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"content": "\u003cp>If you’ve never spent five hours at the opera for a story that would ordinarily take three minutes to tell, are you even living? Enter \u003cem>Tristan and Isolde\u003c/em>, Richard Wagner’s epic, tragic romance, with emphasis on epic — especially if you’re the couple who left the opera house last night at the three-hour mark, the wife muttering, “It’s just so \u003cem>long\u003c/em>.”\u003c/p>\n\u003cp>At San Francisco Opera through Nov. 5, \u003cem>Tristan and Isolde\u003c/em> is long, yes. (\u003ca href=\"https://slippedisc.com/2022/07/four-maestros-die-in-the-same-podium/\">Two conductors have died while conducting it\u003c/a>.) But like Wagner’s other great works, its effect is to warp time itself, stretching one’s mind and prying into the gaps. In \u003cem>Tristan\u003c/em>, what it shovels into those chasms is reams of love, death, and drama. Like a certain candidate’s campaign speeches, its characters ruminate endlessly: about passion, about mortality, about painful yearning, even though the one they yearn for is standing right there, next to them, also inexplicably yearning. \u003c/p>\n\u003cfigure id=\"attachment_13967237\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1896\" class=\"size-full wp-image-13967237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-2048x1517.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-1920x1422.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">At left, Annika Schlicht as Brangäne and Anja Kampe as Isolde; at right, Wolfgang Koch as Kurwenal and Simon O’Neill as Tristan. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you don’t understand the attraction of this sort of thing, perhaps you never listened to The Smiths, or smoked cloves while bewailing the cruelty of the world with your dour-faced companions. At last night’s performance, halfway through Simon O’Neill’s tour de force in the third act as the dying-in-slow-motion Tristan, I started to think of the 19th-century Wagnerians as the original goth kids, flocking to the Bauhaus concerts of their day. \u003cem>An ardent burning love drives me from the fearful bliss of death\u003c/em>, indeed. \u003c/p>\n\u003cp>In San Francisco, the set for this \u003cem>Tristan\u003c/em> is bare bones; a framed wall hued in blue light signifies a ship, and a lone pruned, silver-painted tree substitutes for a garden. One could say this draws more focus on the performances, and their lengthy monologues that sometimes feel like recital anyway. No single singer steals the show here — Anja Kampe’s Isolde matches O’Neill scene-for-scene, Annika Schlicht (Brangäne) and Wolfgang Koch (Kurwenal) are excellent as their BFFs, and Kwangchul Youn sings King Marke with a strong, regal authority.\u003c/p>\n\u003cfigure id=\"attachment_13967243\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1896\" class=\"size-full wp-image-13967243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-2048x1517.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-1920x1422.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">At left, Kwangchul Youn as King Marke; at right, Annika Schlicht as Brangäne. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the heart of it all is the music of Wagner, whose melodic approach and chord phrasings persist to this day; I hear them in Bernard Herrmann, McCoy Tyner and Radiohead. Kudos, then, to the orchestra. And can we take a moment to appreciate the gift San Francisco has in Eun Sun Kim at the podium? All the dynamism of the score comes alive under her baton, making it welcome news that she’s \u003ca href=\"https://www.sfopera.com/press/press-releases/ESK-contract-extension\">just signed a five-year extension\u003c/a>. (Fittingly, she’s also committed to doing a Wagner opera each season, including an upcoming \u003cem>Ring\u003c/em> cycle.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And perhaps it’s fine that some people skipped out early last night, like that tired couple I saw after Act II, leaving the diehards to their ritual. At \u003cem>Tristan and Isolde\u003c/em>’s end, as Kampe stood alone, illuminated on a dark stage, singing reverently of sweet breaths and swelling hearts, her crumpled lover at her feet, you could hear a pin drop.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Tristan and Isolde’ runs through Tuesday, Nov. 5, at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/tristan-and-isolde/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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Like a certain candidate’s campaign speeches, its characters ruminate endlessly: about passion, about mortality, about painful yearning, even though the one they yearn for is standing right there, next to them, also inexplicably yearning. \u003c/p>\n\u003cfigure id=\"attachment_13967237\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1896\" class=\"size-full wp-image-13967237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-2048x1517.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-1920x1422.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">At left, Annika Schlicht as Brangäne and Anja Kampe as Isolde; at right, Wolfgang Koch as Kurwenal and Simon O’Neill as Tristan. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you don’t understand the attraction of this sort of thing, perhaps you never listened to The Smiths, or smoked cloves while bewailing the cruelty of the world with your dour-faced companions. At last night’s performance, halfway through Simon O’Neill’s tour de force in the third act as the dying-in-slow-motion Tristan, I started to think of the 19th-century Wagnerians as the original goth kids, flocking to the Bauhaus concerts of their day. \u003cem>An ardent burning love drives me from the fearful bliss of death\u003c/em>, indeed. \u003c/p>\n\u003cp>In San Francisco, the set for this \u003cem>Tristan\u003c/em> is bare bones; a framed wall hued in blue light signifies a ship, and a lone pruned, silver-painted tree substitutes for a garden. One could say this draws more focus on the performances, and their lengthy monologues that sometimes feel like recital anyway. No single singer steals the show here — Anja Kampe’s Isolde matches O’Neill scene-for-scene, Annika Schlicht (Brangäne) and Wolfgang Koch (Kurwenal) are excellent as their BFFs, and Kwangchul Youn sings King Marke with a strong, regal authority.\u003c/p>\n\u003cfigure id=\"attachment_13967243\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1896\" class=\"size-full wp-image-13967243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-2048x1517.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-1920x1422.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">At left, Kwangchul Youn as King Marke; at right, Annika Schlicht as Brangäne. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the heart of it all is the music of Wagner, whose melodic approach and chord phrasings persist to this day; I hear them in Bernard Herrmann, McCoy Tyner and Radiohead. 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"content": "\u003cfigure id=\"attachment_13967095\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967095\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap.png\" alt=\"An album cover showing drums and a Black man playing a saxophone.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-1536x1536.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-1920x1920.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Bird in Kansas City (Live)’ by Charlie Parker. \u003ccite>(Verve Records via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Listening to Charlie Parker’s saxophone gymnastics on a new album of rare recordings is like watching Simone Biles stretch during warmups.\u003c/p>\n\u003cp>A new collection, \u003cem>Bird in Kansas City\u003c/em> captures Parker’s grace and greatness in casual settings. On 13 cuts recorded in his hometown from 1941 to 1951, the bebop pioneer’s playing is largely informal and relaxed, yet still Olympian.\u003c/p>\n\u003cp>[aside postid='arts_13966868']The material, much of it never heard before, includes two sets of private recordings with local musicians made during breaks in his travels and concludes with two unreleased songs with the Jay McShann Band. The album will be released Friday.\u003c/p>\n\u003cp>Parker solos from start to finish on each of the private recordings, and he’s in fine form, ideas pouring through the sort of improbable improvisations that tested the limits of his instrument — and jazz. There’s some crackle and hiss in the recordings, and his rhythm section can be difficult to hear, but Bird’s alto sax comes through loud and clear.\u003c/p>\n\u003cp>He experiments with energetic embellishments and long, elaborate phrases never to be repeated. He doesn’t always stick the landing, but it’s virtuosity at high velocity, and his melodic invention still startles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Parker’s playful mood makes the performances especially appealing. He’s liable to insert scale practice or quotes from other tunes. On “Body and Soul (Phil Baxter Version),” he plays the same note 17 times in a row, and leaves others in the room laughing. That performance is one of seven captured via a portable wire recorder in 1951 during a late-night jam session at a friend’s home, with unknown accompanists on bass and drums.\u003c/p>\n\u003cp>[aside postid='arts_13967001']Also included are four cuts from a studio session arranged by a friend in 1944, when Parker was with the Billy Eckstine Band. Bird is joined by drummer Edward “Little Phil” Phillips and guitarist Efferge Ware, and his playing is especially effortless and even mellow. He makes longtime staple “Cherokee” sound new on the album’s Vic Damone version, delves into hot club jazz on “I’ve Found a New Baby,” and renders an especially romantic reading of “My Heart Tells Me.”\u003c/p>\n\u003cp>The cuts with McShann from 1941 seem tacked on. The stodgy performances haven’t aged well, and the band sounds remote, although Parker’s solo on “I’m Getting Sentimental Over You” is worth a careful listen.\u003c/p>\n\u003cp>Judges may not give \u003cem>Bird in Kansas City\u003c/em> a perfect score of 10, but it’s still a welcome addition to Parker’s monumental catalog.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Bird in Kansas City (Live)’ by Charlie Parker is released on Oct. 25, 2024, via Verve.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cfigure id=\"attachment_13967018\" class=\"wp-caption aligncenter\" style=\"max-width: 1324px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967018\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/9780593700853-e1729620182658.jpeg\" alt=\"A book cover featuring a painting of a rodent inside a crystal ball. \" width=\"1324\" height=\"2000\">\u003cfigcaption class=\"wp-caption-text\">‘Blood Test’ by Charles Baxter. \u003ccite>(Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a challenging time for social satire: For one thing, the country sometimes seems as divided by what it finds funny as it is by politics. But \u003cem>Blood Test, \u003c/em>a new novel by Charles Baxter, perhaps spans divisions because it draws upon a tried-and-true comic predicament: namely, the little guy who’s forced to punch above his weight with a larger entity.\u003c/p>\n\u003cp>[aside postid='arts_13966951']That entity might be industry — as in Charlie Chaplin’s masterpiece \u003cem>Modern Times\u003c/em>; or government and law-enforcement agencies — as in Jess Walter’s superb 2005 novel \u003ca href=\"https://www.npr.org/2006/06/23/5459182/excerpt-citizen-vince\">\u003cem>Citizen Vince\u003c/em>\u003c/a>, about an ex-con determined to exercise his right to vote for the first time. In \u003cem>Blood Test\u003c/em>, the entity is the pharmaceutical industry.\u003c/p>\n\u003cp>The Everyman hero of this tale is a middle-age, divorced father of two named Brock Hobson, who sells insurance for a living in Ohio. One day, Brock makes an appointment at the local medical clinic to have a pain checked out. Here’s Brock’s description of the clinic and his fellow patients, a thumbnail description of a lot of places in America:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>The [parking] spaces [outside the clinic] are usually filled. We have a lot of near-dead people in these parts. You can see them staggering in, breathing hard, young and old, propped up by their canes or walkers … It’s probably the postindustrial air we breathe here, or maybe the nitrate-scented water we drink out of the tap. Could be herbicides we spray on everything or the fact that a third of the town has a drinking problem, and another third is on meth and/or Oxy. You fall down here in Kingsboro, Ohio, you’re in good company. It’s a grand party of the infirm down there on the ground.