? asked one of the investors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pandemonium. I just demonstrated it.\u003c/p>\n\u003cp>What do you mean?\u003c/p>\n\u003cp>When you clicked on that website, you got advertised to. Or however you want to say it.\u003c/p>\n\u003cp>I didn’t see anything, said one of the investors.\u003c/p>\n\u003cp>Didn’t you?\u003c/p>\n\u003cp>No.\u003c/p>\n\u003cp>Exactly.”\u003c/p>\n\u003cp>Central to Guy’s plan is an event subsequently known only as the Korean Check-Cashing Fiasco — so central, in fact, that every chapter of the novel is titled based on its chronological relationship to said event. Don’t imagine a countdown, however. The plot structure defies linearity. And, just in case you aren’t already clear that nothing turns out as planned, note again the use of the words “failure” and “fiasco.” I will also tell you up front that Greer opens the novel by telling us that Guy ends up in a coma, missing a legal inheritance of $50,000 by a matter of a hours.\u003c/p>\n\u003cp>Sucking a reader into your narrative by revealing its end before you’ve explained its beginning is a time-honored tradition, and even without the humor of Greer’s writing, the technique might have worked on me. But I have to say that the pleasure of encountering phrases like “emotional humidity” or sentences such as “Damien Hirst does not travel light, entouragely speaking,” elevated \u003cb>The Failure\u003c/b> beyond what its plot could have achieved alone. “I am more complex than I am,” says Guy’s friend Billy in response to the comment that he’s trying to make himself more complex than he is. Of course.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>James Greer will be \u003ca>reading at City Lights Books\u003c/a> on March 16, 2010, along with Mark Gluth and Dennis Cooper, who edits the \u003ca href=\"http://www.akashicbooks.com/dcstatement.htm\">Little House on the Bowery\u003c/a> arm of Akashic Books and is responsible for bringing forth \u003cb>The Failure\u003c/b>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Viewing a film has tremendous mystical implications,” Nathaniel Dorsky writes in his 2003 lecture-cum-monograph \u003cb>Devotional Cinema\u003c/b>. “It can be, at its best, a way of approaching and manifesting the ineffable. This respect for the ineffable is an essential aspect of devotion.”\u003c/p>\n\u003cp>That’s as good an introduction as any to Dorsky’s own work, and a relief, as his are precisely the sort of ephemeral, experimental short subjects for which attempts at written elucidation seem — well, if not futile, then certainly at risk of disrespecting the ineffable. And maybe that’s all you really need to know before going to see the San Francisco artist demonstrate his secular visual liturgy in four installments at the Pacific Film Archive this evening.\u003c/p>\n\u003cp>Introspective is a word that occurs a lot in conversations about Dorsky, and so it should given his films’ solitude-reinforcing silence, but what about his way, too, of looking so intently \u003ci>out\u003c/i> at the world, and at its abundance? What about his prioritization of peripheral mysteries?\u003c/p>\n\u003cp>By so mindfully observing the undulations of natural and manmade textures that inspire and apparently surround him, Dorsky somehow achieves translucence and opacity at the same time. It’s weird, and beautiful. Sometimes there is the feeling of allowing your eyes to relax their focus, and the enthralling new way of seeing that results. Often there is a feeling of closeness to what’s being seen. It can be intimate.\u003c/p>\n\u003cp>“If a film fails to take advantage of the self-existing magic of things, if it uses objects merely to mean something,” he writes, “it has thrown away one of its great possibilities.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This must at least partly explain how all those blossom blasts and gleaming water beads and cloud-smudged celestial objects, so alertly enshrined in the matte hues of a now-extinct film stock, could still seem so vital and so much truer than, for instance, anything you’ll see in \u003cb>Avatar\u003c/b>.\u003c/p>\n\u003cp>Dorsky showed a couple of these films, \u003cb>Sarabande\u003c/b> and \u003cb>Winter\u003c/b>, at SFMOMA at around this time last year. Discussing them afterward, he described, among other things, the San Francisco winter, an “odd, long dissolve between autumn and spring” that took him 20 years to like and presumably at least one more to make a 22-minute movie about. So that’s devotion.