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"content": "\u003cp>The question sounds so basic and friendly. But it’s actually loaded, as many mothers can attest. “Do you just love getting to be home with him all the time?” asks the younger, more put-together woman in the supermarket. “Must be so wonderful.”\u003c/p>\n\u003cp>Wonderful, of course — and sometimes brain-numbing and soul-draining too, some exhausted fulltime moms might reply. Especially if, like Amy Adams’ character in Marielle Heller’s \u003cem>Nightbitch\u003c/em>, they’d left their prized art gallery job to this other woman.\u003c/p>\n\u003cp>[aside postid='arts_13969055']And so Adams responds, twice, showing in this very opening scene exactly why her typically brave, brutally frank performance lifts this movie from an oddly uneven script to something unequivocally worth seeing.\u003c/p>\n\u003cp>First we get the honest answer, the one no one really gives until later in the shower: she feels “stuck inside of a prison of my own creation,” where she torments herself and ends up binge-eating Fig Newtons to keep from crying. She is angry all the time. Oh and, she has gotten dumber.\u003c/p>\n\u003cp>Then we rewind and director-writer Heller has Adams give her real answer: “I do, I love it! I love being a Mom.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There we are, two minutes and 13 seconds into \u003cem>Nightbitch\u003c/em> and you may already find yourself wowed by Adams. If not, just wait until her Mother is sitting at a chic restaurant with a bunch of colleagues from the art world, and her fangs come out.\u003c/p>\n\u003cp>And we don’t mean figuratively. We mean literally.\u003c/p>\n\u003cp>Let’s go back to the beginning, shall we?\u003c/p>\n\u003cp>\u003cem>Nightbitch\u003c/em> is based on the 2021 novel by Rachel Yoder, a feminist fable that the author has said came from her own malaise when pausing work for child-rearing.\u003c/p>\n\u003cp>She sets her tale in an unidentified suburb of an unidentified city. Mother (characters all have generic names), formerly an admired installation artist, spends her weekdays alone with her adorable, blond 2-year-old Son. Husband has a job that seems to bring him home only on weekends.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=918prRymA-U\u003c/p>\n\u003cp>The early scenes depicting Mother’s life are tight and impactful, a contrast to the confused havoc that will come toward the end of the film. Life revolves around the playground and the home, with occasional trips to storytime at the library where she notes, in narration, that she has no interest in the company of other moms — why should they be friends just because they’re moms?\u003c/p>\n\u003cp>In fact, Mother lives in solitude, and director Heller does a nice job illustrating how that feels. You can almost feel the weight of the afternoon coming around, at this comfortable but hardly ostentatious home, when it’s too early for dinner and you’ve done all the activities already and you wonder if you can make it through the day.\u003c/p>\n\u003cp>Then things start to get weird. In the bathroom mirror, Mother starts noticing things. Her teeth are getting sharper. There’s something weird coming out of an apparent cyst at the bottom of her spine. She finds extra nipples. And that’s before she starts eating rare meat. (Also, if you love cats, you may want to close your eyes at one point.)\u003c/p>\n\u003cp>[aside postid='arts_13969006']Somehow Adams, who also produces here, makes these things seem, if not quite natural, then logical. What’s happening is that Mother’s frustration is becoming ferocious. Dangerously ferocious. But also — empowering. At night, or so she thinks, she is a wild dog.\u003c/p>\n\u003cp>Aspects of the film work wonderfully. Mother’s relationship with Son (twins Arleigh and Emmett Snowden) is lovely, largely due to a decision to let the young boys talk freely, with the adult actors reacting to their words. It lends a grounding realism to a film that quickly veers surreal.\u003c/p>\n\u003cp>Less successful is the relationship between Mother and Husband (Scoot McNairy), which takes on too much importance as the film goes on, in a baffling way. (Also, just asking, has anyone in this movie ever heard of a babysitter?)\u003c/p>\n\u003cp>More importantly, a story that posits itself on such a tantalizing idea — that by transforming into a dog, Mother discovers her true nature and power — resorts late in the game to a safer story about a marriage that never seemed appealing enough for us to care about anyway. It doesn’t help that it’s hard to grasp the distracting subplot about Mother’s own mother.\u003c/p>\n\u003cp>None of this takes away from the strength of Adams’ performance. You believe her love for her child as much as you believe her resentment for what he is taking away from her. And Adams can make almost any line work, including one about a walnut. But we digress.\u003c/p>\n\u003cp>It’s an irony that for reasons of storytelling, characters have generic names — because Adams is such a singular and particular talent. The journey she embarks upon is bizarre indeed, but you won’t regret taking it with her.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Nightbitch’ is released nationwide on Dec. 6, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And so Adams responds, twice, showing in this very opening scene exactly why her typically brave, brutally frank performance lifts this movie from an oddly uneven script to something unequivocally worth seeing.\u003c/p>\n\u003cp>First we get the honest answer, the one no one really gives until later in the shower: she feels “stuck inside of a prison of my own creation,” where she torments herself and ends up binge-eating Fig Newtons to keep from crying. She is angry all the time. Oh and, she has gotten dumber.\u003c/p>\n\u003cp>Then we rewind and director-writer Heller has Adams give her real answer: “I do, I love it! I love being a Mom.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There we are, two minutes and 13 seconds into \u003cem>Nightbitch\u003c/em> and you may already find yourself wowed by Adams. If not, just wait until her Mother is sitting at a chic restaurant with a bunch of colleagues from the art world, and her fangs come out.\u003c/p>\n\u003cp>And we don’t mean figuratively. We mean literally.\u003c/p>\n\u003cp>Let’s go back to the beginning, shall we?\u003c/p>\n\u003cp>\u003cem>Nightbitch\u003c/em> is based on the 2021 novel by Rachel Yoder, a feminist fable that the author has said came from her own malaise when pausing work for child-rearing.\u003c/p>\n\u003cp>She sets her tale in an unidentified suburb of an unidentified city. Mother (characters all have generic names), formerly an admired installation artist, spends her weekdays alone with her adorable, blond 2-year-old Son. Husband has a job that seems to bring him home only on weekends.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/918prRymA-U'\n title='//www.youtube.com/embed/918prRymA-U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The early scenes depicting Mother’s life are tight and impactful, a contrast to the confused havoc that will come toward the end of the film. Life revolves around the playground and the home, with occasional trips to storytime at the library where she notes, in narration, that she has no interest in the company of other moms — why should they be friends just because they’re moms?\u003c/p>\n\u003cp>In fact, Mother lives in solitude, and director Heller does a nice job illustrating how that feels. You can almost feel the weight of the afternoon coming around, at this comfortable but hardly ostentatious home, when it’s too early for dinner and you’ve done all the activities already and you wonder if you can make it through the day.\u003c/p>\n\u003cp>Then things start to get weird. In the bathroom mirror, Mother starts noticing things. Her teeth are getting sharper. There’s something weird coming out of an apparent cyst at the bottom of her spine. She finds extra nipples. And that’s before she starts eating rare meat. (Also, if you love cats, you may want to close your eyes at one point.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Somehow Adams, who also produces here, makes these things seem, if not quite natural, then logical. What’s happening is that Mother’s frustration is becoming ferocious. Dangerously ferocious. But also — empowering. At night, or so she thinks, she is a wild dog.\u003c/p>\n\u003cp>Aspects of the film work wonderfully. Mother’s relationship with Son (twins Arleigh and Emmett Snowden) is lovely, largely due to a decision to let the young boys talk freely, with the adult actors reacting to their words. It lends a grounding realism to a film that quickly veers surreal.\u003c/p>\n\u003cp>Less successful is the relationship between Mother and Husband (Scoot McNairy), which takes on too much importance as the film goes on, in a baffling way. (Also, just asking, has anyone in this movie ever heard of a babysitter?)\u003c/p>\n\u003cp>More importantly, a story that posits itself on such a tantalizing idea — that by transforming into a dog, Mother discovers her true nature and power — resorts late in the game to a safer story about a marriage that never seemed appealing enough for us to care about anyway. It doesn’t help that it’s hard to grasp the distracting subplot about Mother’s own mother.\u003c/p>\n\u003cp>None of this takes away from the strength of Adams’ performance. You believe her love for her child as much as you believe her resentment for what he is taking away from her. And Adams can make almost any line work, including one about a walnut. But we digress.\u003c/p>\n\u003cp>It’s an irony that for reasons of storytelling, characters have generic names — because Adams is such a singular and particular talent. The journey she embarks upon is bizarre indeed, but you won’t regret taking it with her.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Nightbitch’ is released nationwide on Dec. 6, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Anthony Robles’ story seems almost tailor made for a Hollywood film. Born with only one leg, his right, he overcame the prejudices of those around him and his own physical limitations to become a champion wrestler. Though coaches at the top wrestling programs couldn’t see his potential, he was undeterred, coasting on his own determination and his mother Judy’s (Jennifer Lopez) unwavering belief in him.\u003c/p>\n\u003cp>[aside postid='arts_13968835']The film version is aptly titled \u003cem>Unstoppable\u003c/em>, and it’s getting a limited theatrical release starting Friday before it streams on Prime Video on Jan. 16. Directed by William Goldenberg, the Oscar-winning editor of \u003cem>Argo\u003c/em> making his feature directorial debut, \u003cem>Unstoppable\u003c/em> has all the makings of a rousing sports drama that’s sure to have audiences cheering in theaters or on their couches. You’d have to be a certain kind of grinch not to get swept up in the hurdles and triumphs, especially with such a compelling lead performance from Jharrel Jerome. And yet for a story about a guy who shattered expectations, the film itself is rather conventional.\u003c/p>\n\u003cp>Eschewing the temptation to tell his story from birth, \u003cem>Unstoppable\u003c/em>’s arc begins at the end of high school. He chose long ago to not rely on a prosthetic and is comfortable in his body. His sport is wrestling, which he’ll joke later that he chose because it was the only one where the other guy couldn’t run away from him.\u003c/p>\n\u003cp>Though he’s winning at the high school level, the exciting college programs, like Iowa, are not interested in taking a chance on him. His best offer is a full ride at Drexel in Philadelphia, which everyone agrees is better than walking on at one of the better-known schools. But complications on the home front force his hand and soon enough he’s walking on at Arizona State University, trying to prove himself to a coach, Sean Charles (Don Cheadle), who had already advised him to go elsewhere.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fxEEdR2ZTDw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mom as eldest son’s biggest cheerleader she isn’t, but Judy has a lot going on. She had Anthony at age 16 and, when we meet up with them, is married and has four young children with Rick (Bobby Cannavale), a toxic husband and father who goes long on the virtues of making the right choices and being a man and providing for his family (which, spoiler, he doesn’t). It’s a very one-note role for Cannavale, just a shorthand villain who’s always just around the corner ready to ruin things, whether it’s dinner or Anthony’s plans to move across the country.\u003c/p>\n\u003cp>[aside postid='arts_13969006']Regardless of how much this is true, \u003cem>Unstoppable\u003c/em> relies too heavily on the cliches of a working-class domestic drama and Rick’s vileness which perhaps is a little insulting to Judy’s experience. This is a woman who managed to achieve incredible things (revealed at the end) despite being a single mother to five. While Lopez is magnetic as always, it’s hard not to wonder what this character might have looked like if one of the three credited screenwriters had been a woman. Judy does get her own arc and demonstrates her agency in a mic drop kind of scene, but it seems like a rather small moment to concentrate on once you’ve learned what she went on to accomplish.\u003c/p>\n\u003cp>The film is really best when it’s about the sport, the impossible training including a run up a rocky hill that Anthony does on his crutches, the matches, and Anthony’s relationships with his coaches who become de facto father figures for him. Michael Peña, as his high school coach, is particularly impactful in his limited scenes, and Cheadle is always a joy. But it’s ultimately Jerome’s show, and a good one at that. Let’s hope it’s the first of many leading film roles for him.