\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>The doctor who briskly assesses Brock’s pain as stress-related also susses out that he has the money to purchase a product a medical start-up company is offering: It’s a blood test that can not only predict health problems down the road, but also behaviors, like say, romantic entanglements or promotions.\u003c/p>\n\u003cp>[aside postid='arts_13966911']Brock impulsively signs up for the test which also requires answering a questionnaire with queries such as: “WHAT IS YOUR PREFERRED METHOD FOR OPENING TIN CANS?” and “IF YOU FOUND OUT THAT GOD DOES NOT LIKE YOU HOW WOULD YOU FIX THE PROBLEM?” Eventually the results come back, predicting that mild-mannered Brock will “embark on a major crime wave”; indeed, it’s likely he’s going to commit a murder.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What ensues is a screwball adventure (and I do mean “screwball” — there’s even a banana peel joke here!) in which Brock tries to outrun his homicidal fate and assert his individual free will.\u003c/p>\n\u003cp>If he is predestined to murder somebody, however, the most likely candidate would be Burt Kindlov — his ex-wife’s boyfriend. Burt is a handsome bully, deeply immersed in a Dianetics-type lifestyle practice. He’s also shamed Brock’s depressed teenage son for being gay. Brock deftly encapsulates his nemesis’ personality this way:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>Burt has an imperturbable ignorance about the world and what people are really like. If you were to ask him where Italy is located on the globe, he wouldn’t know but would despise you for asking.\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>Humor, as we know, often arises from pain. Going back as far as his 2000 novel \u003cem>The Feast of Love\u003c/em>, which was nominated for a National Book Award, Baxter has wielded wit and satire to entertain \u003cem>and\u003c/em> to illuminate harder truths about the world his characters inhabit. Brock’s smalltown Ohio is a place where the most flourishing business, besides the medical clinic, is Famous Discount store, where customers can browse discount DVDs with titles like \u003cem>His Holiness Pope Robot\u003c/em> and buy off-brand diet cola that “tastes like fizzy sugared cat food.”\u003c/p>\n\u003cp>[aside postid='arts_13966822']For sure, it can be a “zany” place where people find themselves drawn to certainty through sketchy blood tests and lifestyle practices; but, as Brock says, “[I]f you don’t like zany you probably shouldn’t live in America. You can always go to somewhere like Switzerland.” In \u003cem>Blood Test,\u003c/em> Baxter invites us to laugh at this all-American zaniness and to acknowledge some of the pain that fuels it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Blood Test’ by Charles Baxter is out now, via Pantheon.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That entity might be industry — as in Charlie Chaplin’s masterpiece \u003cem>Modern Times\u003c/em>; or government and law-enforcement agencies — as in Jess Walter’s superb 2005 novel \u003ca href=\"https://www.npr.org/2006/06/23/5459182/excerpt-citizen-vince\">\u003cem>Citizen Vince\u003c/em>\u003c/a>, about an ex-con determined to exercise his right to vote for the first time. In \u003cem>Blood Test\u003c/em>, the entity is the pharmaceutical industry.\u003c/p>\n\u003cp>The Everyman hero of this tale is a middle-age, divorced father of two named Brock Hobson, who sells insurance for a living in Ohio. One day, Brock makes an appointment at the local medical clinic to have a pain checked out. Here’s Brock’s description of the clinic and his fellow patients, a thumbnail description of a lot of places in America:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>The [parking] spaces [outside the clinic] are usually filled. We have a lot of near-dead people in these parts. You can see them staggering in, breathing hard, young and old, propped up by their canes or walkers … It’s probably the postindustrial air we breathe here, or maybe the nitrate-scented water we drink out of the tap. Could be herbicides we spray on everything or the fact that a third of the town has a drinking problem, and another third is on meth and/or Oxy. You fall down here in Kingsboro, Ohio, you’re in good company. It’s a grand party of the infirm down there on the ground.\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>The doctor who briskly assesses Brock’s pain as stress-related also susses out that he has the money to purchase a product a medical start-up company is offering: It’s a blood test that can not only predict health problems down the road, but also behaviors, like say, romantic entanglements or promotions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Brock impulsively signs up for the test which also requires answering a questionnaire with queries such as: “WHAT IS YOUR PREFERRED METHOD FOR OPENING TIN CANS?” and “IF YOU FOUND OUT THAT GOD DOES NOT LIKE YOU HOW WOULD YOU FIX THE PROBLEM?” Eventually the results come back, predicting that mild-mannered Brock will “embark on a major crime wave”; indeed, it’s likely he’s going to commit a murder.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What ensues is a screwball adventure (and I do mean “screwball” — there’s even a banana peel joke here!) in which Brock tries to outrun his homicidal fate and assert his individual free will.\u003c/p>\n\u003cp>If he is predestined to murder somebody, however, the most likely candidate would be Burt Kindlov — his ex-wife’s boyfriend. Burt is a handsome bully, deeply immersed in a Dianetics-type lifestyle practice. He’s also shamed Brock’s depressed teenage son for being gay. Brock deftly encapsulates his nemesis’ personality this way:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>Burt has an imperturbable ignorance about the world and what people are really like. If you were to ask him where Italy is located on the globe, he wouldn’t know but would despise you for asking.\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>Humor, as we know, often arises from pain. Going back as far as his 2000 novel \u003cem>The Feast of Love\u003c/em>, which was nominated for a National Book Award, Baxter has wielded wit and satire to entertain \u003cem>and\u003c/em> to illuminate harder truths about the world his characters inhabit. Brock’s smalltown Ohio is a place where the most flourishing business, besides the medical clinic, is Famous Discount store, where customers can browse discount DVDs with titles like \u003cem>His Holiness Pope Robot\u003c/em> and buy off-brand diet cola that “tastes like fizzy sugared cat food.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s not your typical stop-motion film when characters name pets after Sylvia Plath and read \u003cem>The Diary of Anne Frank\u003c/em> — or when the story’s inspired by a quote from existentialist thinker Søren Kierkegaard.\u003c/p>\n\u003cp>And it’s certainly not your typical stop-motion film when you find yourself crying as much as the characters do — in their case, with huge droplets leaking from bulging, egg-shaped eyes so authentic-looking, you expect the screen to get wet.\u003c/p>\n\u003cp>[aside postid='arts_13966836']But those are just a few of the unique things about Adam Elliot’s \u003cem>Memoir of a Snail\u003c/em>, a film that’s as heart-tugging as it is technically impressive, a work of both emotional resonance and great physical detail using only clay, wire, paper and paint.\u003c/p>\n\u003cp>One thing Elliot’s film is not, though, is for kids. So please take note before heading to the multiplex with family in tow: this film earns its R rating, as you’ll discover as soon as young Grace, voiced by Sarah Snook, tells us she thought masturbation was about chewing your food properly. Sex, nudity, drunk driving, a fat fetish — like we said, it’s R-rated for a reason.\u003c/p>\n\u003cp>But let’s start at the beginning. In this, his seventh “clayography” (for “clay” and “biography”), the Australian writer-director explores the process of collecting unnecessary objects. Otherwise known as hoarding, it’s something that weighs us down in ways we can’t see, for all the clutter. Elliot also argues that it helps us build constrictive shells around ourselves — like snail shells, perhaps.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ehc8cc7g31I\u003c/p>\n\u003cp>Our protagonist is Grace Pudel, voiced with a quirky warmth and plenty of empathy by the wonderfully agile Snook. We first encounter Grace as a grown woman, telling her long, lonely life story to her pet garden snail, Sylvia (named after Plath), at a moment of deep sadness.\u003c/p>\n\u003cp>[aside postid='arts_13966737']Then we flash back to childhood. Grace is born with a twin brother, Gilbert (Kodi Smit-McPhee). Their mother dies in childbirth, leaving the twins with their father, a film animator. Grace needs surgery to correct a cleft palate, and doctors ask young Gilbert to donate blood; he thinks that means he’ll have to die to let her live, and still says yes. (Those tears we mentioned? They start here.)\u003c/p>\n\u003cp>The two siblings endure a sad life with their father, a life that becomes sadder yet when a collision with a drunk driver renders him a paraplegic. It won’t be long before their father dies in his sleep, making them orphans. And nobody wants a full set of twins, so Grace and Gilbert are forcibly separated and sent to opposite sides of Australia.\u003c/p>\n\u003cp>Grace is sent to Canberra, a city so boring and safe that people drive cars with helmets on. And Gilbert is sent to a farm, with a cruel family of evangelists. The two exchange letters and pray they’ll meet again. Grace’s parents are swingers (this is the ’70s), and they end up leaving her for a nudist colony. Her only companions are her snails, which she loves, just like her mother did — both the live and ornamental versions.\u003c/p>\n\u003cp>Pinky comes along five years later. The elderly woman — raspily voiced by longtime Australian star Jacki Weaver — has quite the past. She lost her finger dancing on a bar in Barcelona. She played ping pong with Fidel Castro. She’s outlived two husbands. Her friendship eases Grace’s sadness.\u003c/p>\n\u003cp>But still, there’s a deep hole where brother Gilbert should be. Grace adds kleptomania to her “list of hobbies.” She also starts hoarding in earnest. Finally, she meets Ken, a microwave repairman. She believes she has found love.\u003c/p>\n\u003cp>Life has more cruel twists in store, though, and you won’t see them coming in this cleverly constructed — though unabashedly odd — screenplay. But Elliot served here not only as writer-director but as production designer, and his biggest achievement is a rich visual world dominated by varying shades of brown, and populated by 7,000 handmade objects. Some 135,000 photographs taken on 200 sets were used to create the film.\u003c/p>\n\u003cp>[aside postid='arts_13966390']Yet all that technical prowess would be rather useless without the emotional core that resonates throughout. Elliot has given wise Pinky, in her huge red spectacles, the aforementioned Kierkegaard line (with only the slightest edit): “Life can only be understood backwards, but we’ve got to live it forwards,” she tells Grace. And snails, she adds, never go backwards. Nor should Grace — and nor should we.\u003c/p>\n\u003cp>Who would have thought an R-rated stop-motion film about mollusks could pack such a universal lesson?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Memoir of a Snail’ plays in AMC theaters around the Bay Area on Oct. 23, 2024. It will receive a wider release on Nov. 7, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then we flash back to childhood. Grace is born with a twin brother, Gilbert (Kodi Smit-McPhee). Their mother dies in childbirth, leaving the twins with their father, a film animator. Grace needs surgery to correct a cleft palate, and doctors ask young Gilbert to donate blood; he thinks that means he’ll have to die to let her live, and still says yes. (Those tears we mentioned? They start here.)