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dorsky-compline.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>As its title suggests, \u003cb>Compline\u003c/b>, one of this evening’s two premieres, could be said to be seeking a kind of closure. But it’s no surprise that for Dorsky, closure can be an opening. The other premiere is called \u003cb>Aubade\u003c/b>, and he only finished it just recently.\u003c/p>\n\u003cp>“An aubade,” Dorsky reminds us, “is a poem or morning song evoking the first rays of the sun at daybreak. Often, it includes the atmosphere of lovers parting. This film is my first venture into shooting in color negative after having spent a lifetime shooting Kodachrome. In some sense, it is a new beginning for me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb> Four by Nathaniel Dorsky\u003c/b>, with the filmmaker in person, Tuesday February 23, 2010, 7:30pm at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu\">more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Viewing a film has tremendous mystical implications,” Nathaniel Dorsky writes in his 2003 lecture-cum-monograph \u003cb>Devotional Cinema\u003c/b>. “It can be, at its best, a way of approaching and manifesting the ineffable. This respect for the ineffable is an essential aspect of devotion.”\u003c/p>\n\u003cp>That’s as good an introduction as any to Dorsky’s own work, and a relief, as his are precisely the sort of ephemeral, experimental short subjects for which attempts at written elucidation seem — well, if not futile, then certainly at risk of disrespecting the ineffable. And maybe that’s all you really need to know before going to see the San Francisco artist demonstrate his secular visual liturgy in four installments at the Pacific Film Archive this evening.\u003c/p>\n\u003cp>Introspective is a word that occurs a lot in conversations about Dorsky, and so it should given his films’ solitude-reinforcing silence, but what about his way, too, of looking so intently \u003ci>out\u003c/i> at the world, and at its abundance? What about his prioritization of peripheral mysteries?\u003c/p>\n\u003cp>By so mindfully observing the undulations of natural and manmade textures that inspire and apparently surround him, Dorsky somehow achieves translucence and opacity at the same time. It’s weird, and beautiful. Sometimes there is the feeling of allowing your eyes to relax their focus, and the enthralling new way of seeing that results. Often there is a feeling of closeness to what’s being seen. It can be intimate.\u003c/p>\n\u003cp>“If a film fails to take advantage of the self-existing magic of things, if it uses objects merely to mean something,” he writes, “it has thrown away one of its great possibilities.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This must at least partly explain how all those blossom blasts and gleaming water beads and cloud-smudged celestial objects, so alertly enshrined in the matte hues of a now-extinct film stock, could still seem so vital and so much truer than, for instance, anything you’ll see in \u003cb>Avatar\u003c/b>.\u003c/p>\n\u003cp>Dorsky showed a couple of these films, \u003cb>Sarabande\u003c/b> and \u003cb>Winter\u003c/b>, at SFMOMA at around this time last year. Discussing them afterward, he described, among other things, the San Francisco winter, an “odd, long dissolve between autumn and spring” that took him 20 years to like and presumably at least one more to make a 22-minute movie about. So that’s devotion.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dorsky-compline.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>As its title suggests, \u003cb>Compline\u003c/b>, one of this evening’s two premieres, could be said to be seeking a kind of closure. But it’s no surprise that for Dorsky, closure can be an opening. The other premiere is called \u003cb>Aubade\u003c/b>, and he only finished it just recently.\u003c/p>\n\u003cp>“An aubade,” Dorsky reminds us, “is a poem or morning song evoking the first rays of the sun at daybreak. Often, it includes the atmosphere of lovers parting. This film is my first venture into shooting in color negative after having spent a lifetime shooting Kodachrome. In some sense, it is a new beginning for me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb> Four by Nathaniel Dorsky\u003c/b>, with the filmmaker in person, Tuesday February 23, 2010, 7:30pm at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu\">more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>They call it “a bimonthly social screening series,” which might sound a little ominously medical, but clearly the San Francisco Film Society and SF360’s Film+Club is on to something good.