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Unstoppable’ is released in limited theaters on Dec. 6, 2024. It begins streaming on Prime Video on Jan. 16, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film version is aptly titled \u003cem>Unstoppable\u003c/em>, and it’s getting a limited theatrical release starting Friday before it streams on Prime Video on Jan. 16. Directed by William Goldenberg, the Oscar-winning editor of \u003cem>Argo\u003c/em> making his feature directorial debut, \u003cem>Unstoppable\u003c/em> has all the makings of a rousing sports drama that’s sure to have audiences cheering in theaters or on their couches. You’d have to be a certain kind of grinch not to get swept up in the hurdles and triumphs, especially with such a compelling lead performance from Jharrel Jerome. And yet for a story about a guy who shattered expectations, the film itself is rather conventional.\u003c/p>\n\u003cp>Eschewing the temptation to tell his story from birth, \u003cem>Unstoppable\u003c/em>’s arc begins at the end of high school. He chose long ago to not rely on a prosthetic and is comfortable in his body. His sport is wrestling, which he’ll joke later that he chose because it was the only one where the other guy couldn’t run away from him.\u003c/p>\n\u003cp>Though he’s winning at the high school level, the exciting college programs, like Iowa, are not interested in taking a chance on him. His best offer is a full ride at Drexel in Philadelphia, which everyone agrees is better than walking on at one of the better-known schools. But complications on the home front force his hand and soon enough he’s walking on at Arizona State University, trying to prove himself to a coach, Sean Charles (Don Cheadle), who had already advised him to go elsewhere.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fxEEdR2ZTDw'\n title='//www.youtube.com/embed/fxEEdR2ZTDw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mom as eldest son’s biggest cheerleader she isn’t, but Judy has a lot going on. She had Anthony at age 16 and, when we meet up with them, is married and has four young children with Rick (Bobby Cannavale), a toxic husband and father who goes long on the virtues of making the right choices and being a man and providing for his family (which, spoiler, he doesn’t). It’s a very one-note role for Cannavale, just a shorthand villain who’s always just around the corner ready to ruin things, whether it’s dinner or Anthony’s plans to move across the country.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Regardless of how much this is true, \u003cem>Unstoppable\u003c/em> relies too heavily on the cliches of a working-class domestic drama and Rick’s vileness which perhaps is a little insulting to Judy’s experience. This is a woman who managed to achieve incredible things (revealed at the end) despite being a single mother to five. While Lopez is magnetic as always, it’s hard not to wonder what this character might have looked like if one of the three credited screenwriters had been a woman. Judy does get her own arc and demonstrates her agency in a mic drop kind of scene, but it seems like a rather small moment to concentrate on once you’ve learned what she went on to accomplish.\u003c/p>\n\u003cp>The film is really best when it’s about the sport, the impossible training including a run up a rocky hill that Anthony does on his crutches, the matches, and Anthony’s relationships with his coaches who become de facto father figures for him. Michael Peña, as his high school coach, is particularly impactful in his limited scenes, and Cheadle is always a joy. But it’s ultimately Jerome’s show, and a good one at that. Let’s hope it’s the first of many leading film roles for him.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Unstoppable’ is released in limited theaters on Dec. 6, 2024. It begins streaming on Prime Video on Jan. 16, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13969030\" class=\"wp-caption aligncenter\" style=\"max-width: 1374px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969030\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time.png\" alt=\"A book cover featuring a landscape painting of a coast line and cloudy skies.\" width=\"1374\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time.png 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-800x1164.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-1020x1485.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-768x1118.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-1055x1536.png 1055w\" sizes=\"(max-width: 1374px) 100vw, 1374px\">\u003cfigcaption class=\"wp-caption-text\">‘Time of the Child’ by Niall Williams. \u003ccite>(Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A village “on the western edge of a wet nowhere” populated by men who drink too much and women who smile too little. Throw in cows, an addled priest, an abandoned baby and a thick cloud cover of shame and you have the elements for a quintessential Irish story.\u003c/p>\n\u003cp>So quintessential, in fact, I’ve held off reading Niall Williams for a long time, despite hearing raves about his work. My skepticism, it turns out, was misplaced. I’ve just emerged from a Niall Williams binge with a belated appreciation for his writing, which invests specificity and life in characters and places easily reduced to clichés.\u003c/p>\n\u003cp>[aside postid='arts_13968936']\u003cem>Time of the Child \u003c/em>is Williams’ latest novel, a companion piece, rather than a sequel to, his 2019 novel, \u003cem>This Is Happiness. \u003c/em>Both books are set in the rural village of Faha — a town in the far west of Ireland whose inhabitants, we’re told, possess “the translucent flesh that came from living in an absolute humidity.”\u003c/p>\n\u003cp>\u003cem>Time of the Child\u003c/em> takes place in the weeks leading up to Christmas 1962 and opens — and closes — on a set piece of Mass at the parish church, where most of the village gathers. In between lies a story that feels, at once, realistic in its rough and comic everyday unfolding and mythic in its riffs on the grand themes of despair and spiritual redemption.\u003c/p>\n\u003cp>Jack Troy is the town doctor and central character here. He’s a melancholy contained man who, we’re told, “carrie[s] himself in a manner that [the townspeople of] Faha might have summarized as \u003cem>Not like us.\u003c/em>” Dr. Troy lost his wife and then the older woman he unexpectedly fell in love with, who’s now also dead. Keeping house for him is his 29-year-old daughter, Ronnie, the eldest of three sisters; the one who remained at home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ronnie, too, is a semi-enigma to the townspeople: Our narrator tells us that “Added to [her] reserve was not only the screened lives of all women in the parish at the time, but the marginal natures of all writers, for Ronnie Troy’s closest companion was her notebook.”\u003c/p>\n\u003cp>[aside postid='arts_13968840']Dr. Troy has become haunted by despair and by a particularly heartrending question: “\u003cem>Why does no one love my daughter?” \u003c/em>The answer, he fears, is his own glowering presence that may have repelled one especially promising suitor.\u003c/p>\n\u003cp>Inspired by what we’re told is a “mixed fuel of … brandy … [and] a parent’s fear of the unmade world after them,” Dr. Troy, uncharacteristically, resolves on a bizarre scheme to make things right. As the saying goes: “Man plans, God laughs.”\u003c/p>\n\u003cp>Instead of unfolding the Troy family narrative chronologically, Williams layers it on top of other simultaneous storylines, all of which are graced with language as bracing as salt spray from the chill Atlantic. We follow, for instance, the wanderings of Jude Quinlan, a 12-year-old “on the rope-bridge between man and boy.”\u003c/p>\n\u003cp>Jude’s father drinks and gambles and his mother, Mamie, possesses “the anxious look of one married to an instability.” Listen to how Williams moves fluidly from the mundane to the wider lens of the numinous in these snippets from an extended passage where Jude helps to unload a van full of Christmas toys for the town fair:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>There were toy soldiers, kits for flying gliders, … skittles in a net, balls, bats. … dolls of one expression but many dresses, …\u003c/p>\n\u003cp>For Jude, carrying everything from the van … was as close has he would get to handling any of these things. He had no resentment or bitterness. Rather, from nearness to the marvelous something rubbed off on him …\u003c/p>\n\u003cp>The other thing, the one that only occurred to him years later when he would recall what happened that day, was that what he was carrying out of the van that December morning was his childhood.\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>[aside postid='arts_13968980']For those who believe in such phenomena, Jude will be the instrument for bringing a miracle — a Christmas miracle complete with a baby and a virginal mother, no less — into this story. The other miracle here is a literary one: \u003cem>Time of the Child\u003c/em> itself, which gives readers that singular experience of nearness to the marvelous.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Time of the Child’ by Niall Williams is out now, via Bloomsbury Publishing.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>Stand at the back of a punk club like Berkeley’s \u003ca href=\"https://www.kqed.org/arts/tag/924-gilman\">924 Gilman\u003c/a> nowadays, and the entire crowd will invariably be lit up with a hundred little screens, all recording a moment in time to share online later. But at the primordial 924 Gilman of yesteryear, there was often just a single camera in the crowd, held in Murray Bowles’ hand flicking out far above his head, followed by a quick flash.\u003c/p>\n\u003cfigure id=\"attachment_13968871\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968871\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-scaled.jpg\" alt=\"A black and white crowd shot at a punk show. Photographer Murray Bowles, a bearded white man in a flannel shirt, is featured mid-frame with his camera raised above his head.\" width=\"2560\" height=\"1917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1920x1438.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles’ signature ‘Hail Mary’ shooting style. \u003ccite>(Christian Larsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://lastgasp.com/products/hail-murray\">\u003ci>Hail Murray!: The Bay Area Punk Photography of Murray Bowles, 1982–1995\u003c/i>\u003c/a> (Last Gasp; $39.95) is a sprawling, 270-page monograph of black and white photos representing a wildly creative and supercharged era of local underground music. If you attended any \u003ca href=\"https://www.kqed.org/arts/tag/punk\">Bay Area punk\u003c/a> shows from the 1980s through the 1990s, you likely crossed paths with Murray, its de facto chronicler. Wrapped in a decidedly civilian package — an older man with floppy brown hair, bearded, and bespectacled — he looked more like a computer programmer than a punk (and, unbeknownst to many, he actually \u003ci>was\u003c/i> a programmer of note in early Silicon Valley). At first glance, one might be surprised to learn that this understated character was an essential contributor to the chaotic music scene that birthed bands like Operation Ivy, Blatz and Green Day.\u003c/p>\n\u003cfigure id=\"attachment_13968865\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968865\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01.jpg\" alt=\"A book cover featuring a black and white crowd photo of punk dancing at an outside show. The book title Hail Murray is in red font at the top.\" width=\"1600\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-1536x1152.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">‘Hail Murray!: The Punk Photography of Murray Bowles, 1982-1995.’ \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the show had ended, while everyone else slept off their hangovers or rotted all night at the 24-hour donut shop, Murray would be hunkered down in the makeshift darkroom set up in his kitchen, spending hours developing pictures of bands. He would later gather up all of the prints and shove them into a shoebox to bring to shows to share and sell for 15¢ a piece, the cost of the paper. (This was later raised to a quarter. Inflation, y’all.) While rifling through Murray’s shoebox, eager eyeballs went on the lookout for pictures of favorite bands or secret crushes, but more than anything else, people were hoping to find a photo of themselves. Being captured in a Murray picture was a stamp of approval. It was a confirmation that you had indeed been there. That you belonged.\u003c/p>\n\u003cp>That manifestation of belonging takes on various forms in the punk scene. It doesn’t matter how shy a person is, or how lacking in musical ability. Everyone has a role. And while bands have always enjoyed the spotlight, they’re just one part of a complex ecosystem. There are zine editors, promoters, the people who feed and house the touring bands, \u003ca href=\"https://www.kqed.org/arts/13830408/going-strong-since-1990-this-low-budget-newsletter-is-a-punk-institution\">Steve List\u003c/a>, the volunteers who sweep the floors and clean the toilets. These often unsung community heroes are the reason the punk scene has been able to function and evolve.\u003c/p>\n\u003cfigure id=\"attachment_13968882\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968882 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-800x599.jpg\" alt=\"A young white girl with long brown hair plays a Gibson guitar\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1920x1438.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Squat, Nightbreak, San Francisco, 1995. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why do this work that is neither glamorous nor rewarded? Sometimes community service is a calling. As Murray famously said, “I wanted to be more than just a spectator.” There are those people who see something that needs to be done and are compelled to do it. Surely no one embodies this more than Anna Brown, teacher, longtime East Bay punk, and Murray’s most bulldogged advocate, the person who consented to take on the monumental task of compiling, designing, and editing \u003ci>Hail Murray!