\u003c/p>\n\u003cp>The two siblings endure a sad life with their father, a life that becomes sadder yet when a collision with a drunk driver renders him a paraplegic. It won’t be long before their father dies in his sleep, making them orphans. And nobody wants a full set of twins, so Grace and Gilbert are forcibly separated and sent to opposite sides of Australia.\u003c/p>\n\u003cp>Grace is sent to Canberra, a city so boring and safe that people drive cars with helmets on. And Gilbert is sent to a farm, with a cruel family of evangelists. The two exchange letters and pray they’ll meet again. Grace’s parents are swingers (this is the ’70s), and they end up leaving her for a nudist colony. Her only companions are her snails, which she loves, just like her mother did — both the live and ornamental versions.\u003c/p>\n\u003cp>Pinky comes along five years later. The elderly woman — raspily voiced by longtime Australian star Jacki Weaver — has quite the past. She lost her finger dancing on a bar in Barcelona. She played ping pong with Fidel Castro. She’s outlived two husbands. Her friendship eases Grace’s sadness.\u003c/p>\n\u003cp>But still, there’s a deep hole where brother Gilbert should be. Grace adds kleptomania to her “list of hobbies.” She also starts hoarding in earnest. Finally, she meets Ken, a microwave repairman. She believes she has found love.\u003c/p>\n\u003cp>Life has more cruel twists in store, though, and you won’t see them coming in this cleverly constructed — though unabashedly odd — screenplay. But Elliot served here not only as writer-director but as production designer, and his biggest achievement is a rich visual world dominated by varying shades of brown, and populated by 7,000 handmade objects. Some 135,000 photographs taken on 200 sets were used to create the film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yet all that technical prowess would be rather useless without the emotional core that resonates throughout. Elliot has given wise Pinky, in her huge red spectacles, the aforementioned Kierkegaard line (with only the slightest edit): “Life can only be understood backwards, but we’ve got to live it forwards,” she tells Grace. And snails, she adds, never go backwards. Nor should Grace — and nor should we.\u003c/p>\n\u003cp>Who would have thought an R-rated stop-motion film about mollusks could pack such a universal lesson?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Memoir of a Snail’ plays in AMC theaters around the Bay Area on Oct. 23, 2024. It will receive a wider release on Nov. 7, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Looking back at the past four years is not necessarily something I’m ready to do, and yet it’s exactly what the latest exhibition at KADIST demands. For \u003ci>\u003ca href=\"https://kadist.org/program/makeshift-memorials-small-revolutions-sf/\">Makeshift Memorials, Small Revolutions\u003c/a>\u003c/i>, curators Lindsay Albert, Joseph del Pesco and Jo-ey Tang have attempted to collate artistic responses to the COVID-19 pandemic, and the cultural shifts it brought into focus. \u003c/p>\n\u003cp>Good art is often celebrated for its timelessness, but this exhibition turns that idea on its head. Here we are tasked with time traveling back to the very recent past. A bowl of individually wrapped KN-95 masks on the front desk of the gallery helps usher in that transition. \u003c/p>\n\u003cp>\u003ci>Makeshift Memorials\u003c/i> is purposefully positioned against the impending U.S. presidential election, and the larger social context we are living through. In order to meet the moment effectively, the work (selected from the KADIST collection) must both represent our time and add to the continuum of art history. This is a tall order for any show. Here, visually and emotionally demanding paintings, videos, sculptures, photos, weavings and drawings hang side by side — competing for space and attention.\u003c/p>\n\u003cfigure id=\"attachment_13966988\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000.jpg\" alt=\"black-and-white photo prints folded and taped, in wide display on gray wall\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13966988\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Moyra Davey, ‘Visitor,’ 2022. \u003ccite>(Courtesy of the artist, KADIST collection; Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upon entering the gallery visitors are confronted with an unconventional and slightly disruptive exhibition design. Highlighter-yellow sheets of A4 paper hang from the ceiling off wooden sticks, secured with torn pieces of brown packing tape. Caption details for the artworks on display are printed in bold black letters. Above each caption is an undecodable indexing system.\u003c/p>\n\u003cp>For example, if you want to learn more about Moyra Davey’s photographic series \u003cem>Visitor\u003c/em> (2022), you are directed by the wall label to find “o5x” in the exhibition’s printed booklet (or the accompanying digital version via QR code). This mix of letters and numbers was randomly generated by the exhibition designer. It’s inventive, but visually overpowers the already crowded room. Over 40 artists share the small space.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And yet, attempting to navigate the exhibition through this unfamiliar system is actually quite effective. It replicates the confusion and bewilderment of the pandemic, when we became accustomed to looking to makeshift signs for guidance on how to behave (wear a mask, stand six feet apart, etc.). Like those COVID-era signs, the information connected to KADIST’s labels can be crucial.\u003c/p>\n\u003cp>Under “b5a,” the booklet reveals insight on Sherrill Roland’s hard-edged minimalist wall sculpture that adds depth and poignancy to the piece. In the curator’s text on the work we learn of Roland’s wrongful incarceration, and that the Kool-Aid-tinted geometric steel forms are the traced outlines of cinder blocks from his prison cell. \u003c/p>\n\u003cfigure id=\"attachment_13966989\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000.jpg\" alt=\"small speaker on floor next to red and blue light bar\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13966989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Joe Namy, ‘Half Blue,’ 2019. \u003ccite>(Courtesy of the artist, KADIST collection; Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So-called “anchor works” are installed across the three sections of the show. In the second room, a series of 21 videos project one after another on a single hanging screen, turning off at intervals to make space for a 10-minute sound and mixed media sculpture by Joe Namy, \u003cem>Half Blue\u003c/em> (2019). This is the room’s anchor: red and blue flashing lights from the top of a police car, positioned on the floor in front of the screen. As they flash, a mix of sounds plays, including news broadcasts covering the murder of the artist’s cousin, Khalid Jabara. \u003c/p>\n\u003cp>Jabara and Heather Heyer’s murders led to the \u003ca href=\"https://www.congress.gov/bill/117th-congress/senate-bill/1086\">NO HATE Act\u003c/a>, passed by Congress in 2021. Namy’s piece is solemn in its directness. The LED light bar lies prone on the floor, its wires exposed, nearly abstract when not in use. When it plays it saturates the surrounding art in emergency-coded light. \u003c/p>\n\u003cp>Jamel Robinson’s sculpture \u003cem>I Walked The Longest Mile To Get To Nowhere Still\u003c/em> (2022), anchors the third room. This raw assemblage of ready-mades refers to the origins of slavery in America and the devaluation of Black and brown life. The backrest of a simple wooden chair is adorned with shiny copper pennies, and a clumped mass of white rice is glued to the seat from which long nails protrude unevenly. A limp ladder of rusted chains and a pair of army boots lead up to the chair’s legs on the floor. The piece benefits from its scrappiness and lack of polish, even if every signifier is meant to be taken rather literally.\u003c/p>\n\u003cfigure id=\"attachment_13966991\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000.jpg\" alt=\"gallery view with lots of art on walls, chair sculpture in foreground\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13966991\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Makeshift Memorials, Small Revolutions’ with Jamel Robinson’s ‘I Walked The Longest Mile To Get To Nowhere Still,’ 2022 in the foreground. \u003ccite>(Courtesy of the artists, KADIST collection; Patron Gallery; Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Makeshift Memorials\u003c/em> offers an incredibly diverse range of global artworks, made mostly over the last four years, all chronicling weighty, devastating topics. And although each piece supports the curatorial premise in some way, formally they didn’t seem to relate to one other — despite a shared seriousness and the strength of their individual parts. \u003c/p>\n\u003cp>Attempting to distill something as broad and recent as the impact of the pandemic onto a few walls is a formidable task. Even an exhibition with limitless space couldn’t fully represent that experience. Instead, here we have a poetic churn of works that address the issues at hand piecemeal: violence, marginalization, illness, isolation, grief. I came away from the show emotionally drained, but with a heightened sensitivity to the breadth of vulnerability that connects and defines human life.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://kadist.org/program/makeshift-memorials-small-revolutions-sf/\">Makeshift Memorials, Small Revolutions\u003c/a>’ is on view at KADIST (3295 20th St., San Francisco) through Feb. 15 2025. A concurrent exhibition at the \u003ca href=\"https://blafferartmuseum.org/makeshift-memorials-small-revolutions/\">Blaffer Art Museum\u003c/a> in Houston is on view through March 9, 2025.\u003ci>\u003c/i>\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking back at the past four years is not necessarily something I’m ready to do, and yet it’s exactly what the latest exhibition at KADIST demands. For \u003ci>\u003ca href=\"https://kadist.org/program/makeshift-memorials-small-revolutions-sf/\">Makeshift Memorials, Small Revolutions\u003c/a>\u003c/i>, curators Lindsay Albert, Joseph del Pesco and Jo-ey Tang have attempted to collate artistic responses to the COVID-19 pandemic, and the cultural shifts it brought into focus. \u003c/p>\n\u003cp>Good art is often celebrated for its timelessness, but this exhibition turns that idea on its head. Here we are tasked with time traveling back to the very recent past. A bowl of individually wrapped KN-95 masks on the front desk of the gallery helps usher in that transition. \u003c/p>\n\u003cp>\u003ci>Makeshift Memorials\u003c/i> is purposefully positioned against the impending U.S. presidential election, and the larger social context we are living through. In order to meet the moment effectively, the work (selected from the KADIST collection) must both represent our time and add to the continuum of art history. This is a tall order for any show. Here, visually and emotionally demanding paintings, videos, sculptures, photos, weavings and drawings hang side by side — competing for space and attention.\u003c/p>\n\u003cfigure id=\"attachment_13966988\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000.jpg\" alt=\"black-and-white photo prints folded and taped, in wide display on gray wall\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13966988\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Moyra Davey, ‘Visitor,’ 2022. \u003ccite>(Courtesy of the artist, KADIST collection; Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upon entering the gallery visitors are confronted with an unconventional and slightly disruptive exhibition design. Highlighter-yellow sheets of A4 paper hang from the ceiling off wooden sticks, secured with torn pieces of brown packing tape. Caption details for the artworks on display are printed in bold black letters. Above each caption is an undecodable indexing system.\u003c/p>\n\u003cp>For example, if you want to learn more about Moyra Davey’s photographic series \u003cem>Visitor\u003c/em> (2022), you are directed by the wall label to find “o5x” in the exhibition’s printed booklet (or the accompanying digital version via QR code). This mix of letters and numbers was randomly generated by the exhibition designer. It’s inventive, but visually overpowers the already crowded room. Over 40 artists share the small space.