\u003c/p>\n\u003cp>Testing again the durable old idea that cinema works best by being greater than the sum of its parts, the club has a treat in store this Tuesday evening. What could be better live-entertainment fodder, it asks, than the obsessive subconscious mind of a sexually frustrated priest, as surreally probed by a lesbian feminist avant-gardist? Answer: Setting it all to music by arty post-punk trailblazer and Siouxsie and the Banshees co-founder Steven Severin. Good answer.\u003c/p>\n\u003cp>We’re taught to believe that Surrealism in cinema began with Luis Buñuel and Salvador Dalí’s \u003cb>Un Chien Andalou\u003c/b>, but that momentous film had a less well-known formal predecessor in \u003cb>The Seashell and the Clergyman\u003c/b>, an uneasy collaboration between poet-playwright-theorist Antonin Artaud and proto-feminist filmmaker Germaine Dulac. Both movies made a difference to modern consciousness — the former has ants erupting from a hand and an eyeball sliced open by a razor blade; the latter cleaves a military man’s head in two and tears off a woman’s blouse to reveal her breasts. Which would you rather watch?\u003c/p>\n\u003cp>In any case, \u003cb>The Seashell and the Clergyman\u003c/b> is at least enduring enough to have become the centerpiece of Severin’s recent \u003cb>Music for Silents\u003c/b> project, which also includes scores for six contemporary silent shorts. Artaud and Dulac’s penetrating vision seems especially well suited to illuminating the inky darkness of Severin’s sonic depths.\u003c/p>\n\u003cp>“I demand phantasmagorical films!” Artaud once said; this one, he explained, “does not tell a story but develops a series of mental states which are deduced from each other as thought is from thought.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a scenarist, Artaud was not easy to work with. It takes rare confidence for a Surrealist to accuse a director of ruining his script. But that’s how it went between him and Dulac, who reportedly arranged the production of \u003cb>The Seashell and the Clergyman\u003c/b> to occur while Artaud was too busy (acting in Carl Dreyer’s \u003cb>The Passion of Joan of Arc\u003c/b>, among other things) to interfere. Consequently, the disgruntled writer may or may not have instigated the riot that disrupted \u003cb>Seashell\u003c/b>‘s 1928 Paris premiere.\u003c/p>\n\u003cp>Later, the British Board of Film Censors famously sniffed, “The film is so cryptic as to be almost meaningless. If there is a meaning, it is doubtless objectionable.”\u003c/p>\n\u003cp>Since then, reception of \u003cb>The Seashell and the Clergyman\u003c/b> has warmed. “Watch this while listening to Massive Attack,” someone says on YouTube. Better: Watch it live with an original dedicated score by a musician without whom there would be no Massive Attack.\u003c/p>\n\u003cp>“It’s got it all,” Severin recently told SFFS. “A rampant man of the cloth, a besieged heroine, murder, chase scenes, a dream world and even a flash of nudity. It’s like it was made for me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Steven Severin: Music for Silents\u003c/b> is Tuesday, January 12, 8pm at Mezzanine in San Francisco. For \u003ca href=\"http://www.sffs.org/\">tickets and more information\u003c/a>, visit sffs.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>They call it “a bimonthly social screening series,” which might sound a little ominously medical, but clearly the San Francisco Film Society and SF360’s Film+Club is on to something good.\u003c/p>\n\u003cp>Testing again the durable old idea that cinema works best by being greater than the sum of its parts, the club has a treat in store this Tuesday evening. What could be better live-entertainment fodder, it asks, than the obsessive subconscious mind of a sexually frustrated priest, as surreally probed by a lesbian feminist avant-gardist? Answer: Setting it all to music by arty post-punk trailblazer and Siouxsie and the Banshees co-founder Steven Severin. Good answer.