\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Anna first met Murray at a show in 1987; the next thing she knew, she was a regular passenger in his Rabbit Cabriolet, on the way to film screenings, art openings, punk shows and hikes. Murray was notoriously inscrutable, and didn’t often talk about himself. Anna, on the other hand, was articulate, outgoing and tough. Their personalities complementing each other, they became lifelong friends.\u003c/p>\n\u003cfigure id=\"attachment_13968961\" class=\"wp-caption aligncenter\" style=\"max-width: 1277px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles.jpg\" alt=\"\" width=\"1277\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles.jpg 1277w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-768x481.jpg 768w\" sizes=\"(max-width: 1277px) 100vw, 1277px\">\u003cfigcaption class=\"wp-caption-text\">Anna Brown with friend Aaron, 1993. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I ask Anna how long she’s been working on this book, she gets a faraway look in her eye. “I’d always wanted to make this book, ever since I was a teenager,” she tells me. “Murray was into the idea but he was very passive in general.”\u003c/p>\n\u003cp>Around 2010, the two began to tackle the project, mind-boggling in its scope. Murray took dozens of photos, every single weekend, for almost 40 years. What would a body of work of that magnitude look like? How could you even begin to catalog and curate it? They caught a break in 2017 when the documentary team behind \u003ci>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/i> digitized thousands of Murray’s photos, but that still left thousands \u003cem>more\u003c/em> to sift through.\u003c/p>\n\u003cp>[aside postid='arts_13938024']Then in 2019, Murray Bowles died unexpectedly.\u003c/p>\n\u003cp>“When he died, I felt super guilty because we had this whole plan,” Anna tells me. The two friends had planned to spend Murray’s retirement years going around the country doing book tours and gallery shows, the culmination of a life’s work.\u003c/p>\n\u003cp>“I felt really bad that he didn’t get a chance to do any of that stuff, or to see the book,” Anna says. “So I became extremely determined.”\u003c/p>\n\u003cfigure id=\"attachment_13968952\" class=\"wp-caption aligncenter\" style=\"max-width: 1428px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_.jpg\" alt=\"\" width=\"1428\" height=\"906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_.jpg 1428w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-1020x647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-768x487.jpg 768w\" sizes=\"(max-width: 1428px) 100vw, 1428px\">\u003cfigcaption class=\"wp-caption-text\">Operation Ivy, Gilman Street, Berkeley, 1988. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anna transcribed interviews, received feedback, taught herself Photoshop and InDesign, solicited funding and found a publisher. Along the way, she experimented with different layouts, and how to best encapsulate the life’s work of her friend.\u003c/p>\n\u003cp>“I felt a lot of anxiety about these pictures that are sacred to our people,” she explains. “They mean so much to everyone. It felt like I was handling an incredibly fragile, delicate thing. I knew that everyone was going to have their own ideas about how they wanted the book to be.”\u003c/p>\n\u003cp>[aside postID='arts_13871151']In the end, Anna decided that Bowles’ aesthetic would be best captured as a monograph. Punk may be messy, but \u003cem>Hail Murray!\u003c/em> is impeccably clean and gorgeous. Each 12” x 9” landscape page is devoted to a single black and white photograph, giving it ample space to breathe.\u003c/p>\n\u003cp>Though there’s a multitude of band photos in the book — from lesser-known entities like thrash band Sluglords to well-known groups like Rancid — many of its most compelling images are moments captured between friends. Young people sprawled on the hoods of cars, friends drinking beer on couches or hunkered down in a stairwell, girls carrying other girls through the pit, inexplicable configurations of body parts at a crowded house show where you’re not even sure where one person ends and the next person begins. There is an implied intimacy to the work, underscored by a minimalist approach to titles and descriptions.\u003c/p>\n\u003cfigure id=\"attachment_13968877\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968877 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-800x599.jpg\" alt=\"Punk band Special Forces plays at UC Berkeley's Sproul Plaza. Orlando, a tall Black man with a mohawk, stands in front with a microphone.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1920x1438.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Special Forces, Sproul Plaza, UC Berkeley, 1985. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the absence of elaborate captions or other explicit context cues, one might ask how \u003cem>Hail Murray!\u003c/em> will be perceived by those outside of the community it chronicles. For punks, part of the excitement was digging through Murray’s photo box, scanning the faces in the crowd and wondering: “Am I in here?” But outsiders to the punk scene may be surprised to see themselves here, too, reflected in the universal quest for fun and belonging.\u003c/p>\n\u003cp>“If Murray’s work is ‘about’ anything, it’s about the joy of punk,” Anna says. “Going through his archives, you come away feeling that Murray’s mission, in simplest terms, was to celebrate the feeling of being there on any given night or afternoon — the collective energy of a singular moment.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Hail Murray!: The Bay Area Punk Photography of Murray Bowles 1982–1995’ is celebrated in a release party with live music by Smokers and Nasty World on Sunday, Dec. 8, at 111 Minna Gallery in San Francisco. 4pm–9pm. \u003ca href=\"https://111minnagallery.com/event/hail-murray-book-party/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stand at the back of a punk club like Berkeley’s \u003ca href=\"https://www.kqed.org/arts/tag/924-gilman\">924 Gilman\u003c/a> nowadays, and the entire crowd will invariably be lit up with a hundred little screens, all recording a moment in time to share online later. But at the primordial 924 Gilman of yesteryear, there was often just a single camera in the crowd, held in Murray Bowles’ hand flicking out far above his head, followed by a quick flash.\u003c/p>\n\u003cfigure id=\"attachment_13968871\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968871\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-scaled.jpg\" alt=\"A black and white crowd shot at a punk show. Photographer Murray Bowles, a bearded white man in a flannel shirt, is featured mid-frame with his camera raised above his head.\" width=\"2560\" height=\"1917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1920x1438.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles’ signature ‘Hail Mary’ shooting style. \u003ccite>(Christian Larsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://lastgasp.com/products/hail-murray\">\u003ci>Hail Murray!: The Bay Area Punk Photography of Murray Bowles, 1982–1995\u003c/i>\u003c/a> (Last Gasp; $39.95) is a sprawling, 270-page monograph of black and white photos representing a wildly creative and supercharged era of local underground music. If you attended any \u003ca href=\"https://www.kqed.org/arts/tag/punk\">Bay Area punk\u003c/a> shows from the 1980s through the 1990s, you likely crossed paths with Murray, its de facto chronicler. Wrapped in a decidedly civilian package — an older man with floppy brown hair, bearded, and bespectacled — he looked more like a computer programmer than a punk (and, unbeknownst to many, he actually \u003ci>was\u003c/i> a programmer of note in early Silicon Valley). At first glance, one might be surprised to learn that this understated character was an essential contributor to the chaotic music scene that birthed bands like Operation Ivy, Blatz and Green Day.\u003c/p>\n\u003cfigure id=\"attachment_13968865\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968865\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01.jpg\" alt=\"A book cover featuring a black and white crowd photo of punk dancing at an outside show. The book title Hail Murray is in red font at the top.\" width=\"1600\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-1536x1152.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">‘Hail Murray!: The Punk Photography of Murray Bowles, 1982-1995.’ \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the show had ended, while everyone else slept off their hangovers or rotted all night at the 24-hour donut shop, Murray would be hunkered down in the makeshift darkroom set up in his kitchen, spending hours developing pictures of bands. He would later gather up all of the prints and shove them into a shoebox to bring to shows to share and sell for 15¢ a piece, the cost of the paper. (This was later raised to a quarter. Inflation, y’all.) While rifling through Murray’s shoebox, eager eyeballs went on the lookout for pictures of favorite bands or secret crushes, but more than anything else, people were hoping to find a photo of themselves. Being captured in a Murray picture was a stamp of approval. It was a confirmation that you had indeed been there. That you belonged.\u003c/p>\n\u003cp>That manifestation of belonging takes on various forms in the punk scene. It doesn’t matter how shy a person is, or how lacking in musical ability. Everyone has a role. And while bands have always enjoyed the spotlight, they’re just one part of a complex ecosystem. There are zine editors, promoters, the people who feed and house the touring bands, \u003ca href=\"https://www.kqed.org/arts/13830408/going-strong-since-1990-this-low-budget-newsletter-is-a-punk-institution\">Steve List\u003c/a>, the volunteers who sweep the floors and clean the toilets. These often unsung community heroes are the reason the punk scene has been able to function and evolve.\u003c/p>\n\u003cfigure id=\"attachment_13968882\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968882 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-800x599.jpg\" alt=\"A young white girl with long brown hair plays a Gibson guitar\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1920x1438.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Squat, Nightbreak, San Francisco, 1995. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why do this work that is neither glamorous nor rewarded? Sometimes community service is a calling. As Murray famously said, “I wanted to be more than just a spectator.” There are those people who see something that needs to be done and are compelled to do it. Surely no one embodies this more than Anna Brown, teacher, longtime East Bay punk, and Murray’s most bulldogged advocate, the person who consented to take on the monumental task of compiling, designing, and editing \u003ci>Hail Murray!\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Anna first met Murray at a show in 1987; the next thing she knew, she was a regular passenger in his Rabbit Cabriolet, on the way to film screenings, art openings, punk shows and hikes. Murray was notoriously inscrutable, and didn’t often talk about himself. Anna, on the other hand, was articulate, outgoing and tough. Their personalities complementing each other, they became lifelong friends.\u003c/p>\n\u003cfigure id=\"attachment_13968961\" class=\"wp-caption aligncenter\" style=\"max-width: 1277px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles.jpg\" alt=\"\" width=\"1277\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles.jpg 1277w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-768x481.jpg 768w\" sizes=\"(max-width: 1277px) 100vw, 1277px\">\u003cfigcaption class=\"wp-caption-text\">Anna Brown with friend Aaron, 1993. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I ask Anna how long she’s been working on this book, she gets a faraway look in her eye. “I’d always wanted to make this book, ever since I was a teenager,” she tells me. “Murray was into the idea but he was very passive in general.”\u003c/p>\n\u003cp>Around 2010, the two began to tackle the project, mind-boggling in its scope. Murray took dozens of photos, every single weekend, for almost 40 years. What would a body of work of that magnitude look like? How could you even begin to catalog and curate it? They caught a break in 2017 when the documentary team behind \u003ci>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/i> digitized thousands of Murray’s photos, but that still left thousands \u003cem>more\u003c/em> to sift through.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then in 2019, Murray Bowles died unexpectedly.\u003c/p>\n\u003cp>“When he died, I felt super guilty because we had this whole plan,” Anna tells me. The two friends had planned to spend Murray’s retirement years going around the country doing book tours and gallery shows, the culmination of a life’s work.\u003c/p>\n\u003cp>“I felt really bad that he didn’t get a chance to do any of that stuff, or to see the book,” Anna says. “So I became extremely determined.”\u003c/p>\n\u003cfigure id=\"attachment_13968952\" class=\"wp-caption aligncenter\" style=\"max-width: 1428px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_.jpg\" alt=\"\" width=\"1428\" height=\"906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_.jpg 1428w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-1020x647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-768x487.jpg 768w\" sizes=\"(max-width: 1428px) 100vw, 1428px\">\u003cfigcaption class=\"wp-caption-text\">Operation Ivy, Gilman Street, Berkeley, 1988. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anna transcribed interviews, received feedback, taught herself Photoshop and InDesign, solicited funding and found a publisher. Along the way, she experimented with different layouts, and how to best encapsulate the life’s work of her friend.\u003c/p>\n\u003cp>“I felt a lot of anxiety about these pictures that are sacred to our people,” she explains. “They mean so much to everyone. It felt like I was handling an incredibly fragile, delicate thing. I knew that everyone was going to have their own ideas about how they wanted the book to be.