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And yet, attempting to navigate the exhibition through this unfamiliar system is actually quite effective. It replicates the confusion and bewilderment of the pandemic, when we became accustomed to looking to makeshift signs for guidance on how to behave (wear a mask, stand six feet apart, etc.). Like those COVID-era signs, the information connected to KADIST’s labels can be crucial.\u003c/p>\n\u003cp>Under “b5a,” the booklet reveals insight on Sherrill Roland’s hard-edged minimalist wall sculpture that adds depth and poignancy to the piece. In the curator’s text on the work we learn of Roland’s wrongful incarceration, and that the Kool-Aid-tinted geometric steel forms are the traced outlines of cinder blocks from his prison cell. \u003c/p>\n\u003cfigure id=\"attachment_13966989\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000.jpg\" alt=\"small speaker on floor next to red and blue light bar\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13966989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Joe Namy, ‘Half Blue,’ 2019. \u003ccite>(Courtesy of the artist, KADIST collection; Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So-called “anchor works” are installed across the three sections of the show. In the second room, a series of 21 videos project one after another on a single hanging screen, turning off at intervals to make space for a 10-minute sound and mixed media sculpture by Joe Namy, \u003cem>Half Blue\u003c/em> (2019). This is the room’s anchor: red and blue flashing lights from the top of a police car, positioned on the floor in front of the screen. As they flash, a mix of sounds plays, including news broadcasts covering the murder of the artist’s cousin, Khalid Jabara. \u003c/p>\n\u003cp>Jabara and Heather Heyer’s murders led to the \u003ca href=\"https://www.congress.gov/bill/117th-congress/senate-bill/1086\">NO HATE Act\u003c/a>, passed by Congress in 2021. Namy’s piece is solemn in its directness. The LED light bar lies prone on the floor, its wires exposed, nearly abstract when not in use. When it plays it saturates the surrounding art in emergency-coded light. \u003c/p>\n\u003cp>Jamel Robinson’s sculpture \u003cem>I Walked The Longest Mile To Get To Nowhere Still\u003c/em> (2022), anchors the third room. This raw assemblage of ready-mades refers to the origins of slavery in America and the devaluation of Black and brown life. The backrest of a simple wooden chair is adorned with shiny copper pennies, and a clumped mass of white rice is glued to the seat from which long nails protrude unevenly. A limp ladder of rusted chains and a pair of army boots lead up to the chair’s legs on the floor. The piece benefits from its scrappiness and lack of polish, even if every signifier is meant to be taken rather literally.\u003c/p>\n\u003cfigure id=\"attachment_13966991\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000.jpg\" alt=\"gallery view with lots of art on walls, chair sculpture in foreground\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13966991\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Makeshift Memorials, Small Revolutions’ with Jamel Robinson’s ‘I Walked The Longest Mile To Get To Nowhere Still,’ 2022 in the foreground. \u003ccite>(Courtesy of the artists, KADIST collection; Patron Gallery; Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Makeshift Memorials\u003c/em> offers an incredibly diverse range of global artworks, made mostly over the last four years, all chronicling weighty, devastating topics. And although each piece supports the curatorial premise in some way, formally they didn’t seem to relate to one other — despite a shared seriousness and the strength of their individual parts. \u003c/p>\n\u003cp>Attempting to distill something as broad and recent as the impact of the pandemic onto a few walls is a formidable task. Even an exhibition with limitless space couldn’t fully represent that experience. Instead, here we have a poetic churn of works that address the issues at hand piecemeal: violence, marginalization, illness, isolation, grief. I came away from the show emotionally drained, but with a heightened sensitivity to the breadth of vulnerability that connects and defines human life.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://kadist.org/program/makeshift-memorials-small-revolutions-sf/\">Makeshift Memorials, Small Revolutions\u003c/a>’ is on view at KADIST (3295 20th St., San Francisco) through Feb. 15 2025. A concurrent exhibition at the \u003ca href=\"https://blafferartmuseum.org/makeshift-memorials-small-revolutions/\">Blaffer Art Museum\u003c/a> in Houston is on view through March 9, 2025.\u003ci>\u003c/i>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At first glance there doesn’t seem to be room for overlap between a traditional hard-boiled detective story and the crucibles of a group of punks in West Oakland. But in Joshua Mohr’s new book, \u003cem>\u003ca href=\"https://www.unnamedpress.com/all-books/p/saint-the-terrifying\">Saint the Terrifying\u003c/a>\u003c/em>, these two worlds collide head on, exploding across the page in glittering sentences that tell an eccentric and grimy vigilante story. \u003c/p>\n\u003cp>\u003cem>Saint the Terrifying\u003c/em> has an unlikely origin story in a different music genre entirely. A friend contacted Mohr about contributing to an anthology of stories based on Taylor Swift songs, and Mohr, who has a 10-year-old Swift-loving daughter, jumped at the opportunity. \u003c/p>\n\u003cp>“I finished it and I was like, ‘This guy’s not done squawking in my ear,’” Mohr says over Zoom. A very different version of that first self-contained piece became chapter one of his new novel. \u003c/p>\n\u003cp>Further inspiration came to the author, who splits his time between San Francisco and Seattle, after a visit to Seattle’s National Nordic Museum. The trip prompted a deep dive into Viking mythology and Mohr, a “card-carrying nerd,” found himself 30-plus books deep into the lore. \u003c/p>\n\u003cp>“The cool thing about these books is it’s every possible genre,” he says excitedly. “It’s magical realism, it’s horror, love stories, fantasies. Whatever I wanted to throw in there, I could. It became this really beautiful blank canvas to really allow my imagination to leap down every rabbit hole I possibly could find.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That narrative flexibility led to a realization: “There were no limits in the Saint universe.” Mohr’s already found enough story to turn Saint’s Viking punk tales into a three-book saga. \u003c/p>\n\u003cfigure id=\"attachment_13966978\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-scaled.jpg\" alt=\"white man with arms behind back on a leafy street\" width=\"1707\" height=\"2560\" class=\"size-full wp-image-13966978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-1920x2880.jpg 1920w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Joshua Mohr drew from his own experiences as a teenager in a punk house for the novel. \u003ccite>(Unnamed Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A punk mystery\u003c/h2>\n\u003cp>\u003cem>Saint the Terrifying\u003c/em>, the first installment of Saint’s saga, has a simple premise. A local punk bands’ gear goes missing and Saint, a middling guitarist in the West Oakland scene, takes it upon himself to investigate on behalf of his peers. Mohr strikes a harmonious chord between the tropes of hard-boiled detective stories: a central mystery, a cynical anti-hero playing lead investigator, events taking place in low-rent places, and the anti-establishment and anti-consumerist ethos of punk culture. \u003c/p>\n\u003cp>Saint has a freewheeling spirit (an inheritance from his Viking ancestors) and spent eight years at San Quentin where he got a glass eye and a neck tattoo that reads “No More Drunken Mistakes.” Throughout the book he is plagued by visions of blown-glass birds that circle his head like he’s a concussed cartoon character. \u003c/p>\n\u003cp>The book possesses a dark whimsy and humor — there’s a busker named Elon Busk — that is anchored by Saint’s thirst for truth and street justice. There’s also a colorfully degenerate cast of characters in his life, including someone named Got Jokes. The Bay Area’s preternaturally gloomy weather nurtures the novel’s dark mood. “The day gave off a gray stare,” Mohr writes. “You never knew if the fog was gonna burn off.” \u003c/p>\n\u003cp>Mohr even adopts the noir trope of first-person narration. The book opens with a run-on sentence written stream-of-consciousness style, a succession of alternately manic and beautiful rambling. “Amphetamine poetry,” as one character puts it. And then, quite fittingly, Saint loses his train of thought before finishing his sentence. The book unfolds in this stop and start zigzag style, mirroring the short frenetic bursts of punk songs. \u003c/p>\n\u003cp>[aside postID='arts_13966951,arts_13966911,arts_13966390' label='More Books']\u003c/p>\n\u003ch2>Dramatizing gentrification\u003c/h2>\n\u003cp>Mohr’s punchy writing and observations draw from his own experiences as a 17-year-old in a San Francisco punk house. “No house starts out as a punk house,” the author says of the slow but natural way he ended up living with his friend, a member of the band American Steel, in a place where the basement and kitchen ended up becoming home to even more people. \u003c/p>\n\u003cp>“There are things that chronologically probably wouldn’t have happened when Saint was telling his story, that I would be scraping from a memory of mine from 1995 or 1999,” he explains. “I used to play in shitty punk bands, we practiced in West Oakland. In the book, I called [the rehearsal space] Sound Check, but in reality it’s called Sound Wave, and it was a pretty wild place in the ’90s.” \u003c/p>\n\u003cp>Another scraped-from-reality sequence finds Saint in a warehouse fire similar to the \u003ca href=\"https://www.kqed.org/ghostshipmemorial\">Ghost Ship fire\u003c/a> that claimed 36 lives in 2016. In it, Saint experiences a kind of theoretical time slip as he ponders how the outcome may have changed if he arrived at another time: in an alternate universe, in an alternate warehouse, lives may have been lost. He imagines 36 names to attach to these lives, the names of the actual Ghost Ship fire victims, “friends who can still live forever if we fan their story.” In Mohr’s book they are immortal.\u003c/p>\n\u003cp>The rollicking pace of the book is only ever interrupted by hallucinatory interludes in an imaginary Whole Foods. There, Saint and the frontman of a popular pop punk band Saint despises (because he’s a more hardcore Butthole Surfers and Bad Brains kind of guy) have tête-à-têtes in a checkout line. \u003c/p>\n\u003cp>“I’d lived in West Oakland since it was really West Oakland,” a fresh from lockup Saint remarks early on in the book. “I made it back … and it had a Whole Foods.” \u003c/p>\n\u003cp>“It’s a really difficult thing to make gentrification interesting because it immediately sounds as though you’re trying to feed your audience the vegetables she probably doesn’t want to eat,” Mohr says. “You have to figure out a way to dramatize it in the most compelling way, but also subtextually get at the heart of those stories. When a pal of mine told me that there was a Whole Foods in West Oakland, I was like, ‘What?’ And then that became the running joke in Saint’s life: he can either be a Viking or he can have a Whole Foods.” \u003c/p>\n\u003cp>Saint’s spiritual wrestling match with gentrification will be particularly familiar to Bay Area residents. There is a mystery to unravel in this book, but Saint’s story is ultimately about so much more than the who, what, where and why of this case. It is a search for salvation, for Valhalla, for community in a shifting and merciless world, that is ultimately deeply human.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.unnamedpress.com/all-books/p/saint-the-terrifying\">Saint the Terrifying\u003c/a>’ is out Oct. 29, 2024 from Unnamed Press. A musical companion project by Slummy (Saint’s fictional band), a five-song EP titled ‘The Wrong Side,’ will be released in late October.