\u003c/p>\n\u003cp>We’re taught to believe that Surrealism in cinema began with Luis Buñuel and Salvador Dalí’s \u003cb>Un Chien Andalou\u003c/b>, but that momentous film had a less well-known formal predecessor in \u003cb>The Seashell and the Clergyman\u003c/b>, an uneasy collaboration between poet-playwright-theorist Antonin Artaud and proto-feminist filmmaker Germaine Dulac. Both movies made a difference to modern consciousness — the former has ants erupting from a hand and an eyeball sliced open by a razor blade; the latter cleaves a military man’s head in two and tears off a woman’s blouse to reveal her breasts. Which would you rather watch?\u003c/p>\n\u003cp>In any case, \u003cb>The Seashell and the Clergyman\u003c/b> is at least enduring enough to have become the centerpiece of Severin’s recent \u003cb>Music for Silents\u003c/b> project, which also includes scores for six contemporary silent shorts. Artaud and Dulac’s penetrating vision seems especially well suited to illuminating the inky darkness of Severin’s sonic depths.\u003c/p>\n\u003cp>“I demand phantasmagorical films!” Artaud once said; this one, he explained, “does not tell a story but develops a series of mental states which are deduced from each other as thought is from thought.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a scenarist, Artaud was not easy to work with. It takes rare confidence for a Surrealist to accuse a director of ruining his script. But that’s how it went between him and Dulac, who reportedly arranged the production of \u003cb>The Seashell and the Clergyman\u003c/b> to occur while Artaud was too busy (acting in Carl Dreyer’s \u003cb>The Passion of Joan of Arc\u003c/b>, among other things) to interfere. Consequently, the disgruntled writer may or may not have instigated the riot that disrupted \u003cb>Seashell\u003c/b>‘s 1928 Paris premiere.\u003c/p>\n\u003cp>Later, the British Board of Film Censors famously sniffed, “The film is so cryptic as to be almost meaningless. If there is a meaning, it is doubtless objectionable.”\u003c/p>\n\u003cp>Since then, reception of \u003cb>The Seashell and the Clergyman\u003c/b> has warmed. “Watch this while listening to Massive Attack,” someone says on YouTube. Better: Watch it live with an original dedicated score by a musician without whom there would be no Massive Attack.\u003c/p>\n\u003cp>“It’s got it all,” Severin recently told SFFS. “A rampant man of the cloth, a besieged heroine, murder, chase scenes, a dream world and even a flash of nudity. It’s like it was made for me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Steven Severin: Music for Silents\u003c/b> is Tuesday, January 12, 8pm at Mezzanine in San Francisco. For \u003ca href=\"http://www.sffs.org/\">tickets and more information\u003c/a>, visit sffs.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Candy is a witch with a sweet tooth. She lives in a candy cottage on the edge of Pink City, not too far from the metropolis of Oblivion, and, like many a nerd and/or monster before her, she’s a bit of a misfit. She has difficulties with her mother, is in a sucky (ha ha) relationship with a vampire, and has chosen vegetarianism because she can’t abide the true nature of witchcraft — the deep carnality (and carnivorousness) that links a witch to her power.\u003c/p>\n\u003cp>This is just the beginning, of course. \u003cb>Sweet Tomb\u003c/b> tells the story of Candy’s eventual self-acceptance, a journey that involves chocolate, hallucinations about Pinocchio, and a lesbian flirtation with Death (a banker with a penchant for jeweled shoes). It’s an allegory of sorts — an inverted and updated \u003cb>Pilgrim’s Progress\u003c/b> for the 21st century, reoriented toward the earthly revelation of its protagonist and decidedly third wave feminist in its approach.\u003c/p>\n\u003cp>I liked Candy, and I identified with her process, but I felt lukewarm towards \u003cb>Sweet Tomb\u003c/b>. The novella treads in some saturated territory — most obviously, \u003cb>Wicked\u003c/b> and \u003cb>Shrek\u003c/b> have made fairy tale characters with oh-so-human problems ubiquitous, if not expected — and \u003cb>Sweet Tomb\u003c/b> doesn’t begin to distinguish itself until close to its end, when Candy meets Death and chooses to attend a ball/shoe extravanganza/feeding frenzy hosted by Evil.