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the end, Anna decided that Bowles’ aesthetic would be best captured as a monograph. Punk may be messy, but \u003cem>Hail Murray!\u003c/em> is impeccably clean and gorgeous. Each 12” x 9” landscape page is devoted to a single black and white photograph, giving it ample space to breathe.\u003c/p>\n\u003cp>Though there’s a multitude of band photos in the book — from lesser-known entities like thrash band Sluglords to well-known groups like Rancid — many of its most compelling images are moments captured between friends. Young people sprawled on the hoods of cars, friends drinking beer on couches or hunkered down in a stairwell, girls carrying other girls through the pit, inexplicable configurations of body parts at a crowded house show where you’re not even sure where one person ends and the next person begins. There is an implied intimacy to the work, underscored by a minimalist approach to titles and descriptions.\u003c/p>\n\u003cfigure id=\"attachment_13968877\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968877 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-800x599.jpg\" alt=\"Punk band Special Forces plays at UC Berkeley's Sproul Plaza. Orlando, a tall Black man with a mohawk, stands in front with a microphone.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1920x1438.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Special Forces, Sproul Plaza, UC Berkeley, 1985. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the absence of elaborate captions or other explicit context cues, one might ask how \u003cem>Hail Murray!\u003c/em> will be perceived by those outside of the community it chronicles. For punks, part of the excitement was digging through Murray’s photo box, scanning the faces in the crowd and wondering: “Am I in here?” But outsiders to the punk scene may be surprised to see themselves here, too, reflected in the universal quest for fun and belonging.\u003c/p>\n\u003cp>“If Murray’s work is ‘about’ anything, it’s about the joy of punk,” Anna says. “Going through his archives, you come away feeling that Murray’s mission, in simplest terms, was to celebrate the feeling of being there on any given night or afternoon — the collective energy of a singular moment.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hail Murray!: The Bay Area Punk Photography of Murray Bowles 1982–1995’ is celebrated in a release party with live music by Smokers and Nasty World on Sunday, Dec. 8, at 111 Minna Gallery in San Francisco. 4pm–9pm. \u003ca href=\"https://111minnagallery.com/event/hail-murray-book-party/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jay-Z’s ‘The Book of Hov’ Exhibit Lives Up to Its Name and Becomes a Book",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/jay-z\">Jay-Z\u003c/a> ’s popular exhibit \u003ca href=\"https://www.thebookofhov.com/\">\u003cem>The Book of Hov\u003c/em>\u003c/a> in New York is about to live up to its name by becoming an actual book.\u003c/p>\n\u003cp>[aside postid='arts_13968608']\u003cem>The Book of Hov: A Tribute to Jay-Z\u003c/em> debuts Wednesday, following the success of Jay-Z’s free immersive exhibit at the Brooklyn Public Library, which drew more than 600,000 visitors in a six-month span last year. The 432-page book, released by Assouline, goes on pre-sale Tuesday.\u003c/p>\n\u003cp>The book serves as both a commemoration and a time capsule of the exhibition that celebrated the life and work of the 24-time Grammy winner, bringing together thousands of archived artifacts from his illustrious career. There are nearly 700 images. In the eight chapters, readers will find everything from iconic stage outfits to rare interviews, awards and never-before-seen photographs.\u003c/p>\n\u003cfigure id=\"attachment_13968981\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968981\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV.png\" alt=\"A blue book cover with white lettering on the front.\" width=\"2000\" height=\"1711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-800x684.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-1020x873.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-160x137.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-768x657.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-1536x1314.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-1920x1643.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘The Book of Hov: A Tribute to Jay-Z.’ \u003ccite>(Assouline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chapter titles are drawn from Jay-Z’s lyrics.\u003c/p>\n\u003cp>\u003cem>The Book of Hov: A Tribute to Jay-Z\u003c/em> unveils Jay-Z’s deep connection with the art world and his rising business ventures, reveals his unique method of composing rhymes mentally and his criminal and social justice activism. It offers a tribute to Baseline Studios where \u003cem>The Blueprint\u003c/em> and \u003cem>The Black Album\u003c/em> were birthed. The book also captures him articulating his vision and manifesting his future through a series of interviews spanning several years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the book’s other highlights include the guitar Jay-Z played at the Glastonbury Festival; Daniel Arsham’s sculpture of the iconic \u003cem>HOV Hands\u003c/em>; his Rock & Roll Hall of Fame award; and hundreds of paper planes, which were created by New York City schoolchildren who wrote their dreams inside.\u003c/p>\n\u003cp>[aside postid='arts_13968679']\u003cem>The Book of Hov: A Tribute to Jay-Z\u003c/em> will be available in three editions: The classic version for $120, the ultimate for $2,000 and price upon request for five special limited- edition copies with a tri-fold each housed in a bronze slipcase artwork by Arsham.\u003c/p>\n\u003cp>A portion of the proceeds from the sale of the special limited edition will be donated to the Brooklyn Public Library.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Book of Hov: A Tribute to Jay-Z’ is released on Dec. 4, 2024 via Assouline. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Book of Hov: A Tribute to Jay-Z\u003c/em> debuts Wednesday, following the success of Jay-Z’s free immersive exhibit at the Brooklyn Public Library, which drew more than 600,000 visitors in a six-month span last year. The 432-page book, released by Assouline, goes on pre-sale Tuesday.\u003c/p>\n\u003cp>The book serves as both a commemoration and a time capsule of the exhibition that celebrated the life and work of the 24-time Grammy winner, bringing together thousands of archived artifacts from his illustrious career. There are nearly 700 images. In the eight chapters, readers will find everything from iconic stage outfits to rare interviews, awards and never-before-seen photographs.\u003c/p>\n\u003cfigure id=\"attachment_13968981\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968981\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV.png\" alt=\"A blue book cover with white lettering on the front.\" width=\"2000\" height=\"1711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-800x684.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-1020x873.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-160x137.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-768x657.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-1536x1314.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-1920x1643.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘The Book of Hov: A Tribute to Jay-Z.’ \u003ccite>(Assouline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chapter titles are drawn from Jay-Z’s lyrics.\u003c/p>\n\u003cp>\u003cem>The Book of Hov: A Tribute to Jay-Z\u003c/em> unveils Jay-Z’s deep connection with the art world and his rising business ventures, reveals his unique method of composing rhymes mentally and his criminal and social justice activism. It offers a tribute to Baseline Studios where \u003cem>The Blueprint\u003c/em> and \u003cem>The Black Album\u003c/em> were birthed. The book also captures him articulating his vision and manifesting his future through a series of interviews spanning several years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the book’s other highlights include the guitar Jay-Z played at the Glastonbury Festival; Daniel Arsham’s sculpture of the iconic \u003cem>HOV Hands\u003c/em>; his Rock & Roll Hall of Fame award; and hundreds of paper planes, which were created by New York City schoolchildren who wrote their dreams inside.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Book of Hov: A Tribute to Jay-Z\u003c/em> will be available in three editions: The classic version for $120, the ultimate for $2,000 and price upon request for five special limited- edition copies with a tri-fold each housed in a bronze slipcase artwork by Arsham.\u003c/p>\n\u003cp>A portion of the proceeds from the sale of the special limited edition will be donated to the Brooklyn Public Library.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Book of Hov: A Tribute to Jay-Z’ is released on Dec. 4, 2024 via Assouline. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13968937\" class=\"wp-caption aligncenter\" style=\"max-width: 1370px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968937\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue.png\" alt=\"A book cover depicting iron gates with the word 'Bellvue' on them. Cloudy skies hang low overhead.\" width=\"1370\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue.png 1370w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-800x1168.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-1020x1489.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-768x1121.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-1052x1536.png 1052w\" sizes=\"(max-width: 1370px) 100vw, 1370px\">\u003cfigcaption class=\"wp-caption-text\">‘Bellevue’ by Robin Cook. \u003ccite>(G.P. Putnam's Sons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The building on New York’s East Side that used to house Bellevue Psychiatric Hospital has inspired tales of horror from the likes of H.P. Lovecraft and served as the model for Arkham Asylum in fictional Gotham City. For novelist Robin Cook, who interned there in the 1960s, it’s the perfect setting for his latest medical thriller.\u003c/p>\n\u003cp>\u003cem>Bellevue\u003c/em> is set in the present day, but hearkens often to the hospital’s controversial and storied past. The plot centers around 23-year-old Mitt Fuller, embarking on his surgical residency at the iconic hospital. Mitt’s “long and impressive medical pedigree” goes back more than 400 years and includes three previous surgeons and a psychiatrist. It’s always been Mitt’s dream to follow in his forefathers’ footsteps.\u003c/p>\n\u003cp>[aside postid='arts_13968593']But this is a Robin Cook novel, so readers shouldn’t be surprised that Mitt’s dream slowly becomes a nightmare. Cook does a nice job of drawing readers into the tale, not horrifying them all at once. Mitt possesses a little precognitive power and can sometimes see things before they happen or sense when he’s in danger. So when forceps start moving of their own accord during a procedure or sutures untie themselves, readers and Mitt get a serious case of the heebie-jeebies.\u003c/p>\n\u003cp>Readers learn early in the story why the hospital is haunted, but dramatic irony is at play for more than a hundred pages as Mitt assembles the puzzle and unearths his family’s buried secrets. Mitt’s medical training and belief in science don’t exactly square with a haunted hospital, but when he meets another hospital employee whose family has a history at the institution, together they put together the rest of the pieces.\u003c/p>\n\u003cp>The denouement is jarring, but feels earned. Cook has told a tale that delivers a measure of justice for some patients, while preserving the dreadful mystique spelled out on top of the “decorative rusty wrought iron fence” at the southeastern corner of First Avenue and 30th Street: B-E-L-L-E-V-U-E.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Bellevue’ by Robin Cook is out on Dec. 3, 2024, via G.P. Putnam’s Sons.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But this is a Robin Cook novel, so readers shouldn’t be surprised that Mitt’s dream slowly becomes a nightmare. Cook does a nice job of drawing readers into the tale, not horrifying them all at once. Mitt possesses a little precognitive power and can sometimes see things before they happen or sense when he’s in danger. So when forceps start moving of their own accord during a procedure or sutures untie themselves, readers and Mitt get a serious case of the heebie-jeebies.\u003c/p>\n\u003cp>Readers learn early in the story why the hospital is haunted, but dramatic irony is at play for more than a hundred pages as Mitt assembles the puzzle and unearths his family’s buried secrets. Mitt’s medical training and belief in science don’t exactly square with a haunted hospital, but when he meets another hospital employee whose family has a history at the institution, together they put together the rest of the pieces.\u003c/p>\n\u003cp>The denouement is jarring, but feels earned. Cook has told a tale that delivers a measure of justice for some patients, while preserving the dreadful mystique spelled out on top of the “decorative rusty wrought iron fence” at the southeastern corner of First Avenue and 30th Street: B-E-L-L-E-V-U-E.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Bellevue’ by Robin Cook is out on Dec. 3, 2024, via G.P. Putnam’s Sons.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Waitress\u003c/em> is not a holiday musical, and I won’t try to \u003ca href=\"https://parade.com/1288946/samuelmurrian/is-die-hard-a-christmas-movie/\">boorishly\u003c/a> argue so. But it \u003cem>is\u003c/em> a story about love, and family, and muddling through somehow, with a wholesome and sweet payoff — a salve for the cold winter months. Plus, it’s about baking pies (he types, flecks of Thanksgiving flour still lining his cuticles).