\u003cbr>\n\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At first glance there doesn’t seem to be room for overlap between a traditional hard-boiled detective story and the crucibles of a group of punks in West Oakland. But in Joshua Mohr’s new book, \u003cem>\u003ca href=\"https://www.unnamedpress.com/all-books/p/saint-the-terrifying\">Saint the Terrifying\u003c/a>\u003c/em>, these two worlds collide head on, exploding across the page in glittering sentences that tell an eccentric and grimy vigilante story. \u003c/p>\n\u003cp>\u003cem>Saint the Terrifying\u003c/em> has an unlikely origin story in a different music genre entirely. A friend contacted Mohr about contributing to an anthology of stories based on Taylor Swift songs, and Mohr, who has a 10-year-old Swift-loving daughter, jumped at the opportunity. \u003c/p>\n\u003cp>“I finished it and I was like, ‘This guy’s not done squawking in my ear,’” Mohr says over Zoom. A very different version of that first self-contained piece became chapter one of his new novel. \u003c/p>\n\u003cp>Further inspiration came to the author, who splits his time between San Francisco and Seattle, after a visit to Seattle’s National Nordic Museum. The trip prompted a deep dive into Viking mythology and Mohr, a “card-carrying nerd,” found himself 30-plus books deep into the lore. \u003c/p>\n\u003cp>“The cool thing about these books is it’s every possible genre,” he says excitedly. “It’s magical realism, it’s horror, love stories, fantasies. Whatever I wanted to throw in there, I could. It became this really beautiful blank canvas to really allow my imagination to leap down every rabbit hole I possibly could find.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That narrative flexibility led to a realization: “There were no limits in the Saint universe.” Mohr’s already found enough story to turn Saint’s Viking punk tales into a three-book saga. \u003c/p>\n\u003cfigure id=\"attachment_13966978\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-scaled.jpg\" alt=\"white man with arms behind back on a leafy street\" width=\"1707\" height=\"2560\" class=\"size-full wp-image-13966978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-1920x2880.jpg 1920w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Joshua Mohr drew from his own experiences as a teenager in a punk house for the novel. \u003ccite>(Unnamed Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A punk mystery\u003c/h2>\n\u003cp>\u003cem>Saint the Terrifying\u003c/em>, the first installment of Saint’s saga, has a simple premise. A local punk bands’ gear goes missing and Saint, a middling guitarist in the West Oakland scene, takes it upon himself to investigate on behalf of his peers. Mohr strikes a harmonious chord between the tropes of hard-boiled detective stories: a central mystery, a cynical anti-hero playing lead investigator, events taking place in low-rent places, and the anti-establishment and anti-consumerist ethos of punk culture. \u003c/p>\n\u003cp>Saint has a freewheeling spirit (an inheritance from his Viking ancestors) and spent eight years at San Quentin where he got a glass eye and a neck tattoo that reads “No More Drunken Mistakes.” Throughout the book he is plagued by visions of blown-glass birds that circle his head like he’s a concussed cartoon character. \u003c/p>\n\u003cp>The book possesses a dark whimsy and humor — there’s a busker named Elon Busk — that is anchored by Saint’s thirst for truth and street justice. There’s also a colorfully degenerate cast of characters in his life, including someone named Got Jokes. The Bay Area’s preternaturally gloomy weather nurtures the novel’s dark mood. “The day gave off a gray stare,” Mohr writes. “You never knew if the fog was gonna burn off.” \u003c/p>\n\u003cp>Mohr even adopts the noir trope of first-person narration. The book opens with a run-on sentence written stream-of-consciousness style, a succession of alternately manic and beautiful rambling. “Amphetamine poetry,” as one character puts it. And then, quite fittingly, Saint loses his train of thought before finishing his sentence. The book unfolds in this stop and start zigzag style, mirroring the short frenetic bursts of punk songs. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Dramatizing gentrification\u003c/h2>\n\u003cp>Mohr’s punchy writing and observations draw from his own experiences as a 17-year-old in a San Francisco punk house. “No house starts out as a punk house,” the author says of the slow but natural way he ended up living with his friend, a member of the band American Steel, in a place where the basement and kitchen ended up becoming home to even more people. \u003c/p>\n\u003cp>“There are things that chronologically probably wouldn’t have happened when Saint was telling his story, that I would be scraping from a memory of mine from 1995 or 1999,” he explains. “I used to play in shitty punk bands, we practiced in West Oakland. In the book, I called [the rehearsal space] Sound Check, but in reality it’s called Sound Wave, and it was a pretty wild place in the ’90s.” \u003c/p>\n\u003cp>Another scraped-from-reality sequence finds Saint in a warehouse fire similar to the \u003ca href=\"https://www.kqed.org/ghostshipmemorial\">Ghost Ship fire\u003c/a> that claimed 36 lives in 2016. In it, Saint experiences a kind of theoretical time slip as he ponders how the outcome may have changed if he arrived at another time: in an alternate universe, in an alternate warehouse, lives may have been lost. He imagines 36 names to attach to these lives, the names of the actual Ghost Ship fire victims, “friends who can still live forever if we fan their story.” In Mohr’s book they are immortal.\u003c/p>\n\u003cp>The rollicking pace of the book is only ever interrupted by hallucinatory interludes in an imaginary Whole Foods. There, Saint and the frontman of a popular pop punk band Saint despises (because he’s a more hardcore Butthole Surfers and Bad Brains kind of guy) have tête-à-têtes in a checkout line. \u003c/p>\n\u003cp>“I’d lived in West Oakland since it was really West Oakland,” a fresh from lockup Saint remarks early on in the book. “I made it back … and it had a Whole Foods.” \u003c/p>\n\u003cp>“It’s a really difficult thing to make gentrification interesting because it immediately sounds as though you’re trying to feed your audience the vegetables she probably doesn’t want to eat,” Mohr says. “You have to figure out a way to dramatize it in the most compelling way, but also subtextually get at the heart of those stories. When a pal of mine told me that there was a Whole Foods in West Oakland, I was like, ‘What?’ And then that became the running joke in Saint’s life: he can either be a Viking or he can have a Whole Foods.” \u003c/p>\n\u003cp>Saint’s spiritual wrestling match with gentrification will be particularly familiar to Bay Area residents. There is a mystery to unravel in this book, but Saint’s story is ultimately about so much more than the who, what, where and why of this case. It is a search for salvation, for Valhalla, for community in a shifting and merciless world, that is ultimately deeply human.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.unnamedpress.com/all-books/p/saint-the-terrifying\">Saint the Terrifying\u003c/a>’ is out Oct. 29, 2024 from Unnamed Press. A musical companion project by Slummy (Saint’s fictional band), a five-song EP titled ‘The Wrong Side,’ will be released in late October.\u003cbr>\n\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13966954\" class=\"wp-caption aligncenter\" style=\"max-width: 1380px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966954\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials.png\" alt=\"A book cover depicting a roadside cross and teddy bear.\" width=\"1380\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials.png 1380w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials-800x1159.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials-1020x1478.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials-768x1113.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials-1060x1536.png 1060w\" sizes=\"(max-width: 1380px) 100vw, 1380px\">\u003cfigcaption class=\"wp-caption-text\">‘Memorials’ by Richard Chizmar. \u003ccite>(Gallery Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Richard Chizmar, who co-wrote parts of the \u003cem>Gwendy\u003c/em> trilogy with Stephen King from 2017-2022 (\u003cem>Gwendy’s Button Box\u003c/em> and \u003cem>Gwendy’s Final Task\u003c/em>), has written his longest novel yet and readers should not be surprised that it reads, at least somewhat, like something from the mind of Stephen King.\u003c/p>\n\u003cp>\u003cem>Memorials\u003c/em> is set in 1983 as three students embark on a road trip through Appalachia, documenting roadside memorials for their American Studies 301 class at York College. We soon learn that Billy, Melody and Troy experienced personal loss prior to their college years, so the act of documenting sites where someone else’s loved ones lost their lives turns out to be both educational and personal. Chizmar intentionally gives the trio a very \u003cem>Scooby Doo\u003c/em>-like vibe, even making their wheels, a “Volkswagen Westfalia pop-top camper,” reminiscent of the Mystery Machine.\u003c/p>\n\u003cp>[aside postid='arts_13966390']The plot starts off slow as they meander the back roads, taking Polaroids and shooting VHS video of crosses and balloons and stuffed animals that mark the spots where people died. Chizmark employs a cool narrative trick, providing transcripts of the video footage as they interview locals and loved ones. “The camera zooms closer on his face. His brown eyes are somber but steady. He clears his throat and continues,” is how part of the transcript of Billy’s interview reads. Billy lost his parents in a car accident in Sudbury, Pennsylvania, and it’s when he returns home, visits their roadside memorial, and starts asking questions, that the novel gets more interesting.\u003c/p>\n\u003cp>The story is stuffed with foreshadowing, as various characters are introduced and act suspiciously and as Billy, Melody and Troy begin to find occult signs at memorials and experience strange visions. And while the point is to definitely build tension until the novel’s climax, it sometimes comes across as heavy-handed. A few too many chapters end with italics and you can practically hear the foreboding music as the scene fades to black.\u003c/p>\n\u003cp>When the plot puzzle begins to assemble in the final 100 or so pages, \u003cem>Memorials\u003c/em> really takes off and becomes something altogether different, genuinely earning its placement in the horror section of the bookstore. Readers will have to decide for themselves if the payoff is worth it, but it’s an enjoyable enough ride.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Memorials’ by Richard Chizmar is out on Oct. 22, 2024, via Gallery Books.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>It’s painful to read those stories of men wrongly condemned and forgotten, slowly abandoned by everyone, casualties of an overzealous criminal justice system.\u003c/p>\n\u003cp>\u003cem>Framed\u003c/em> is John Grisham’s second foray into nonfiction and his storytelling skills are well-displayed here. Jim McCloskey is founder of Centurion Ministries, which works to free the wrongly convicted. \u003cem>The Sing Sing Files\u003c/em> focuses on six men imprisoned in the infamous New York prison.\u003c/p>\n\u003cp>[aside postid='arts_13966790']Both books are meticulous to a fault in recounting the steps that led each of the men they focus on to conviction and imprisonment. \u003cem>Framed\u003c/em> is more clinical, carefully assembling the stories of those wrongly imprisoned, but Slepian’s book is the more compelling and emotionally wrenching of the two, starkly illuminating the unimaginable suffering of the wrongly imprisoned and their families.\u003c/p>\n\u003cp>Grisham and McCloskey present 10 unrelated cases around the nation; Slepian focuses on how the pursuit of one wrongful conviction led him to examine the other five.\u003c/p>\n\u003cp>Slepian cites figures suggesting 100,000 more innocents remain among approximately 2 million people locked away in American jails and prisons. America leads the world in the number of people imprisoned.