\u003c/p>\n\u003cp>As far as I know, this is Trinie Dalton’s fifth publication, including the McSweeney’s anthology \u003ca href=\"http://www.fecalface.com/SF/index.php?option=com_content&task=view&id=173&Itemid=88\">Dear New Girl Or Whatever Your Name Is\u003c/a> (a book of notes confiscated from students during Dalton’s time as a subsitute teacher) and \u003ca href=\"http://www.pictureboxinc.com/product/id/296/\">Mythtym\u003c/a> (an anthology of her self-publications). My favorite is \u003cb>Wide Eyed\u003c/b>, which addresses issues similar to \u003cb>Sweet Tomb\u003c/b> — sex, growing up and identity — but is much more poignant. There’s a lot of humor to be found in both books, and I am a fan of Dalton’s work in all its forms, but \u003cb>Sweet Tomb\u003c/b> lacks the sweetly ordinary slippage between myth and reality that drives \u003cb>Wide Eyed\u003c/b>.\u003c/p>\n\u003cp>“Not knowing where you come from is dumber than never wanting to leave.” This is the last line of “Decrepit,” the story that kicks off \u003cb>Wide Eyed\u003c/b>. I can understand why Dalton wanted to experiment and situate \u003cb>Sweet Tomb\u003c/b>‘s protagonist solely in the realm of fantasy, but I hope that she doesn’t forget her own advice and that she continues to explore the voice that makes works like \u003cb>Wide Eyed\u003c/b> so unique.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All proceeds from the purchase of \u003cb>Sweet Tomb\u003c/b> go to the \u003ca href=\"http://www.theodorepayne.org/\">Theodore Payne Foundation for Wild Flowers & Native Plants\u003c/a> here in California.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Candy is a witch with a sweet tooth. She lives in a candy cottage on the edge of Pink City, not too far from the metropolis of Oblivion, and, like many a nerd and/or monster before her, she’s a bit of a misfit. She has difficulties with her mother, is in a sucky (ha ha) relationship with a vampire, and has chosen vegetarianism because she can’t abide the true nature of witchcraft — the deep carnality (and carnivorousness) that links a witch to her power.\u003c/p>\n\u003cp>This is just the beginning, of course. \u003cb>Sweet Tomb\u003c/b> tells the story of Candy’s eventual self-acceptance, a journey that involves chocolate, hallucinations about Pinocchio, and a lesbian flirtation with Death (a banker with a penchant for jeweled shoes). It’s an allegory of sorts — an inverted and updated \u003cb>Pilgrim’s Progress\u003c/b> for the 21st century, reoriented toward the earthly revelation of its protagonist and decidedly third wave feminist in its approach.\u003c/p>\n\u003cp>I liked Candy, and I identified with her process, but I felt lukewarm towards \u003cb>Sweet Tomb\u003c/b>. The novella treads in some saturated territory — most obviously, \u003cb>Wicked\u003c/b> and \u003cb>Shrek\u003c/b> have made fairy tale characters with oh-so-human problems ubiquitous, if not expected — and \u003cb>Sweet Tomb\u003c/b> doesn’t begin to distinguish itself until close to its end, when Candy meets Death and chooses to attend a ball/shoe extravanganza/feeding frenzy hosted by Evil.\u003c/p>\n\u003cp>As far as I know, this is Trinie Dalton’s fifth publication, including the McSweeney’s anthology \u003ca href=\"http://www.fecalface.com/SF/index.php?option=com_content&task=view&id=173&Itemid=88\">Dear New Girl Or Whatever Your Name Is\u003c/a> (a book of notes confiscated from students during Dalton’s time as a subsitute teacher) and \u003ca href=\"http://www.pictureboxinc.com/product/id/296/\">Mythtym\u003c/a> (an anthology of her self-publications). My favorite is \u003cb>Wide Eyed\u003c/b>, which addresses issues similar to \u003cb>Sweet Tomb\u003c/b> — sex, growing up and identity — but is much more poignant. There’s a lot of humor to be found in both books, and I am a fan of Dalton’s work in all its forms, but \u003cb>Sweet Tomb\u003c/b> lacks the sweetly ordinary slippage between myth and reality that drives \u003cb>Wide Eyed\u003c/b>.\u003c/p>\n\u003cp>“Not knowing where you come from is dumber than never wanting to leave.” This is the last line of “Decrepit,” the story that kicks off \u003cb>Wide Eyed\u003c/b>. I can understand why Dalton wanted to experiment and situate \u003cb>Sweet Tomb\u003c/b>‘s protagonist solely in the realm of fantasy, but I hope that she doesn’t forget her own advice and that she continues to explore the voice that makes works like \u003cb>Wide Eyed\u003c/b> so unique.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>There are a lot of stories told in \u003cb>Cranioklepty: Grave Robbing and the Search for Genius\u003c/b>, and most of them involve the human skull. Take, for example, the story of singer Therese Rosenbaum, who found herself one winter’s day in 1820 pretending to be ill in bed, only so that the authorities would not discover that she had a stowaway under the sheets: the skull of composer Joseph Haydn, a treasured family friend.