\u003c/p>\n\u003cp>Running through Jan. 18 at San Francisco Playhouse, \u003cem>Waitress\u003c/em> follows the travails of Jenna, a small-town diner waitress with an abusive husband who dreams of a better life. By inventing daily pie recipes based on her predicaments, she projects an alternate future for herself — one that derails when she absentmindedly sleeps with her husband and gets pregnant.\u003c/p>\n\u003cp>Jenna (Ruby Day) is trapped by economic, matrimonial and prenatal circumstances. Her fellow waitresses at the diner are trapped, too: the tottering Dawn (Sharon Shao) by self-doubt, the wisecracking Becky (Tanika Baptiste) by weary cynicism. Enter Jenna’s new-in-town gynecologist, Dr. Pomatter (Zeke Edmonds), add a dash of romantic spark, and you see where this recipe is leading. \u003c/p>\n\u003cfigure id=\"attachment_13968690\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13968690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sparks fly between Jenna (Ruby Day) and Dr. Pomatter (Zeke Edmonds) in ‘Waitress’ at San Francisco Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Jenna, Day strikes the right blend of folksy and inventive; she’s content and traditional but goes rogue when needed. Around Dawn and Becky, she’s open and supportive; around her doctor, she cautiously tries to avoid hopping out of one trap and into another. Only one man seems to fully loosen her guard: Joe (Louis Parnell), the elderly owner of the diner, an exacting curmudgeon who offers sagely bromides over the formica tabletop.\u003c/p>\n\u003cp>Meanwhile, Dawn longs for someone who understands her, and Shao sings the number “When He Sees Me” with a wonderful zig-zag between self-consciousness and hope. That person arrives in the form of Ogie (Michael Parrott), an amateur magician and clog dancer in bad pants who love-bombs Dawn; she runs toward rather than away from his red flags, and eventually, the audience does, too.\u003c/p>\n\u003cfigure id=\"attachment_13968693\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13968693\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dawn (Sharon Shao) is ambushed by overeager Ogie (Michael Parrott) in ‘Waitress,’ at San Francisco Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Interplay between the employees of Joe’s Pie Diner is crucial to \u003cem>Waitress\u003c/em>, and director Susi Damilano maximizes the friction and synergies inherent to a powder-keg working environment. It wouldn’t be a true lunch counter without witty repartee, provided by Becky and line cook Cal (Dorian Lockett), who tear at each other’s throats. But if the diner staff can agree on one thing, it’s their disdain of Earl, Jenna’s husband. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Earl is your typical insecure jerk — he drinks, pockets Jenna’s tips and demands she never love their baby more than him. He’s also not jerky enough; the character is a man-baby, yes, but Ben Euphrat could play it with even more bullheaded toxicity, or at least wear less fashionable jeans. (As Joe, Parnell could be more grouchy, too.)\u003c/p>\n\u003cfigure id=\"attachment_13968689\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13968689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Earl (Ben Euphrat) visits his wife Jenna (Ruby Day) at the diner in ‘Waitress’ at San Francisco Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Day and Edmonds both blossom here, as Jenna dives deeper in lust with her married doctor. In the second act, just as the show starts to drag, Day brings the house down with “She Used to Be Mine,” singing it as if she’s sung it for three lifetimes, tearing every ounce of emotion from what’s left of Jenna’s soul. It’s a dam that’s finally burst, and on opening night, it got the longest applause. \u003c/p>\n\u003cp>It’s been six years since the \u003ca href=\"https://www.kqed.org/arts/13843169/if-you-love-the-film-waitress-the-musical-is-a-side-dish-worth-ordering\">Broadway tour of \u003cem>Waitress\u003c/em> came to town\u003c/a>, and San Francisco Playhouse has bet on audience’s appetites by investing in a stellar set by Jacquelyn Scott and a full onstage live band. The choreography by Nicole Helfer isn’t flashy — there are no razzle-dazzle synchronized dance numbers — but watching its careful precision unfold is like viewing a cross-section of a humming V8 engine with dozens of moving parts. A drum line is played on the lunch counter with wooden spoons. Jenna and Dr. Pomatter float through the air. Pies hover in circles like a reverie. \u003c/p>\n\u003cfigure id=\"attachment_13968691\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14.jpg\" alt=\"\" width=\"2000\" height=\"1247\" class=\"size-full wp-image-13968691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-1020x636.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-1536x958.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-1920x1197.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jenna (Ruby Day) dreams of Dr. Pomatter (Zeke Edmonds) in ‘Waitress’ at San Francisco Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Waitress\u003c/em> was written by women (the 2007 Adrienne Shelly movie was adapted for the stage by Jessie Nelson and Sara Bareilles), and it shows. Nestled within its well-worn small-town-diner tropes is a perspective that just \u003cem>feels\u003c/em> different, and not only in the dialogue. Jenna is a woman who chooses to have a baby but isn’t at all happy about it, a common dilemma not reflected enough in entertainment. \u003c/p>\n\u003cp>This is refreshing. It also lends the final scenes of \u003cem>Waitress\u003c/em> extra emotional weight, capturing the warmth \u003cem>and\u003c/em> the complexity inherent to the holiday season.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Waitress’ runs through Saturday, Jan. 18 at San Francisco Playhouse (450 Post St., San Francisco). \u003ca href=\"https://www.sfplayhouse.org/sfph/2024-2025-season/waitress/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"headline": "‘Waitress’ Bakes Up Warmth — and Complexity — at San Francisco Playhouse",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Waitress\u003c/em> is not a holiday musical, and I won’t try to \u003ca href=\"https://parade.com/1288946/samuelmurrian/is-die-hard-a-christmas-movie/\">boorishly\u003c/a> argue so. But it \u003cem>is\u003c/em> a story about love, and family, and muddling through somehow, with a wholesome and sweet payoff — a salve for the cold winter months. Plus, it’s about baking pies (he types, flecks of Thanksgiving flour still lining his cuticles).\u003c/p>\n\u003cp>Running through Jan. 18 at San Francisco Playhouse, \u003cem>Waitress\u003c/em> follows the travails of Jenna, a small-town diner waitress with an abusive husband who dreams of a better life. By inventing daily pie recipes based on her predicaments, she projects an alternate future for herself — one that derails when she absentmindedly sleeps with her husband and gets pregnant.\u003c/p>\n\u003cp>Jenna (Ruby Day) is trapped by economic, matrimonial and prenatal circumstances. Her fellow waitresses at the diner are trapped, too: the tottering Dawn (Sharon Shao) by self-doubt, the wisecracking Becky (Tanika Baptiste) by weary cynicism. Enter Jenna’s new-in-town gynecologist, Dr. Pomatter (Zeke Edmonds), add a dash of romantic spark, and you see where this recipe is leading. \u003c/p>\n\u003cfigure id=\"attachment_13968690\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13968690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sparks fly between Jenna (Ruby Day) and Dr. Pomatter (Zeke Edmonds) in ‘Waitress’ at San Francisco Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Jenna, Day strikes the right blend of folksy and inventive; she’s content and traditional but goes rogue when needed. Around Dawn and Becky, she’s open and supportive; around her doctor, she cautiously tries to avoid hopping out of one trap and into another. Only one man seems to fully loosen her guard: Joe (Louis Parnell), the elderly owner of the diner, an exacting curmudgeon who offers sagely bromides over the formica tabletop.\u003c/p>\n\u003cp>Meanwhile, Dawn longs for someone who understands her, and Shao sings the number “When He Sees Me” with a wonderful zig-zag between self-consciousness and hope. That person arrives in the form of Ogie (Michael Parrott), an amateur magician and clog dancer in bad pants who love-bombs Dawn; she runs toward rather than away from his red flags, and eventually, the audience does, too.\u003c/p>\n\u003cfigure id=\"attachment_13968693\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13968693\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dawn (Sharon Shao) is ambushed by overeager Ogie (Michael Parrott) in ‘Waitress,’ at San Francisco Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Interplay between the employees of Joe’s Pie Diner is crucial to \u003cem>Waitress\u003c/em>, and director Susi Damilano maximizes the friction and synergies inherent to a powder-keg working environment. It wouldn’t be a true lunch counter without witty repartee, provided by Becky and line cook Cal (Dorian Lockett), who tear at each other’s throats. But if the diner staff can agree on one thing, it’s their disdain of Earl, Jenna’s husband. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Earl is your typical insecure jerk — he drinks, pockets Jenna’s tips and demands she never love their baby more than him. He’s also not jerky enough; the character is a man-baby, yes, but Ben Euphrat could play it with even more bullheaded toxicity, or at least wear less fashionable jeans. (As Joe, Parnell could be more grouchy, too.)\u003c/p>\n\u003cfigure id=\"attachment_13968689\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13968689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Earl (Ben Euphrat) visits his wife Jenna (Ruby Day) at the diner in ‘Waitress’ at San Francisco Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Day and Edmonds both blossom here, as Jenna dives deeper in lust with her married doctor. In the second act, just as the show starts to drag, Day brings the house down with “She Used to Be Mine,” singing it as if she’s sung it for three lifetimes, tearing every ounce of emotion from what’s left of Jenna’s soul. It’s a dam that’s finally burst, and on opening night, it got the longest applause. \u003c/p>\n\u003cp>It’s been six years since the \u003ca href=\"https://www.kqed.org/arts/13843169/if-you-love-the-film-waitress-the-musical-is-a-side-dish-worth-ordering\">Broadway tour of \u003cem>Waitress\u003c/em> came to town\u003c/a>, and San Francisco Playhouse has bet on audience’s appetites by investing in a stellar set by Jacquelyn Scott and a full onstage live band. The choreography by Nicole Helfer isn’t flashy — there are no razzle-dazzle synchronized dance numbers — but watching its careful precision unfold is like viewing a cross-section of a humming V8 engine with dozens of moving parts. A drum line is played on the lunch counter with wooden spoons. Jenna and Dr. Pomatter float through the air. Pies hover in circles like a reverie. \u003c/p>\n\u003cfigure id=\"attachment_13968691\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14.jpg\" alt=\"\" width=\"2000\" height=\"1247\" class=\"size-full wp-image-13968691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-1020x636.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-1536x958.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-1920x1197.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jenna (Ruby Day) dreams of Dr. Pomatter (Zeke Edmonds) in ‘Waitress’ at San Francisco Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Waitress\u003c/em> was written by women (the 2007 Adrienne Shelly movie was adapted for the stage by Jessie Nelson and Sara Bareilles), and it shows. Nestled within its well-worn small-town-diner tropes is a perspective that just \u003cem>feels\u003c/em> different, and not only in the dialogue. Jenna is a woman who chooses to have a baby but isn’t at all happy about it, a common dilemma not reflected enough in entertainment. \u003c/p>\n\u003cp>This is refreshing. It also lends the final scenes of \u003cem>Waitress\u003c/em> extra emotional weight, capturing the warmth \u003cem>and\u003c/em> the complexity inherent to the holiday season.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Waitress’ runs through Saturday, Jan. 18 at San Francisco Playhouse (450 Post St., San Francisco). \u003ca href=\"https://www.sfplayhouse.org/sfph/2024-2025-season/waitress/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Daniel Craig Is a Revelation in ‘Queer,’ a Trippy Tale of Longing",