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the authors explain, we came to this sorry state through a combination of factors: Pressure to close cases, police and prosecutorial neglect, outright fabrications of evidence, confirmation bias and the tendency to disregard information that does not fit our emerging theory. Bogus “experts” swayed juries. Jurors gave in to pressure from other jurors. Judges refused new trials. Prosecutor reliance on jailhouse informants factored into one-fifth of wrongful convictions, according to an estimate by the Innocence Project cited in Slepian’s book. We the people have not summoned the “collective will to hold people in power accountable,” he writes.\u003c/p>\n\u003cp>All three writers are measured in their accounting for these justice system failures although the reader is sure to find some of the police, prosecutors and judges described here to be the real villains.\u003c/p>\n\u003cp>But most of the guilt for a failed system must be ours, Grisham writes. “If we as a society had the political gumption to change unfair laws, practices and procedures, we could avoid virtually all wrongful convictions.”\u003c/p>\n\u003cp>Well, maybe.\u003c/p>\n\u003cp>[aside postid='arts_13966390']For now, emerging as heroes are defense lawyers who work for free, sometimes for years, to secure justice for those lacking any resources to hire lawyers to pursue their cases. In the cases described in these two books, the authors themselves deserve great credit for persevering in their quest to free the innocent.\u003c/p>\n\u003cp>It’s discouraging that this topic is not a subject in the presidential campaign nor, apparently, much of an issue to our fellow Americans. But for Slepian, investigating cases of wrongful imprisonment has become a focal part of his work as an NBC news producer. He writes that the sheer number of such cases is part of the “tragic consequences of America’s system of mass incarceration.”\u003c/p>\n\u003cp>And to him personally, pursuing such cases is more than a journalistic quest, it is, he writes, part of his “obligation as a human being.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Framed: Astonishingly True Stories of Wrongful Convictions’ by John Grisham and Jim McCloskey is out now via Doubleday. ‘The Sing Sing Files: One Journalist, Six Innocent Men and a 20-Year Fight for Justice’ by Dan Slepian is available via Celadon Books.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the authors explain, we came to this sorry state through a combination of factors: Pressure to close cases, police and prosecutorial neglect, outright fabrications of evidence, confirmation bias and the tendency to disregard information that does not fit our emerging theory. Bogus “experts” swayed juries. Jurors gave in to pressure from other jurors. Judges refused new trials. Prosecutor reliance on jailhouse informants factored into one-fifth of wrongful convictions, according to an estimate by the Innocence Project cited in Slepian’s book. We the people have not summoned the “collective will to hold people in power accountable,” he writes.\u003c/p>\n\u003cp>All three writers are measured in their accounting for these justice system failures although the reader is sure to find some of the police, prosecutors and judges described here to be the real villains.\u003c/p>\n\u003cp>But most of the guilt for a failed system must be ours, Grisham writes. “If we as a society had the political gumption to change unfair laws, practices and procedures, we could avoid virtually all wrongful convictions.”\u003c/p>\n\u003cp>Well, maybe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For now, emerging as heroes are defense lawyers who work for free, sometimes for years, to secure justice for those lacking any resources to hire lawyers to pursue their cases. In the cases described in these two books, the authors themselves deserve great credit for persevering in their quest to free the innocent.\u003c/p>\n\u003cp>It’s discouraging that this topic is not a subject in the presidential campaign nor, apparently, much of an issue to our fellow Americans. But for Slepian, investigating cases of wrongful imprisonment has become a focal part of his work as an NBC news producer. He writes that the sheer number of such cases is part of the “tragic consequences of America’s system of mass incarceration.”\u003c/p>\n\u003cp>And to him personally, pursuing such cases is more than a journalistic quest, it is, he writes, part of his “obligation as a human being.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Framed: Astonishingly True Stories of Wrongful Convictions’ by John Grisham and Jim McCloskey is out now via Doubleday. ‘The Sing Sing Files: One Journalist, Six Innocent Men and a 20-Year Fight for Justice’ by Dan Slepian is available via Celadon Books.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In a white dress, Charli XCX lightly swayed on the small stage while performing “Stay Away.” The crowd of 500 had come, curious to see the new British sensation who had broken through as a songwriter on Icona Pop’s “I Love It.” Her original ’80s-tinged, gothy pop showed individuality and \u003cspan style=\"font-weight: 400\">—\u003c/span> importantly for a 21-year-old on her first U.S. tour \u003cspan style=\"font-weight: 400\">—\u003c/span> potential.\u003c/p>\n\u003cp>Obviously, this wasn’t the Sweat tour with Charli XCX and Troye Sivan at the Chase Center, but rather Charli XCX’s first-ever Bay Area show at the San Francisco club Slim’s in 2013. I’d gone to it enamored with her debut album \u003cem>True Romance\u003c/em>; she joked with the crowd, gave it her all, and in lieu of a deep catalog, covered Bow Wow Wow’s “I Want Candy.” The whole thing was charming, unpolished and promising.\u003c/p>\n\u003cp>Eleven years and seven albums later, that promise reached its apex Sunday night as Charli dominated a very, very sold-out crowd of 20,000 in San Francisco, still riding high on \u003ca href=\"https://x.com/chartscharli/status/1848226339981038054\">this year’s dominant \u003cem>brat\u003c/em>\u003c/a>. She’s also graciously chosen to lend her clout to Sivan, a tour co-headliner on paper but a junior-league colleague in spirit, whose songs are fine but pale in close comparison to his tour partner.\u003c/p>\n\u003cfigure id=\"attachment_13966898\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966898\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0581.jpg\" alt=\"\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0581.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0581-160x160.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Charli XCX on her first U.S. tour at Slim’s in San Francisco in 2013. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ask any one of the \u003ca href=\"https://www.colorbook.io/hexcolors/view/8ACE00\">#8ACE00 green\u003c/a>-bedecked fans last night in “Gay Son” or “Thot Daughter” shirts to explain brat summer, and they’ll riff on a rotation of themes: living each night like it’s your last, looking extremely hot, going out and getting high with friends and strangers and being young and in love with the world. Which is to say, every teenage summer since modern times, except this year, \u003ca href=\"https://www.vox.com/the-goods/2019/7/12/20690515/hot-girl-summer-meme-define-explained\">like those before her\u003c/a>, Charli’s been able to soundtrack — and siphon — the horniest season.\u003c/p>\n\u003cp>That soundtrack sounded downright celestial Sunday night in a high-energy performance drawing heavily from \u003cem>brat\u003c/em>. “Club Classics,” “Von Dutch” and highlight “Sympathy Is a Knife” boomed with authority as Charli danced like a glitching \u003cem>Street Fighter\u003c/em> character on molly around the stage’s bare-scaffolding aesthetics of a warehouse rave. Whether playing to the camera beneath the stage’s transparent catwalk or reaching to fans over the furthest corners of its railings, Charli painted a canvas of the album that I’d always pictured when listening to it, minus any big gimmicks, pyrotechnics or backup dancers.\u003c/p>\n\u003cfigure id=\"attachment_13966902\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966902\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055.jpg\" alt=\"\" width=\"2000\" height=\"2500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055-1920x2400.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Charli XCX performs during the sold-out Sweat tour stop at Madison Square Garden on September 23, 2024 in New York City. \u003ccite>(Rich Fury/MSG/Getty Images for MSG Entertainment Holdings, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Apple” got its viral dance moment with a group of fans on the jumbotron, “Vroom Vroom” and “I Love It” got the crowd pumped and deluxe edition track “Spring Breakers” was a nice surprise. But it was during “Girl, So Confusing” that I noticed the crowd singing along to the verses louder and more passionately than the chorus, a testament to Charli’s focus as a songwriter, and her ability to connect.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sivan’s appeal is a little more inexplicable, juxtaposed as it is on the Sweat tour with Charli’s pop genius. All of the edges that Charli leaves jagged and honest, he sands off. With undulating choreography and undeniable sexiness, his performances of hits like “Youth” and “One of Your Girls” drove the crowd into a frenzy. Writhing on the satin sheets of an onstage bed, making out with his backup dancers, country two-stepping in chaps and a Stetson: Sivan knew the playbook for connecting with a very gay crowd.\u003c/p>\n\u003cfigure id=\"attachment_13966899\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966899\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-scaled.jpg\" alt=\"\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-1920x2879.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Troye Sivan performs at Viejas Arena in San Diego on Oct. 18, 2024 as part of his Sweat tour with Charli XCX. \u003ccite>(Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But take away the early YouTube fame, the gyrations of his backup dancers and the brilliance of his music videos, and what you’ve got is playlist music that might make for a decent 3 p.m. slot on the Twin Peaks stage at Outside Lands.\u003c/p>\n\u003cp>Sivan’s singing is limited (“Rager teenager!” came off like a monotone Drake melody; other songs’ higher notes were handled by a backing track), and his stage patter consisted mostly of saying the words “San Francisco” as many times as possible. Checking my notebook from last night, I found myself writing “He has the range of a fencepost and the stage presence of a wet receipt on the sidewalk.”\u003c/p>\n\u003cfigure id=\"attachment_13966900\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966900\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515.jpg\" alt=\"\" width=\"2000\" height=\"1205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515-800x482.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515-1536x925.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515-1920x1157.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Charli XCX joins Troye Sivan on stage during the Something to Give Each Other Tour at OVO Arena Wembley on June 27, 2024 in London, England. \u003ccite>(Katja Ogrin/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s harsh, I admit. (You might have gotten an opposing view if Charli and Troye’s tour publicists \u003ca href=\"https://x.com/supermarke/status/1847327677356896373\">didn’t ridiculously deny press requests\u003c/a> from Bay Area queer journalists.) But Charli wasn’t always such a hypnotizing artist either. After that first San Francisco show at Slim’s, it took years and no small amount of risk-taking, of experimenting and sometimes failing, to refine her singular voice as a writer, singer and performer. Sivan is a perfectly fine avatar, but I don’t know if he’ll be adventurous enough to try similar risks, and that’s what it will take for him to fully come into his own as an artist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Summertime is over, anyway, but you’d never guess it from the rapt crowd last night, screaming and dancing and on their feet for the entire 90 minutes, even during the ballad “Track 10” or during set-change lulls. After performing “1999” together, and a closing duet of the “Talk Talk” remix, Charli and Sivan bid farewell to the sea of green, and it spilled out into the street flush with rapture and, yes, sweat.