\u003c/p>\n\u003cp>Ten years before, Therese’s husband — Joseph Rosenbaum — had orchestrated the removal of Haydn’s head from both body and grave, only days after attending the funeral. From there, Rosenbaum took Haydn’s head to a hospital, where the composer’s flesh and brain were removed and unceremoniously disposed of in the hospital furnaces. Rosenbaum had not been so irreverent with the leftovers from his first experiment, the head of singer Elizabeth Roose, and one can only assume that the casualness of the disposal added to the emotional circumstances, which Rosenbaum ultimately recorded in his journal. At least in Roose’s case, Rosenbaum had invited several of her friends over for a post-funeral funeral.\u003c/p>\n\u003cp>Why would a man choose to decapitate a good friend after death, to preserve his friend’s skull in a glass vitrine, and to ask his own wife to take the skull to bed when the authorities came knocking?\u003c/p>\n\u003cp>This is the question that author Colin Dickey sets out to answer, and the answer comes down to a belief held by several 19th-century pseudosciences that the human skull was a map of both personality and ability. Dickey charts two courses at once: the rise and fall of organology, phrenology, and craniometry (all arguably precursors, though dubious ones, of modern day anthropology), and the stories of four skulls (those of Joseph Haydn, Wolfgang Amadeus Mozart, Sir Thomas Browne, and Emanuel Swedenborg) and one set of bone fragments, currently in the holdings of San Jose State University, whose original owner was Ludwig von Beethoven.\u003c/p>\n\u003cp>Along the way, Dickey raises questions about the roles of authenticity and preservation in the field of cultural memory, as well as the influence these practices had on eugenics. He also keeps a sense of humor — apparently Walt Whitman was so invested in proving his keen intelligence that he continually altered the bumps on his phrenological charts, making them bigger each time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While skulls have always carried weighty symbolism, Dickey proposes that in the 19th century, European society’s relationship to the human skull went through a significant series of shifts: between Enlightenment and Romantic ideals and modern ones; between a belief in the body as the physical location of the soul and the primacy of the brain; and from the idea that your intelligence and value in society are dictated by your birthright to that of biological destiny, or even free will.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As I mentioned, \u003cb>Cranioklepty\u003c/b> is full of stories, at times to a fault. The book spans about 150 years of history, so there’s a new name every 5 to 10 pages. There’s also a staccato rhythm to the book’s transitions that takes a while to get used to. However, storylines and characters are returned to, and the whole thing begins to feel less like an attempt to conjure Leonardo da Vinci, with his clearly delineated foregrounds, mid-grounds and backgrounds, and more like a work by Hieronymus Bosch or Bruegel the Elder — a giant world made of many little pieces, all gathered together inside the same, solid frame.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While skulls have always carried weighty symbolism, Dickey proposes that in the 19th century, European society’s relationship to the human skull went through a significant series of shifts: between Enlightenment and Romantic ideals and modern ones; between a belief in the body as the physical location of the soul and the primacy of the brain; and from the idea that your intelligence and value in society are dictated by your birthright to that of biological destiny, or even free will.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As I mentioned, \u003cb>Cranioklepty\u003c/b> is full of stories, at times to a fault. The book spans about 150 years of history, so there’s a new name every 5 to 10 pages. There’s also a staccato rhythm to the book’s transitions that takes a while to get used to. However, storylines and characters are returned to, and the whole thing begins to feel less like an attempt to conjure Leonardo da Vinci, with his clearly delineated foregrounds, mid-grounds and backgrounds, and more like a work by Hieronymus Bosch or Bruegel the Elder — a giant world made of many little pieces, all gathered together inside the same, solid frame.