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"content": "\u003cp>One of the first real signs that \u003cem>Queer\u003c/em> is going to be an unconventional movie is when Daniel Craig in a linen suit saunters through Mexico City during the early ‘50s and the soundtrack blasts a song by Nirvana.\u003c/p>\n\u003cp>It’s a pretty nifty way to explain this story of a man unmoored by time, geography and himself. Craig plays William Lee, an American hiding out in Mexico who spends his time going from bar to bar, knocking back tequila or mescal.\u003c/p>\n\u003cp>[aside postid='arts_13968738']Why is he hiding out? For one thing, he’s a junkie and Mexico is more permissive about heroin use than the States at this time. He’s also gay when being gay was considered abhorrent and Mexico was, again, more permissive. Lee is part of a wealthy expat contingent that fritters away the days stewed in liquor and gossip.\u003c/p>\n\u003cp>He doesn’t just sound like a William S. Burroughs hero, he’s partly Burroughs himself — \u003cem>Queer\u003c/em> was a confessional novella written long before his breakthrough novel \u003cem>Naked Lunch\u003c/em>. So buckle up. You’re going to see some weird stuff.\u003c/p>\n\u003cp>\u003cem>Queer\u003c/em> is best when it’s a character study of Lee, who in Craig’s hands is charming, selfish, arrogant, abrasive, foppish and sometimes unable to read a room. It’s a million miles from 007, even if Lee carries a pistol. Craig allows us to see the yearning for real love that Lee numbs with shot glasses and needles. That Nirvana song is “Come as You Are.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One day that real love suddenly appears in the form of the younger Eugene Allerton (a superb, icy Drew Starkey), who unlocks something in Lee. Could Eugene be the one to make Lee whole? Could they ride off into the sunset? Don’t be silly. This is a Burroughs story.\u003c/p>\n\u003cp>Eugene is on-again, off-again, sometimes loving Lee and sometimes preferring a woman’s company. Part of Eugene seems to dislike Lee or being seen with him. Lee’s voracious need — shown with vigorous lovemaking scenes — is overpowering.\u003c/p>\n\u003cp>One scene has the two men walking down a street and Eugene subtly shakes off the older man’s hand on his shoulder. “Is he a queer?” Lee asks a friend. “I can’t tell.” One drunken night he approaches his source of adoration and confesses he wants to speak without speaking. He soon will try.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ltinrfX03S4\u003c/p>\n\u003cp>Director Luca Guadagnino and screenwriter Justin Kuritzkes, who teamed up for \u003cem>Challengers\u003c/em>, face enormous challenges in adapting Burroughs’s words to the screen and yet they manage it, lyrically.\u003c/p>\n\u003cp>[aside postid='arts_13968600']There is a single-take scene in which Lee assembles the equipment necessary to inject himself with heroin and the camera watches as he gets high, slowing his body down to become a sort of pathetic statue at the kitchen table.\u003c/p>\n\u003cp>Symbols — a wriggling bug, snakes and mirrors — combine with trippy techniques meant to show Lee’s interior life, like his arm superimposed onto a scene tenderly touching his paramour when, in reality, it is hanging still. And there is a late moment of surreal beauty as the lovers climb into each other’s bodies, hands under the skin.\u003c/p>\n\u003cp>\u003cem>Queer\u003c/em> — broken up into three chapters and an epilogue — gets trippier in the later stages, when Lee and Eugene leave Mexico in search of a South American plant that apparently gives users telepathic powers. Lee is clearly trying to find a shortcut into the soul, bypassing the messiness of human interactions. “You think it can fix things for you,” he is told.\u003c/p>\n\u003cp>But this part isn’t well integrated with the first half, almost like a movie fragment, and the filmmakers fumble an attempt to deal with the death of Burroughs’ wife, Joan Vollmer. Guadagnino seems to unnecessarily channel Stanley Kubrick as the movie wobbles to its end, with scenes filled with deafening sound, then pregnant silence and an artificial momentousness.\u003c/p>\n\u003cp>[aside postid='arts_13968446']The score by Trent Reznor and Atticus Ross is vibrant but it gets a chef’s kiss with the addition of songs by Prince, New Order and Lydia Mendoza, mixed with contemporary songs by Benny Goodman, Eddie Cantor, Frankie Lane and Cole Porter.\u003c/p>\n\u003cp>The weight of it all comes down to Craig, and he’s a wonder in a fedora, dirt stains on his linen pants. \u003cem>Queer\u003c/em> is a reminder of how good an actor he is and how brave he can be — naked, needy and noxious. You’ll be shaken and stirred.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Queer’ opens in Bay Area theaters on Dec. 5, 2024 and nationwide on Dec. 13.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Why is he hiding out? For one thing, he’s a junkie and Mexico is more permissive about heroin use than the States at this time. He’s also gay when being gay was considered abhorrent and Mexico was, again, more permissive. Lee is part of a wealthy expat contingent that fritters away the days stewed in liquor and gossip.\u003c/p>\n\u003cp>He doesn’t just sound like a William S. Burroughs hero, he’s partly Burroughs himself — \u003cem>Queer\u003c/em> was a confessional novella written long before his breakthrough novel \u003cem>Naked Lunch\u003c/em>. So buckle up. You’re going to see some weird stuff.\u003c/p>\n\u003cp>\u003cem>Queer\u003c/em> is best when it’s a character study of Lee, who in Craig’s hands is charming, selfish, arrogant, abrasive, foppish and sometimes unable to read a room. It’s a million miles from 007, even if Lee carries a pistol. Craig allows us to see the yearning for real love that Lee numbs with shot glasses and needles. That Nirvana song is “Come as You Are.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One day that real love suddenly appears in the form of the younger Eugene Allerton (a superb, icy Drew Starkey), who unlocks something in Lee. Could Eugene be the one to make Lee whole? Could they ride off into the sunset? Don’t be silly. This is a Burroughs story.\u003c/p>\n\u003cp>Eugene is on-again, off-again, sometimes loving Lee and sometimes preferring a woman’s company. Part of Eugene seems to dislike Lee or being seen with him. Lee’s voracious need — shown with vigorous lovemaking scenes — is overpowering.\u003c/p>\n\u003cp>One scene has the two men walking down a street and Eugene subtly shakes off the older man’s hand on his shoulder. “Is he a queer?” Lee asks a friend. “I can’t tell.” One drunken night he approaches his source of adoration and confesses he wants to speak without speaking. He soon will try.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ltinrfX03S4'\n title='//www.youtube.com/embed/ltinrfX03S4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Director Luca Guadagnino and screenwriter Justin Kuritzkes, who teamed up for \u003cem>Challengers\u003c/em>, face enormous challenges in adapting Burroughs’s words to the screen and yet they manage it, lyrically.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is a single-take scene in which Lee assembles the equipment necessary to inject himself with heroin and the camera watches as he gets high, slowing his body down to become a sort of pathetic statue at the kitchen table.\u003c/p>\n\u003cp>Symbols — a wriggling bug, snakes and mirrors — combine with trippy techniques meant to show Lee’s interior life, like his arm superimposed onto a scene tenderly touching his paramour when, in reality, it is hanging still. And there is a late moment of surreal beauty as the lovers climb into each other’s bodies, hands under the skin.\u003c/p>\n\u003cp>\u003cem>Queer\u003c/em> — broken up into three chapters and an epilogue — gets trippier in the later stages, when Lee and Eugene leave Mexico in search of a South American plant that apparently gives users telepathic powers. Lee is clearly trying to find a shortcut into the soul, bypassing the messiness of human interactions. “You think it can fix things for you,” he is told.\u003c/p>\n\u003cp>But this part isn’t well integrated with the first half, almost like a movie fragment, and the filmmakers fumble an attempt to deal with the death of Burroughs’ wife, Joan Vollmer. Guadagnino seems to unnecessarily channel Stanley Kubrick as the movie wobbles to its end, with scenes filled with deafening sound, then pregnant silence and an artificial momentousness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The score by Trent Reznor and Atticus Ross is vibrant but it gets a chef’s kiss with the addition of songs by Prince, New Order and Lydia Mendoza, mixed with contemporary songs by Benny Goodman, Eddie Cantor, Frankie Lane and Cole Porter.\u003c/p>\n\u003cp>The weight of it all comes down to Craig, and he’s a wonder in a fedora, dirt stains on his linen pants. \u003cem>Queer\u003c/em> is a reminder of how good an actor he is and how brave he can be — naked, needy and noxious. You’ll be shaken and stirred.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Queer’ opens in Bay Area theaters on Dec. 5, 2024 and nationwide on Dec. 13.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cyndi Lauper Consoles a Post-Election Crowd in San Francisco",
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"content": "\u003cp>Cyndi Lauper didn’t once mention the election Tuesday night, but it hung in the air so clearly that she didn’t need to. For a San Francisco crowd that included Nancy Pelosi in the third row, Lauper acknowledged the past three weeks without once saying the E-word or, God forbid, the T-word. \u003c/p>\n\u003cp>“I never thought I’d be a second-class citizen again, and not have autonomy over my own body because of my gender,” she said at one point. She talked about rock bands full of “men, men, men, men, men”; she spoke of the power in a woman driving herself somewhere, or writing her own songs. \u003c/p>\n\u003cfigure id=\"attachment_13968723\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27.jpg\" alt=\"\" width=\"2000\" height=\"1280\" class=\"size-full wp-image-13968723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-1536x983.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-1920x1229.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cyndi Lauper performs during her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, after opener “She Bop” — a once-scandalous ode to (gasp!) female masturbation that underscored just how far American society has progressed since the 1980s — she talked about pretty much anything on her mind, like the ways American society has moved backward, particularly on women’s equal rights.\u003c/p>\n\u003cp>Lauper is on what she’s promising is her final tour, and she’s so beloved by fans that she padded an hour-and-45-minute farewell set with these extended, off-the-cuff monologues. But it was the songs that got the people to their feet, from the belting Gene Pitney torch ballad “I’m Gonna Be Strong’ to the No. 1 single “Time After Time,” performed to an arena bathed in phone lights. \u003c/p>\n\u003cfigure id=\"attachment_13968725\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44.jpg\" alt=\"\" width=\"2000\" height=\"1400\" class=\"size-full wp-image-13968725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-1020x714.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-1536x1075.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-1920x1344.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cyndi Lauper performs during her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It is an odd artifact of the 1980s that both Cyndi Lauper and Donald Trump advocated for and \u003ca href=\"https://www.youtube.com/watch?v=JsKMb899g2Y\">participated in\u003c/a> pro wrestling. “The Goonies ‘R’ Good Enough” and its attendant film montage gave Lauper a reason to shout out wrestlers like Lou Albano, Fred Blassie and Rowdy Roddy Piper. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>How Trump used pro wrestling’s playbook and a reality TV show (on which Lauper \u003ca href=\"https://www.youtube.com/watch?v=k_Ie5B6utUA\">appeared\u003c/a>) to commandeer a political party and twice take over a nation will be studied for decades. For her part, Lauper on Tuesday night introduced a song that, as she said, seemed more true than ever: “Money Changes Everything.”\u003c/p>\n\u003cfigure id=\"attachment_13968726\" class=\"wp-caption aligncenter\" style=\"max-width: 1480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46.jpg\" alt=\"\" width=\"1480\" height=\"2000\" class=\"size-full wp-image-13968726\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46.jpg 1480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-800x1081.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-1020x1378.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-768x1038.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-1137x1536.jpg 1137w\" sizes=\"(max-width: 1480px) 100vw, 1480px\">\u003cfigcaption class=\"wp-caption-text\">Cyndi Lauper performs during her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, just about any song from Lauper’s smash album \u003cem>She’s So Unusual\u003c/em> won over the mostly 40-and-up crowd. During “When You Were Mine,” the masterwork by Prince about the aftermath of a situationship, you could feel the energy of thousands of people remembering what the song once meant to them, or who they shared it with, and where, long ago. \u003c/p>\n\u003cp>That connection persisted for “True Colors,” the enduring LGBTQ anthem which Lauper performed on a small stage in the center of the arena, a sheer rainbow fabric rippling in the air above. The moment was so strong, nearly reverent, that the following set closer arrived as a foregone afterthought.\u003c/p>\n\u003cfigure id=\"attachment_13968728\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" class=\"size-full wp-image-13968728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Cyndi Lauper performs during her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Girls Just Wanna Have Fun” is so ubiquitous, so universal, that Lauper often finds new ways to perform it. On Tuesday night, oddly, that meant three giant portraits of the artist Yayoi Kusama, stern and unsmiling, on the giant stage backdrop, and a set and wardrobe bathed in Kusama’s red-and-white polka dots.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cyndi Lauper hugged Nancy Pelosi. Opener Trixie Mattel came back out to sing the second verse. Confetti ribbons shot into the air. If this truly was the last time San Francisco will see Lauper sing her hits, it left a memorable image. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cyndi Lauper didn’t once mention the election Tuesday night, but it hung in the air so clearly that she didn’t need to. For a San Francisco crowd that included Nancy Pelosi in the third row, Lauper acknowledged the past three weeks without once saying the E-word or, God forbid, the T-word. \u003c/p>\n\u003cp>“I never thought I’d be a second-class citizen again, and not have autonomy over my own body because of my gender,” she said at one point. She talked about rock bands full of “men, men, men, men, men”; she spoke of the power in a woman driving herself somewhere, or writing her own songs. \u003c/p>\n\u003cfigure id=\"attachment_13968723\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27.jpg\" alt=\"\" width=\"2000\" height=\"1280\" class=\"size-full wp-image-13968723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-1536x983.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-1920x1229.