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a white dress, Charli XCX lightly swayed on the small stage while performing “Stay Away.” The crowd of 500 had come, curious to see the new British sensation who had broken through as a songwriter on Icona Pop’s “I Love It.” Her original ’80s-tinged, gothy pop showed individuality and \u003cspan style=\"font-weight: 400\">—\u003c/span> importantly for a 21-year-old on her first U.S. tour \u003cspan style=\"font-weight: 400\">—\u003c/span> potential.\u003c/p>\n\u003cp>Obviously, this wasn’t the Sweat tour with Charli XCX and Troye Sivan at the Chase Center, but rather Charli XCX’s first-ever Bay Area show at the San Francisco club Slim’s in 2013. I’d gone to it enamored with her debut album \u003cem>True Romance\u003c/em>; she joked with the crowd, gave it her all, and in lieu of a deep catalog, covered Bow Wow Wow’s “I Want Candy.” The whole thing was charming, unpolished and promising.\u003c/p>\n\u003cp>Eleven years and seven albums later, that promise reached its apex Sunday night as Charli dominated a very, very sold-out crowd of 20,000 in San Francisco, still riding high on \u003ca href=\"https://x.com/chartscharli/status/1848226339981038054\">this year’s dominant \u003cem>brat\u003c/em>\u003c/a>. She’s also graciously chosen to lend her clout to Sivan, a tour co-headliner on paper but a junior-league colleague in spirit, whose songs are fine but pale in close comparison to his tour partner.\u003c/p>\n\u003cfigure id=\"attachment_13966898\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966898\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0581.jpg\" alt=\"\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0581.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0581-160x160.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Charli XCX on her first U.S. tour at Slim’s in San Francisco in 2013. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ask any one of the \u003ca href=\"https://www.colorbook.io/hexcolors/view/8ACE00\">#8ACE00 green\u003c/a>-bedecked fans last night in “Gay Son” or “Thot Daughter” shirts to explain brat summer, and they’ll riff on a rotation of themes: living each night like it’s your last, looking extremely hot, going out and getting high with friends and strangers and being young and in love with the world. Which is to say, every teenage summer since modern times, except this year, \u003ca href=\"https://www.vox.com/the-goods/2019/7/12/20690515/hot-girl-summer-meme-define-explained\">like those before her\u003c/a>, Charli’s been able to soundtrack — and siphon — the horniest season.\u003c/p>\n\u003cp>That soundtrack sounded downright celestial Sunday night in a high-energy performance drawing heavily from \u003cem>brat\u003c/em>. “Club Classics,” “Von Dutch” and highlight “Sympathy Is a Knife” boomed with authority as Charli danced like a glitching \u003cem>Street Fighter\u003c/em> character on molly around the stage’s bare-scaffolding aesthetics of a warehouse rave. Whether playing to the camera beneath the stage’s transparent catwalk or reaching to fans over the furthest corners of its railings, Charli painted a canvas of the album that I’d always pictured when listening to it, minus any big gimmicks, pyrotechnics or backup dancers.\u003c/p>\n\u003cfigure id=\"attachment_13966902\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966902\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055.jpg\" alt=\"\" width=\"2000\" height=\"2500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055-1920x2400.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Charli XCX performs during the sold-out Sweat tour stop at Madison Square Garden on September 23, 2024 in New York City. \u003ccite>(Rich Fury/MSG/Getty Images for MSG Entertainment Holdings, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Apple” got its viral dance moment with a group of fans on the jumbotron, “Vroom Vroom” and “I Love It” got the crowd pumped and deluxe edition track “Spring Breakers” was a nice surprise. But it was during “Girl, So Confusing” that I noticed the crowd singing along to the verses louder and more passionately than the chorus, a testament to Charli’s focus as a songwriter, and her ability to connect.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sivan’s appeal is a little more inexplicable, juxtaposed as it is on the Sweat tour with Charli’s pop genius. All of the edges that Charli leaves jagged and honest, he sands off. With undulating choreography and undeniable sexiness, his performances of hits like “Youth” and “One of Your Girls” drove the crowd into a frenzy. Writhing on the satin sheets of an onstage bed, making out with his backup dancers, country two-stepping in chaps and a Stetson: Sivan knew the playbook for connecting with a very gay crowd.\u003c/p>\n\u003cfigure id=\"attachment_13966899\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966899\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-scaled.jpg\" alt=\"\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-1920x2879.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Troye Sivan performs at Viejas Arena in San Diego on Oct. 18, 2024 as part of his Sweat tour with Charli XCX. \u003ccite>(Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But take away the early YouTube fame, the gyrations of his backup dancers and the brilliance of his music videos, and what you’ve got is playlist music that might make for a decent 3 p.m. slot on the Twin Peaks stage at Outside Lands.\u003c/p>\n\u003cp>Sivan’s singing is limited (“Rager teenager!” came off like a monotone Drake melody; other songs’ higher notes were handled by a backing track), and his stage patter consisted mostly of saying the words “San Francisco” as many times as possible. Checking my notebook from last night, I found myself writing “He has the range of a fencepost and the stage presence of a wet receipt on the sidewalk.”\u003c/p>\n\u003cfigure id=\"attachment_13966900\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966900\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515.jpg\" alt=\"\" width=\"2000\" height=\"1205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515-800x482.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515-1536x925.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515-1920x1157.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Charli XCX joins Troye Sivan on stage during the Something to Give Each Other Tour at OVO Arena Wembley on June 27, 2024 in London, England. \u003ccite>(Katja Ogrin/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s harsh, I admit. (You might have gotten an opposing view if Charli and Troye’s tour publicists \u003ca href=\"https://x.com/supermarke/status/1847327677356896373\">didn’t ridiculously deny press requests\u003c/a> from Bay Area queer journalists.) But Charli wasn’t always such a hypnotizing artist either. After that first San Francisco show at Slim’s, it took years and no small amount of risk-taking, of experimenting and sometimes failing, to refine her singular voice as a writer, singer and performer. Sivan is a perfectly fine avatar, but I don’t know if he’ll be adventurous enough to try similar risks, and that’s what it will take for him to fully come into his own as an artist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Summertime is over, anyway, but you’d never guess it from the rapt crowd last night, screaming and dancing and on their feet for the entire 90 minutes, even during the ballad “Track 10” or during set-change lulls. After performing “1999” together, and a closing duet of the “Talk Talk” remix, Charli and Sivan bid farewell to the sea of green, and it spilled out into the street flush with rapture and, yes, sweat.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Roving through the back of my magazine collection recently, I found a much-treasured copy of the second issue of short-lived Beastie Boys fanzine, \u003cem>Grand Royal\u003c/em>. It dates to 1995. I remember excitedly buying it in an X-Large store in New York City and poring over every single page. Looking at it in 2024 however, took me aback. That zine now stands as a screaming monument to how much longer our attention spans were before the internet lived in our pockets.\u003c/p>\n\u003cp>I mention this because opening \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> for the first time gave me a similar sensation. The new hardcover collection of \u003cem>Giant Robot\u003c/em> magazine’s highlights from the last three decades might look like a coffee table book on the outside, but on the inside, it’s a reflection of how we used to read. Page after page of densely packed text with minimal images to break up a font that often feels unreasonably small for pages of this size. (It all makes sense: \u003cem>Giant Robot\u003c/em> did, after all, start life in 1994 as a fanzine.)\u003c/p>\n\u003cp>[aside postid='arts_13966153']Facing down \u003cem>Giant Robot\u003c/em>’s nearly 500 pages for the first time would be an intimidating exercise if not for the thoughtfulness of the book’s editors. Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin clearly anticipated the attention span challenge and adapted accordingly. As such, the content here is split into color-coded categories — identity, cinema, comics and manga, music, travel, food, fashion, sports, toys, and art — thereby making it easy to locate your passion of choice and dive in with intention.\u003c/p>\n\u003cp>The cinema section contains the most recognizable names in the book, thanks to interviews with the likes of Chow Yun-Fat, \u003ca href=\"https://www.kqed.org/arts/13926277/michelle-yeoh-called-out-sexism-in-hollywood-will-it-help-close-the-gender-gap\">Michelle Yeoh\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915798/in-thor-love-and-thunder-waititis-familiar-strains-feel-familiar-and-strained\">Taika Waititi\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13955458/dev-patels-monkey-man-is-a-political-allegory-bathed-in-blood\">Dev Patel\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13750397/now-playing-johnnie-tos-crime-wave\">John Woo\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915702/mr-malcolms-list-susan-allain-regency-romance-london\">Freida Pinto\u003c/a>, \u003ca href=\"https://www.kqed.org/news/tag/george-takei\">George Takei\u003c/a> and \u003cem>Spirited Away\u003c/em> legend \u003ca href=\"https://www.kqed.org/arts/13934544/the-boy-and-the-heron-hayao-miyazaki-animation-anime-dream\">Hayao Miyazaki\u003c/a>. My personal favorite, however, is a Q&A with \u003ca href=\"https://www.npr.org/sections/codeswitch/2015/02/06/384307677/whats-so-cringe-worthy-about-long-duk-dong-in-sixteen-candles\">Gedde Watanabe\u003c/a> (who played Long Duk Dong in \u003cem>Sixteen Candles\u003c/em>), in which he bluntly shares his feelings about the \u003ca href=\"https://www.kqed.org/arts/11815363/seoul-searching-transplants-80s-teen-movies-to-summer-camp-in-south-korea\">problematic character\u003c/a> he’s most famous for.\u003c/p>\n\u003cp>The music section sees stars like Yeah Yeah Yeahs and Money Mark rubbing shoulders with more obscure artists. The 2007 remembrance here of Lance Hahn — San Francisco punk rock treasure, J Church vocalist and former \u003cem>Giant Robot\u003c/em> contributor — almost knocked me down with a wave of bittersweet nostalgia. (The story also includes Bay Area folks from \u003ca href=\"https://www.kqed.org/arts/13804539/jawbreaker-plays-first-show-in-21-years-video-photos-setlist\">Jawbreaker\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/11782160/the-five-weirdest-records-i-ever-bought-at-aquarius-records-r-i-p\">Aquarius Records\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13833821/nofxs-fat-mike-under-fire-for-tasteless-joke-about-las-vegas-massacre\">Fat Wreck Chords\u003c/a> sharing quotes about Hahn’s life.)\u003c/p>\n\u003cfigure id=\"attachment_13966425\" class=\"wp-caption aligncenter\" style=\"max-width: 1498px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966425\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png\" alt=\"The page of a magazine headlined 'The OG of American Chinatowns.’\" width=\"1498\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png 1498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-800x1068.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1020x1362.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-768x1025.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1150x1536.png 1150w\" sizes=\"(max-width: 1498px) 100vw, 1498px\">\u003cfigcaption class=\"wp-caption-text\">A 1998 story about the history of San Francisco’s Chinatown, as seen in ‘Giant Robot: Thirty Years of Defining Asian American Pop Culture.’ \u003ccite>(Robot Factory Incorporated/Drawn & Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Hahn profile is just one of the ways \u003cem>Giant Robot\u003c/em> reflects Bay Area culture, despite having always been based in Los Angeles. \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">San Francisco’s Chinatown\u003c/a> garners an article titled “The OG of American Chinatowns,” complete with an entire profile of Mr. Bing’s dive bar. There is a recollection of the student-led \u003ca href=\"https://www.youtube.com/watch?v=As_P3DueKrY\">San Francisco State University strike of 1968\u003c/a>. UC Berkeley radicals Richard Aoki, Harvey Dong, Steve Louie and Vicci Wong are also interviewed about historical Bay Area activism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So too are there Bay Area figures peppered throughout. \u003ca href=\"https://www.kqed.org/pop/20739/hollywood-so-white-margaret-cho-other-bay-area-locals-on-the-epidemic-of-invisibility\">Margaret Cho\u003c/a> contributes a particularly hilarious 1996 column titled “White Guys That Like Asian Girls.“ (Quote: “Andrew McCarthy is everything Asian girls like about white guys. Quietly handsome, not overly masculine, sweaty-palmed, neatly dressed in blues and grays and, when we want, really good at looking bewildered.”)\u003c/p>\n\u003cp>[aside postid='arts_13965937']Then there’s the food section: so gloriously anarchic, it almost defies description. Just know that it includes a defense of MSG, a guide to Asian liquor, recipes that the Filipino inmates at L.A. County Jail made after hours in 2002, and a 1995 article about something called the “Cambodian Doughnut Cartel.”\u003c/p>\n\u003cp>So, yes. Do not let the enormity of \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> turn you off. Having this portable collection of \u003cem>Giant Robot\u003c/em>’s back catalog isn’t just a treat, it also reflects how print media has changed and evolved during the age of the internet. (Unsurprisingly, those pages crammed with text dissipate as the years pass.) Even more importantly, this collection stands as an indispensable documentation of Asian American contributions to the culture, both mainstream and underground, over a very long period of time.\u003c/p>\n\u003cp>Best of all? It’s so entertaining, it’ll make you want to read like it’s still the ’90s.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.giantrobot.com/collections/giant-robot-magazine/products/preorder-giant-robot-thirty-years-of-defining-asian-american-pop-culture-hardcover-signed\">Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/a>’ edited by Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin is out on Oct. 21, 2024, from \u003ca href=\"https://drawnandquarterly.com/books/giant-robot-thirty-years-of-defining-asian-american-pop-culture/\">Drawn & Quarterly\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eric Nakamura will be at San Francisco’s \u003ca href=\"https://www.silversprocket.net/events/in-store-events-at-1018-valencia-st/\">Silver Sprocket\u003c/a> (1018 Valencia St.) for a booksigning on Oct. 26, 2024. He’ll also be in conversation with illustrator Felicia Chiao, artist Windy Chien and Jawbreaker drummer Adam Pfahler.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Roving through the back of my magazine collection recently, I found a much-treasured copy of the second issue of short-lived Beastie Boys fanzine, \u003cem>Grand Royal\u003c/em>. It dates to 1995. I remember excitedly buying it in an X-Large store in New York City and poring over every single page. Looking at it in 2024 however, took me aback. That zine now stands as a screaming monument to how much longer our attention spans were before the internet lived in our pockets.\u003c/p>\n\u003cp>I mention this because opening \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> for the first time gave me a similar sensation. The new hardcover collection of \u003cem>Giant Robot\u003c/em> magazine’s highlights from the last three decades might look like a coffee table book on the outside, but on the inside, it’s a reflection of how we used to read. Page after page of densely packed text with minimal images to break up a font that often feels unreasonably small for pages of this size. (It all makes sense: \u003cem>Giant Robot\u003c/em> did, after all, start life in 1994 as a fanzine.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Facing down \u003cem>Giant Robot\u003c/em>’s nearly 500 pages for the first time would be an intimidating exercise if not for the thoughtfulness of the book’s editors. Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin clearly anticipated the attention span challenge and adapted accordingly. As such, the content here is split into color-coded categories — identity, cinema, comics and manga, music, travel, food, fashion, sports, toys, and art — thereby making it easy to locate your passion of choice and dive in with intention.\u003c/p>\n\u003cp>The cinema section contains the most recognizable names in the book, thanks to interviews with the likes of Chow Yun-Fat, \u003ca href=\"https://www.kqed.org/arts/13926277/michelle-yeoh-called-out-sexism-in-hollywood-will-it-help-close-the-gender-gap\">Michelle Yeoh\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915798/in-thor-love-and-thunder-waititis-familiar-strains-feel-familiar-and-strained\">Taika Waititi\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13955458/dev-patels-monkey-man-is-a-political-allegory-bathed-in-blood\">Dev Patel\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13750397/now-playing-johnnie-tos-crime-wave\">John Woo\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915702/mr-malcolms-list-susan-allain-regency-romance-london\">Freida Pinto\u003c/a>, \u003ca href=\"https://www.kqed.org/news/tag/george-takei\">George Takei\u003c/a> and \u003cem>Spirited Away\u003c/em> legend \u003ca href=\"https://www.kqed.org/arts/13934544/the-boy-and-the-heron-hayao-miyazaki-animation-anime-dream\">Hayao Miyazaki\u003c/a>. My personal favorite, however, is a Q&A with \u003ca href=\"https://www.npr.org/sections/codeswitch/2015/02/06/384307677/whats-so-cringe-worthy-about-long-duk-dong-in-sixteen-candles\">Gedde Watanabe\u003c/a> (who played Long Duk Dong in \u003cem>Sixteen Candles\u003c/em>), in which he bluntly shares his feelings about the \u003ca href=\"https://www.kqed.org/arts/11815363/seoul-searching-transplants-80s-teen-movies-to-summer-camp-in-south-korea\">problematic character\u003c/a> he’s most famous for.\u003c/p>\n\u003cp>The music section sees stars like Yeah Yeah Yeahs and Money Mark rubbing shoulders with more obscure artists. The 2007 remembrance here of Lance Hahn — San Francisco punk rock treasure, J Church vocalist and former \u003cem>Giant Robot\u003c/em> contributor — almost knocked me down with a wave of bittersweet nostalgia. (The story also includes Bay Area folks from \u003ca href=\"https://www.kqed.org/arts/13804539/jawbreaker-plays-first-show-in-21-years-video-photos-setlist\">Jawbreaker\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/11782160/the-five-weirdest-records-i-ever-bought-at-aquarius-records-r-i-p\">Aquarius Records\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13833821/nofxs-fat-mike-under-fire-for-tasteless-joke-about-las-vegas-massacre\">Fat Wreck Chords\u003c/a> sharing quotes about Hahn’s life.)\u003c/p>\n\u003cfigure id=\"attachment_13966425\" class=\"wp-caption aligncenter\" style=\"max-width: 1498px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966425\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png\" alt=\"The page of a magazine headlined 'The OG of American Chinatowns.’\" width=\"1498\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png 1498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-800x1068.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1020x1362.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-768x1025.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1150x1536.png 1150w\" sizes=\"(max-width: 1498px) 100vw, 1498px\">\u003cfigcaption class=\"wp-caption-text\">A 1998 story about the history of San Francisco’s Chinatown, as seen in ‘Giant Robot: Thirty Years of Defining Asian American Pop Culture.’ \u003ccite>(Robot Factory Incorporated/Drawn & Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Hahn profile is just one of the ways \u003cem>Giant Robot\u003c/em> reflects Bay Area culture, despite having always been based in Los Angeles. \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">San Francisco’s Chinatown\u003c/a> garners an article titled “The OG of American Chinatowns,” complete with an entire profile of Mr. Bing’s dive bar. There is a recollection of the student-led \u003ca href=\"https://www.youtube.com/watch?v=As_P3DueKrY\">San Francisco State University strike of 1968\u003c/a>. UC Berkeley radicals Richard Aoki, Harvey Dong, Steve Louie and Vicci Wong are also interviewed about historical Bay Area activism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So too are there Bay Area figures peppered throughout. \u003ca href=\"https://www.kqed.org/pop/20739/hollywood-so-white-margaret-cho-other-bay-area-locals-on-the-epidemic-of-invisibility\">Margaret Cho\u003c/a> contributes a particularly hilarious 1996 column titled “White Guys That Like Asian Girls.“ (Quote: “Andrew McCarthy is everything Asian girls like about white guys. Quietly handsome, not overly masculine, sweaty-palmed, neatly dressed in blues and grays and, when we want, really good at looking bewildered.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then there’s the food section: so gloriously anarchic, it almost defies description. Just know that it includes a defense of MSG, a guide to Asian liquor, recipes that the Filipino inmates at L.A. County Jail made after hours in 2002, and a 1995 article about something called the “Cambodian Doughnut Cartel.”\u003c/p>\n\u003cp>So, yes. Do not let the enormity of \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> turn you off. Having this portable collection of \u003cem>Giant Robot\u003c/em>’s back catalog isn’t just a treat, it also reflects how print media has changed and evolved during the age of the internet. (Unsurprisingly, those pages crammed with text dissipate as the years pass.) Even more importantly, this collection stands as an indispensable documentation of Asian American contributions to the culture, both mainstream and underground, over a very long period of time.\u003c/p>\n\u003cp>Best of all? It’s so entertaining, it’ll make you want to read like it’s still the ’90s.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.giantrobot.com/collections/giant-robot-magazine/products/preorder-giant-robot-thirty-years-of-defining-asian-american-pop-culture-hardcover-signed\">Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/a>’ edited by Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin is out on Oct. 21, 2024, from \u003ca href=\"https://drawnandquarterly.com/books/giant-robot-thirty-years-of-defining-asian-american-pop-culture/\">Drawn & Quarterly\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eric Nakamura will be at San Francisco’s \u003ca href=\"https://www.silversprocket.net/events/in-store-events-at-1018-valencia-st/\">Silver Sprocket\u003c/a> (1018 Valencia St.) for a booksigning on Oct. 26, 2024. He’ll also be in conversation with illustrator Felicia Chiao, artist Windy Chien and Jawbreaker drummer Adam Pfahler.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In real life, we often become impatient with friends in the grip of an obsession, erotic or otherwise. So, too, in fiction, where it’s crucial that readers at a minimum remain interested in the lives of the characters. Minot succeeds intermittently in making us care about Ivy. As for Ansel, it’s obvious from the start that he’s pretty much of a jerk.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Don’t Be a Stranger’ by Susan Minot is out now, via Knopf.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"perspectives": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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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.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"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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