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the new anthology \u003cb>California’s Best: Two Centuries of Great Writing from the Golden State\u003c/b>, editor Peter Fish puts the state’s sense of place first. Yes, the collection is filled with rich human stories, both modest and grand, but the book’s 41 essays, excerpts and poems are organized according to the state’s geography, painting a portrait of California that benefits from both the periscope look back and the magnifying-glass study of the here and now.\u003c/p>\n\u003cp>A Mirrielees Fellow in creative writing at Stanford and now \u003ci>Sunset\u003c/i> magazine’s editor-at-large, Fish begins, fittingly, just off the shore of his home town of Santa Barbara with an entry from \u003cb>Two Years Before the Mast\u003c/b>, an 1840 work by Richard Henry Dana Jr. Right away we know Fish is up to something when he not only chooses Dana’s charming description of the town, but also his observation that the hills appear to have “all burnt by a great fire.” ‘Twas ever thus.\u003c/p>\n\u003cp>From Santa Barbara we head up the coast for a dip into Jack London’s \u003cb>White Fang\u003c/b>, published in 1904. In two strokes, Fish gives us fire and fog, and we’ve barely cracked the 20th century. In fact, Fish is consistently good at choosing examples that seem to amplify and riff off each other. For example, before he leaves the Pacific, Fish shares a few verses from 1927 by Carmel’s Robinson Jeffers: “Point Joe has teeth and has torn ships: it has fierce and solitary beauty…” A few pages later, we’re treated to a different sort of fierceness and beauty in Daniel Duane’s 1997 \u003cb>Caught Inside: A Surfer’s Year on the California Coast\u003c/b>. This is inspired editing.\u003c/p>\n\u003cp>Next the Sierras, where Clarence King leads us up Mount Whitney, circa 1871. Whitney, of course is the state’s highest mountain, so Fish follows it with a 1901 account by John Muir of the state’s largest tree. Sort of. In fact, the lovely passage Fish has selected is notable for its description of the almost inaudible sound made when the tiny \u003ci>Sequoia Gigantea\u003c/i> seed lands on a leaf. Again, the contrast is effective and carefully plotted.\u003c/p>\n\u003cp>The Wallace Stegner except and Gary Synder poems that close the section feel like a literary sorbet, clearing our heads for a descent into the valleys, “Sacramento, San Joaquin, Owens, and Death,” as Fish puts it in his Introduction. The Robert Louis Stevenson excerpt about Napa valley dirt from 1883 is a classic, as is the scene Fish selects from John Steinbeck’s \u003cb>The Grapes of Wrath\u003c/b>, in which the Joads get their first whiff of the “hot green smells” of the Salinas Valley. Fish then gives the floor to Joan Didion, who recalls her childhood only a valley away, where “girls who could not even get into Stephens or Arizona or Oregon, let alone Stanford or Berkeley…” were sent off on consolation voyages to Honolulu. Could there be life experiences that are more different than those of the fictional Joads and Didion’s real-life kin? No doubt Fish was just getting started.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fish closes \u003cb>California’s Best\u003c/b> with sections about San Francisco Bay and Southern California. In the first, we join Mark Twain for a drink at the Cliff House in 1864 (no disrespect, but what a relief not to be reading Twain’s account of Calaveras County frogs). In the second, Walter Mosley returns us to Dana’s sea, only this time it’s the view from the shore that captivates the author in the 1990 novel, \u003cb>Devil in a Blue Dress\u003c/b>. The water, he writes, “glittered with a million tiny glints. It looked like every shiny fish in the sea had come to the surface to mimic the stars that flickered in the sky.” A lot of things have changed in 200 years — Fish’s book is littered with examples — but sometimes it’s worth pausing to consider the things that have not.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.amazon.com/exec/obidos/ASIN/1560374942/kqedorg-20\">Purchase California’s Best: Two Centuries of Great Writing from the Golden State\u003c/a> (at amazon.com).