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cyndi Lauper performs during her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, after opener “She Bop” — a once-scandalous ode to (gasp!) female masturbation that underscored just how far American society has progressed since the 1980s — she talked about pretty much anything on her mind, like the ways American society has moved backward, particularly on women’s equal rights.\u003c/p>\n\u003cp>Lauper is on what she’s promising is her final tour, and she’s so beloved by fans that she padded an hour-and-45-minute farewell set with these extended, off-the-cuff monologues. But it was the songs that got the people to their feet, from the belting Gene Pitney torch ballad “I’m Gonna Be Strong’ to the No. 1 single “Time After Time,” performed to an arena bathed in phone lights. \u003c/p>\n\u003cfigure id=\"attachment_13968725\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44.jpg\" alt=\"\" width=\"2000\" height=\"1400\" class=\"size-full wp-image-13968725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-1020x714.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-1536x1075.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-1920x1344.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cyndi Lauper performs during her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It is an odd artifact of the 1980s that both Cyndi Lauper and Donald Trump advocated for and \u003ca href=\"https://www.youtube.com/watch?v=JsKMb899g2Y\">participated in\u003c/a> pro wrestling. “The Goonies ‘R’ Good Enough” and its attendant film montage gave Lauper a reason to shout out wrestlers like Lou Albano, Fred Blassie and Rowdy Roddy Piper. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>How Trump used pro wrestling’s playbook and a reality TV show (on which Lauper \u003ca href=\"https://www.youtube.com/watch?v=k_Ie5B6utUA\">appeared\u003c/a>) to commandeer a political party and twice take over a nation will be studied for decades. For her part, Lauper on Tuesday night introduced a song that, as she said, seemed more true than ever: “Money Changes Everything.”\u003c/p>\n\u003cfigure id=\"attachment_13968726\" class=\"wp-caption aligncenter\" style=\"max-width: 1480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46.jpg\" alt=\"\" width=\"1480\" height=\"2000\" class=\"size-full wp-image-13968726\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46.jpg 1480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-800x1081.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-1020x1378.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-768x1038.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-1137x1536.jpg 1137w\" sizes=\"(max-width: 1480px) 100vw, 1480px\">\u003cfigcaption class=\"wp-caption-text\">Cyndi Lauper performs during her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, just about any song from Lauper’s smash album \u003cem>She’s So Unusual\u003c/em> won over the mostly 40-and-up crowd. During “When You Were Mine,” the masterwork by Prince about the aftermath of a situationship, you could feel the energy of thousands of people remembering what the song once meant to them, or who they shared it with, and where, long ago. \u003c/p>\n\u003cp>That connection persisted for “True Colors,” the enduring LGBTQ anthem which Lauper performed on a small stage in the center of the arena, a sheer rainbow fabric rippling in the air above. The moment was so strong, nearly reverent, that the following set closer arrived as a foregone afterthought.\u003c/p>\n\u003cfigure id=\"attachment_13968728\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" class=\"size-full wp-image-13968728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Cyndi Lauper performs during her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Girls Just Wanna Have Fun” is so ubiquitous, so universal, that Lauper often finds new ways to perform it. On Tuesday night, oddly, that meant three giant portraits of the artist Yayoi Kusama, stern and unsmiling, on the giant stage backdrop, and a set and wardrobe bathed in Kusama’s red-and-white polka dots.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cyndi Lauper hugged Nancy Pelosi. Opener Trixie Mattel came back out to sing the second verse. Confetti ribbons shot into the air. If this truly was the last time San Francisco will see Lauper sing her hits, it left a memorable image. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Angelina Jolie Is Graceful and Sharp as Opera Star Maria Callas in ‘Maria’",
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"content": "\u003cp>Angelina Jolie glides through the final days of Maria Callas’ short life in Pablo Larraín’s \u003cem>Maria\u003c/em>, a dramatic, evocative elegy to the famed soprano. It’s an affair that’s at turns melancholy, biting and grandly theatrical, an aria for a once in a generation star.\u003c/p>\n\u003cp>Reality is of little consequence on the stage and in \u003cem>Maria\u003c/em>. It’s all about the raw feeling, which serves the movie well, more dream than history lesson about La Callas. Early on, she pops some Mandrax and tells her devoted butler Ferruccio (a simply wonderful Pierfrancesco Favino) that a television crew is on the way. Are they real, he wonders.\u003c/p>\n\u003cp>[aside postid='arts_13968359']“As of this morning, what is real and what is not real is my business,” she says calmly and definitively, making a feast out of Steven Knight’s sharp script. It’s one of many great lines and moments for Jolie, whose intensity and resolve belie her fragile appearance. And it’s a signal to the audience as well: Don’t fret about dull facts or that Jolie doesn’t really resemble Callas all that much. This is a biopic as opera — an emotional journey fitting of the great diva, full of flair, beauty, betrayal, revelations and sorrow.\u003c/p>\n\u003cp>In \u003cem>Maria\u003c/em>, we are the companion to a protagonist with an ever-loosening grip on reality, walking with her through Paris, and her life, for one week in September 1977.\u003c/p>\n\u003cp>The images from cinematographer Ed Lachman, playfully shifting in form and style, take us on a scattershot journey through her triumphs on stage, her scandalous romance with Aristotle Onassis (Haluk Bilginer) and her traumatic youth. In the present, at age 53, she sleeps till midday, drinks the minimal calories she ingests, goes to restaurants where the waiters know her name looking for adulation and has visions of performances staged just for her all around the city.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Callas is always immaculately dressed and assured, whether reflecting to the imagined news crew (led by Kodi Smit-McPhee) or attempting to find her voice again. Her instrument had famously diminished, leaving her wondering what’s left to live for. The only consistent praise she gets is from her obedient housemaid Bruna (Alba Rohrwacher). It’s no secret that the destination is death. And you suspect that she knows quite well that everything will be a big dimmer when her spotlight is turned off.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_7_ze9palm0\u003c/p>\n\u003cp>Larraín has made a lasting mark on cinema with his unofficial trilogy about these famous women with tragic narratives. With \u003cem>Jackie\u003c/em>, \u003cem>Spencer\u003c/em> and now \u003cem>Maria\u003c/em>, his films are also an unintentional antidote to Ryan Murphy’s stranglehold of the grand dames of recent history, which are all style and scandal and little substance. And yet Larraín’s films are not for everyone. If \u003cem>Jackie\u003c/em> and \u003cem>Spencer\u003c/em> did not speak to you, did not show those women as you hoped they would, \u003cem>Maria\u003c/em> will not turn you into a believer. Three movies in, it seems that audiences are either very on board with his vision or not. There is little room for an in between.\u003c/p>\n\u003cp>And yet it’s hard to deny that his films are incredible showcases for actors. Jolie as a movie star is somehow both omnipresent and elusive, and lately she chooses to step in front of the camera all too infrequently. Sometimes you wish she could just follow in Nicole Kidman’s footsteps, for whom quantity does not seem to ever jeopardize quality, and she seems to be having fun doing it all, all the time. Perhaps it’s because performances like Jolie’s in \u003cem>Maria\u003c/em> look so all-consuming.\u003c/p>\n\u003cp>[aside postid='arts_13968437']In the film, Maria scolds a fan for daring to question that she faked sickness to miss a performance. He doesn’t understand the total commitment of body and soul required to make it look effortless, which is probably true. Jolie is not so dramatic, at least publicly, about what it takes to create art. But here the lines blur: Character and actor blend so seamlessly, so ferociously, that you leave not just with heightened empathy for La Callas but Jolie as well.\u003c/p>\n\u003cp>In one of the film’s few regrettable scenes, she’s put face to face with John F. Kennedy (no fault of Caspar Phillipson), whose wife has caught the greedy eye of Onassis. As a testament to the power of Jolie and the script, you almost forgive yet another JFK impersonation for giving her one of the great brushoffs to utter, romantic and withering all at once. Is it all a little much? Of course, but that’s kind of the point of Maria.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Maria’ is out in Bay Area theaters on Nov. 27, 2024, and begins streaming on Netflix on Dec. 11.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Angelina Jolie glides through the final days of Maria Callas’ short life in Pablo Larraín’s \u003cem>Maria\u003c/em>, a dramatic, evocative elegy to the famed soprano. It’s an affair that’s at turns melancholy, biting and grandly theatrical, an aria for a once in a generation star.\u003c/p>\n\u003cp>Reality is of little consequence on the stage and in \u003cem>Maria\u003c/em>. It’s all about the raw feeling, which serves the movie well, more dream than history lesson about La Callas. Early on, she pops some Mandrax and tells her devoted butler Ferruccio (a simply wonderful Pierfrancesco Favino) that a television crew is on the way. Are they real, he wonders.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“As of this morning, what is real and what is not real is my business,” she says calmly and definitively, making a feast out of Steven Knight’s sharp script. It’s one of many great lines and moments for Jolie, whose intensity and resolve belie her fragile appearance. And it’s a signal to the audience as well: Don’t fret about dull facts or that Jolie doesn’t really resemble Callas all that much. This is a biopic as opera — an emotional journey fitting of the great diva, full of flair, beauty, betrayal, revelations and sorrow.\u003c/p>\n\u003cp>In \u003cem>Maria\u003c/em>, we are the companion to a protagonist with an ever-loosening grip on reality, walking with her through Paris, and her life, for one week in September 1977.\u003c/p>\n\u003cp>The images from cinematographer Ed Lachman, playfully shifting in form and style, take us on a scattershot journey through her triumphs on stage, her scandalous romance with Aristotle Onassis (Haluk Bilginer) and her traumatic youth. In the present, at age 53, she sleeps till midday, drinks the minimal calories she ingests, goes to restaurants where the waiters know her name looking for adulation and has visions of performances staged just for her all around the city.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Callas is always immaculately dressed and assured, whether reflecting to the imagined news crew (led by Kodi Smit-McPhee) or attempting to find her voice again. Her instrument had famously diminished, leaving her wondering what’s left to live for. The only consistent praise she gets is from her obedient housemaid Bruna (Alba Rohrwacher). It’s no secret that the destination is death. And you suspect that she knows quite well that everything will be a big dimmer when her spotlight is turned off.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_7_ze9palm0'\n title='//www.youtube.com/embed/_7_ze9palm0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Larraín has made a lasting mark on cinema with his unofficial trilogy about these famous women with tragic narratives. With \u003cem>Jackie\u003c/em>, \u003cem>Spencer\u003c/em> and now \u003cem>Maria\u003c/em>, his films are also an unintentional antidote to Ryan Murphy’s stranglehold of the grand dames of recent history, which are all style and scandal and little substance. And yet Larraín’s films are not for everyone. If \u003cem>Jackie\u003c/em> and \u003cem>Spencer\u003c/em> did not speak to you, did not show those women as you hoped they would, \u003cem>Maria\u003c/em> will not turn you into a believer. Three movies in, it seems that audiences are either very on board with his vision or not. There is little room for an in between.\u003c/p>\n\u003cp>And yet it’s hard to deny that his films are incredible showcases for actors. Jolie as a movie star is somehow both omnipresent and elusive, and lately she chooses to step in front of the camera all too infrequently. Sometimes you wish she could just follow in Nicole Kidman’s footsteps, for whom quantity does not seem to ever jeopardize quality, and she seems to be having fun doing it all, all the time. Perhaps it’s because performances like Jolie’s in \u003cem>Maria\u003c/em> look so all-consuming.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the film, Maria scolds a fan for daring to question that she faked sickness to miss a performance. He doesn’t understand the total commitment of body and soul required to make it look effortless, which is probably true. Jolie is not so dramatic, at least publicly, about what it takes to create art. But here the lines blur: Character and actor blend so seamlessly, so ferociously, that you leave not just with heightened empathy for La Callas but Jolie as well.\u003c/p>\n\u003cp>In one of the film’s few regrettable scenes, she’s put face to face with John F. Kennedy (no fault of Caspar Phillipson), whose wife has caught the greedy eye of Onassis. As a testament to the power of Jolie and the script, you almost forgive yet another JFK impersonation for giving her one of the great brushoffs to utter, romantic and withering all at once. Is it all a little much? Of course, but that’s kind of the point of Maria.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Maria’ is out in Bay Area theaters on Nov. 27, 2024, and begins streaming on Netflix on Dec. 11.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "making-their-mark-bampfa-shah-garg-collection-review",