\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the new anthology \u003cb>California’s Best: Two Centuries of Great Writing from the Golden State\u003c/b>, editor Peter Fish puts the state’s sense of place first. Yes, the collection is filled with rich human stories, both modest and grand, but the book’s 41 essays, excerpts and poems are organized according to the state’s geography, painting a portrait of California that benefits from both the periscope look back and the magnifying-glass study of the here and now.\u003c/p>\n\u003cp>A Mirrielees Fellow in creative writing at Stanford and now \u003ci>Sunset\u003c/i> magazine’s editor-at-large, Fish begins, fittingly, just off the shore of his home town of Santa Barbara with an entry from \u003cb>Two Years Before the Mast\u003c/b>, an 1840 work by Richard Henry Dana Jr. Right away we know Fish is up to something when he not only chooses Dana’s charming description of the town, but also his observation that the hills appear to have “all burnt by a great fire.” ‘Twas ever thus.\u003c/p>\n\u003cp>From Santa Barbara we head up the coast for a dip into Jack London’s \u003cb>White Fang\u003c/b>, published in 1904. In two strokes, Fish gives us fire and fog, and we’ve barely cracked the 20th century. In fact, Fish is consistently good at choosing examples that seem to amplify and riff off each other. For example, before he leaves the Pacific, Fish shares a few verses from 1927 by Carmel’s Robinson Jeffers: “Point Joe has teeth and has torn ships: it has fierce and solitary beauty…” A few pages later, we’re treated to a different sort of fierceness and beauty in Daniel Duane’s 1997 \u003cb>Caught Inside: A Surfer’s Year on the California Coast\u003c/b>. This is inspired editing.\u003c/p>\n\u003cp>Next the Sierras, where Clarence King leads us up Mount Whitney, circa 1871. Whitney, of course is the state’s highest mountain, so Fish follows it with a 1901 account by John Muir of the state’s largest tree. Sort of. In fact, the lovely passage Fish has selected is notable for its description of the almost inaudible sound made when the tiny \u003ci>Sequoia Gigantea\u003c/i> seed lands on a leaf. Again, the contrast is effective and carefully plotted.\u003c/p>\n\u003cp>The Wallace Stegner except and Gary Synder poems that close the section feel like a literary sorbet, clearing our heads for a descent into the valleys, “Sacramento, San Joaquin, Owens, and Death,” as Fish puts it in his Introduction. The Robert Louis Stevenson excerpt about Napa valley dirt from 1883 is a classic, as is the scene Fish selects from John Steinbeck’s \u003cb>The Grapes of Wrath\u003c/b>, in which the Joads get their first whiff of the “hot green smells” of the Salinas Valley. Fish then gives the floor to Joan Didion, who recalls her childhood only a valley away, where “girls who could not even get into Stephens or Arizona or Oregon, let alone Stanford or Berkeley…” were sent off on consolation voyages to Honolulu. Could there be life experiences that are more different than those of the fictional Joads and Didion’s real-life kin? No doubt Fish was just getting started.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fish closes \u003cb>California’s Best\u003c/b> with sections about San Francisco Bay and Southern California. In the first, we join Mark Twain for a drink at the Cliff House in 1864 (no disrespect, but what a relief not to be reading Twain’s account of Calaveras County frogs). In the second, Walter Mosley returns us to Dana’s sea, only this time it’s the view from the shore that captivates the author in the 1990 novel, \u003cb>Devil in a Blue Dress\u003c/b>. The water, he writes, “glittered with a million tiny glints. It looked like every shiny fish in the sea had come to the surface to mimic the stars that flickered in the sky.” A lot of things have changed in 200 years — Fish’s book is littered with examples — but sometimes it’s worth pausing to consider the things that have not.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.amazon.com/exec/obidos/ASIN/1560374942/kqedorg-20\">Purchase California’s Best: Two Centuries of Great Writing from the Golden State\u003c/a> (at amazon.com).\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "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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},
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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"tagline": "True-life supernatural stories",
"info": "",
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