"title": "Women Make ‘Their Mark’ in Elegant BAMPFA Show",
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"content": "\u003cp>I am of two minds when it comes to public museums exhibiting private collections. One mind grumbles, the other respects.\u003c/p>\n\u003cp>Collectors with the funds to support their art-buying habits can accumulate incredible amounts of work by “great” artists (see the \u003ca href=\"https://www.sfmoma.org/artists-artworks/fisher-collection/\">Fisher Collection\u003c/a> at the San Francisco Museum of Modern Art). They are free to pursue their desires as they see fit, without the democratizing goal of fleshing out a museum’s holdings \u003ci>beyond\u003c/i> those “great” artists (see again, the Fisher Collection).\u003c/p>\n\u003cp>Collectors can also lean into niche fields (see Eli Leon’s \u003ca href=\"https://bampfa.org/news/bampfa-receives-historic-bequest-nearly-three-thousand-quilts-african-american-artists\">African American quilts\u003c/a>, now donated to the Berkeley Art Museum and Pacific Film Archive; Pamela and Richard Kramlich’s focus on \u003ca href=\"https://www.kramlichcollection.org/\">time-based media\u003c/a>; or Rene di Rosa’s penchant for \u003ca href=\"https://www.dirosaart.org/about/history/\">funk art\u003c/a>). Such focus allows them to enact monomaniacal, sometimes visionary approaches to preserving art that might otherwise be undervalued, or even lost to time. \u003c/p>\n\u003cp>All to say: it’s complicated. Which brings us to \u003ci>\u003ca href=\"https://bampfa.org/making-their-mark\">Making Their Mark: Works from the Shah Garg Collection\u003c/a>\u003c/i>, on view at BAMPFA through April 20, 2025.\u003c/p>\n\u003cfigure id=\"attachment_13968700\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000.jpg\" alt=\"woman in bright red dress poses in front of high pedestal with ceramics and sculptures on it\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Komal Shah poses in front the ‘Craft is Art’ section of ‘Making Their Mark’ at BAMPFA. \u003ccite>(Drew Altizer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Making Their Mark\u003c/i> is, hands down, a lovely show. The Shah Garg Collection, created by Bay Area philanthropist Komal Shah and her husband Gaurav Garg, has turned acquiring art into a political statement about the earnings gap between white men and … everyone else. And this presentation of over 70 women artists proves gender has nothing to do with the quality, scale or material of one’s artistic output.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Which we hopefully all know. But it’s always nice to witness that fact with one’s own eyeballs.\u003c/p>\n\u003cp>The show is filled with monumental pieces, in terms of both size and art historical import. Dominating the former, Mary Weatherford’s \u003ci>Light Falling Like a Broken Chain; Paradise\u003c/i> (2021) is a 24-foot-wide swirl of luminous, rainbow-hued Flashe on linen, a painting of immense physicality that conjures images of giant, soaking-wet brushes.\u003c/p>\n\u003cfigure id=\"attachment_13968703\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150.jpg\" alt=\"two giant colorful abstract expressionist paintings and a bright green punched monolith sculpture\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13968703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Making Their Mark’ with work (L to R) by Joan Mitchell, Mary Weatherford and Aria Dean. \u003ccite>(Kelly Sullivan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of the latter, the show opens with Janet Sobel’s much humbler \u003ci>Untitled\u003c/i> (1946), an all-over composition of dripped paint mixed with sand. A simply rendered face peers through her dynamic squiggles of black, red and cornflower blue. We learn that Jackson Pollock saw Sobel’s work in the early 1940s, before his \u003ca href=\"https://www.moma.org/collection/works/80170\">1946 foray into drip painting\u003c/a>. A woman in the background, indeed. \u003c/p>\n\u003cp>It’s some of the older pieces in \u003ci>Making Their Mark\u003c/i> that are the most exciting to see, and the majority of those are contained within the “Luminous Abstraction” section of the show. Here we get Leonore Tawney’s elegant black-and-ivory weaving \u003ci>Inquisition\u003c/i> (1961), Rosemarie Castoro’s languid sculptural relief \u003ci>Gentless (Brushstroke)\u003c/i> (1972), a 1978 Howardena Pindell and a 1969 pour piece from Lynda Benglis. \u003c/p>\n\u003cp>Yes, there are examples in \u003ci>Making Their Mark\u003c/i> of women working in small-scale, craft-adjacent ways, or creating depictions of their own bodily experiences, but there’s more of a “yes, and” emphasis here. Yes, an elegant Toshiko Takaezu ceramic vessel, \u003ci>and\u003c/i> a Simone Leigh bronze. Yes, an eyeball-sizzling Freedom Quilting Bee piece, \u003ci>and\u003c/i> Jacquline Humphries’ digitally enlarged, stenciled canvas pattern.\u003c/p>\n\u003cfigure id=\"attachment_13968704\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000.jpg\" alt=\"Large red, green, yellow and blue quilt with zig-zag pattern next to two paintings, one black and one white with a few colorful small squares.\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13968704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Making Their Mark’ at BAMPFA with the Freedom Quilting Bee’s ‘Pattern to Joseph’s Coat,’ at left and Mary Heilmann’s ‘San Francisco (Night)’ and ‘San Francisco (Day)’ at right. \u003ccite>(Kelly Sullivan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Shah Garg Collection has a certain taste, but to our benefit, that is good taste. The collection tends toward the colorful and the abstract, and indulges in a variety of delicious textures. Its focus, while slightly more narrow than “all art,” leaves plenty of room for curators Cecilia Alemani (of the High Line) and Margot Norton (BAMPFA’s chief curator) to arrange the selected work into slightly unruly, yet educational groupings.\u003c/p>\n\u003cp>This exhibition also marks the beginning of a significant relationship between the Shah Garg Foundation and the museum, which includes the launch of a Women Artists Research Fund and the promised donation of “select artworks” to BAMPFA’s permanent collection. Part of me bristles at the ethically gray area of exhibiting the collection of a major museum donor, and yet this project feels more pure than your average pay-to-play. \u003c/p>\n\u003cp>Some day, hopefully, we won’t need such corrective measures.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/making-their-mark\">Making Their Mark: Works from the Shah Garg Collection\u003c/a>’ is on view at the Berkeley Art Museum and Pacific Film Archive through April 20, 2025.\u003c/i>\u003c/p>\n\n",
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"title": "‘Making Their Mark’ at BAMPFA: A Focus on Women Artists | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I am of two minds when it comes to public museums exhibiting private collections. One mind grumbles, the other respects.\u003c/p>\n\u003cp>Collectors with the funds to support their art-buying habits can accumulate incredible amounts of work by “great” artists (see the \u003ca href=\"https://www.sfmoma.org/artists-artworks/fisher-collection/\">Fisher Collection\u003c/a> at the San Francisco Museum of Modern Art). They are free to pursue their desires as they see fit, without the democratizing goal of fleshing out a museum’s holdings \u003ci>beyond\u003c/i> those “great” artists (see again, the Fisher Collection).\u003c/p>\n\u003cp>Collectors can also lean into niche fields (see Eli Leon’s \u003ca href=\"https://bampfa.org/news/bampfa-receives-historic-bequest-nearly-three-thousand-quilts-african-american-artists\">African American quilts\u003c/a>, now donated to the Berkeley Art Museum and Pacific Film Archive; Pamela and Richard Kramlich’s focus on \u003ca href=\"https://www.kramlichcollection.org/\">time-based media\u003c/a>; or Rene di Rosa’s penchant for \u003ca href=\"https://www.dirosaart.org/about/history/\">funk art\u003c/a>). Such focus allows them to enact monomaniacal, sometimes visionary approaches to preserving art that might otherwise be undervalued, or even lost to time. \u003c/p>\n\u003cp>All to say: it’s complicated. Which brings us to \u003ci>\u003ca href=\"https://bampfa.org/making-their-mark\">Making Their Mark: Works from the Shah Garg Collection\u003c/a>\u003c/i>, on view at BAMPFA through April 20, 2025.\u003c/p>\n\u003cfigure id=\"attachment_13968700\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000.jpg\" alt=\"woman in bright red dress poses in front of high pedestal with ceramics and sculptures on it\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Komal Shah poses in front the ‘Craft is Art’ section of ‘Making Their Mark’ at BAMPFA. \u003ccite>(Drew Altizer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Making Their Mark\u003c/i> is, hands down, a lovely show. The Shah Garg Collection, created by Bay Area philanthropist Komal Shah and her husband Gaurav Garg, has turned acquiring art into a political statement about the earnings gap between white men and … everyone else. And this presentation of over 70 women artists proves gender has nothing to do with the quality, scale or material of one’s artistic output.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Which we hopefully all know. But it’s always nice to witness that fact with one’s own eyeballs.\u003c/p>\n\u003cp>The show is filled with monumental pieces, in terms of both size and art historical import. Dominating the former, Mary Weatherford’s \u003ci>Light Falling Like a Broken Chain; Paradise\u003c/i> (2021) is a 24-foot-wide swirl of luminous, rainbow-hued Flashe on linen, a painting of immense physicality that conjures images of giant, soaking-wet brushes.\u003c/p>\n\u003cfigure id=\"attachment_13968703\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150.jpg\" alt=\"two giant colorful abstract expressionist paintings and a bright green punched monolith sculpture\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13968703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Making Their Mark’ with work (L to R) by Joan Mitchell, Mary Weatherford and Aria Dean. \u003ccite>(Kelly Sullivan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of the latter, the show opens with Janet Sobel’s much humbler \u003ci>Untitled\u003c/i> (1946), an all-over composition of dripped paint mixed with sand. A simply rendered face peers through her dynamic squiggles of black, red and cornflower blue. We learn that Jackson Pollock saw Sobel’s work in the early 1940s, before his \u003ca href=\"https://www.moma.org/collection/works/80170\">1946 foray into drip painting\u003c/a>. A woman in the background, indeed. \u003c/p>\n\u003cp>It’s some of the older pieces in \u003ci>Making Their Mark\u003c/i> that are the most exciting to see, and the majority of those are contained within the “Luminous Abstraction” section of the show. Here we get Leonore Tawney’s elegant black-and-ivory weaving \u003ci>Inquisition\u003c/i> (1961), Rosemarie Castoro’s languid sculptural relief \u003ci>Gentless (Brushstroke)\u003c/i> (1972), a 1978 Howardena Pindell and a 1969 pour piece from Lynda Benglis. \u003c/p>\n\u003cp>Yes, there are examples in \u003ci>Making Their Mark\u003c/i> of women working in small-scale, craft-adjacent ways, or creating depictions of their own bodily experiences, but there’s more of a “yes, and” emphasis here. Yes, an elegant Toshiko Takaezu ceramic vessel, \u003ci>and\u003c/i> a Simone Leigh bronze. Yes, an eyeball-sizzling Freedom Quilting Bee piece, \u003ci>and\u003c/i> Jacquline Humphries’ digitally enlarged, stenciled canvas pattern.\u003c/p>\n\u003cfigure id=\"attachment_13968704\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000.jpg\" alt=\"Large red, green, yellow and blue quilt with zig-zag pattern next to two paintings, one black and one white with a few colorful small squares.\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13968704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Making Their Mark’ at BAMPFA with the Freedom Quilting Bee’s ‘Pattern to Joseph’s Coat,’ at left and Mary Heilmann’s ‘San Francisco (Night)’ and ‘San Francisco (Day)’ at right. \u003ccite>(Kelly Sullivan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Shah Garg Collection has a certain taste, but to our benefit, that is good taste. The collection tends toward the colorful and the abstract, and indulges in a variety of delicious textures. Its focus, while slightly more narrow than “all art,” leaves plenty of room for curators Cecilia Alemani (of the High Line) and Margot Norton (BAMPFA’s chief curator) to arrange the selected work into slightly unruly, yet educational groupings.\u003c/p>\n\u003cp>This exhibition also marks the beginning of a significant relationship between the Shah Garg Foundation and the museum, which includes the launch of a Women Artists Research Fund and the promised donation of “select artworks” to BAMPFA’s permanent collection. Part of me bristles at the ethically gray area of exhibiting the collection of a major museum donor, and yet this project feels more pure than your average pay-to-play. \u003c/p>\n\u003cp>Some day, hopefully, we won’t need such corrective measures.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/making-their-mark\">Making Their Mark: Works from the Shah Garg Collection\u003c/a>’ is on view at the Berkeley Art Museum and Pacific Film Archive through April 20, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
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