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"title": "In Small-Town Sebastopol, a Big Exhibition of ‘Reverberations’",
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"content": "\u003cfigure id=\"attachment_13960288\" class=\"wp-caption aligncenter\" style=\"max-width: 1741px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0002.jpg\" alt=\"\" width=\"1741\" height=\"1920\" class=\"size-full wp-image-13960288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0002.jpg 1741w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0002-800x882.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0002-1020x1125.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0002-160x176.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0002-768x847.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0002-1393x1536.jpg 1393w\" sizes=\"(max-width: 1741px) 100vw, 1741px\">\u003cfigcaption class=\"wp-caption-text\">Wayne Thiebaud, ‘Untitled (Paint Can),’ 1983. \u003ccite>(Sebastopol Center for the Arts / Collection of Heather Stone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sebastopol is a small town of big dualities.\u003c/p>\n\u003cp>Situated in West Sonoma County, the town of 7,000 champions environmentalism — signs at the entrance to town read “Nuclear-Free Zone” — while its bike-unfriendly downtown is increasingly crowded with SUVs. It’s resisted the Wine Country branding of nearby tourist towns like Healdsburg, even as its once-famous apple orchards have nearly all been converted to vineyards. \u003c/p>\n\u003cp>It’s not too surprising, then, that for the past 11 years, the \u003ca href=\"https://www.sebarts.org/\">Sebastopol Center for the Arts\u003c/a> has shared space with the local chapter of Veterans of Foreign Wars. The last time I visited the building, in fact, it was not for art, but the military funeral of a retired Marine. In the park just over the fence from the procession of rifles and flags, a “Peacetown” concert with twirling dancers and hippie vibes was getting underway. That’s Sebastopol for you.\u003c/p>\n\u003cp>What \u003cem>is\u003c/em> surprising is that this small arts center in a mostly rural town has managed to assemble one of the most impressive group shows of modern art I’ve ever seen in Sonoma County. \u003c/p>\n\u003cfigure id=\"attachment_13960286\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0001.jpg\" alt=\"\" width=\"1920\" height=\"1927\" class=\"size-full wp-image-13960286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0001-800x803.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0001-1020x1024.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0001-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0001-768x771.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0001-1530x1536.jpg 1530w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu, ‘Two Birds,’ 2009. \u003ccite>(Sebastopol Center for the Arts / Collection of Dinah and James Costello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Reverberations 3\u003c/em> brings together works by major figures like Wayne Thiebaud, Edward Hopper, Richard Diebenkorn, Kara Walker and Ed Ruscha, many never before exhibited. Complementing them is work from contemporary Bay Area artists like Saif Azzuz, Alicia McCarthy and Maria de los Angeles. And, speaking of dualities, each work is accompanied by a poem — a presentation known as ekphrasis — that adds another layer to each artwork. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While this is the third time the center has presented Reverberations, says Executive Director Serafina Palandech, “this is bigger and better than anything I think any of us had ever envisioned.” \u003c/p>\n\u003cp>Part of that is due to the dogged persistence of curator Alan Porter, who says he was “shameless” in asking people for work, everywhere he went.\u003c/p>\n\u003cfigure id=\"attachment_13960284\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0004.jpg\" alt=\"\" width=\"1920\" height=\"1631\" class=\"size-full wp-image-13960284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0004-800x680.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0004-1020x866.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0004-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0004-768x652.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0004-1536x1305.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Edward Hopper, ‘Night Shadows,’ 1921. \u003ccite>(Sebastopol Center for the Arts / Collection of Jack Leissring)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An announcement in his pilates class led him to the daughter of New York gallery owner Allan Stone, who provided a 1983 Wayne Thiebaud painting, \u003cem>Untitled (Paint Can)\u003c/em>, as well as a 1963 charcoal drawing by Willem de Kooning. Another call for art at a birthday party led to a woman who provided a photograph by Dorothea Lange. \u003c/p>\n\u003cp>“She knew this guy for years and years, he was in his 90s, and he gave her this photograph,” Porter says. “He didn’t even know that it was by Dorothea Lange. When she went to have it framed, they said, ‘You know, this is a Dorothea Lange.’ She went and talked to him about it and he said, ‘Oh, yeah, she was a neighbor of my mother’s.’”\u003c/p>\n\u003cfigure id=\"attachment_13960287\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0005.jpg\" alt=\"\" width=\"1759\" height=\"1920\" class=\"size-full wp-image-13960287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0005.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0005-800x873.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0005-1020x1113.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0005-160x175.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0005-768x838.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0005-1407x1536.jpg 1407w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Matt Small, ‘Omar,’ 2012. \u003ccite>(Sebastopol Center for the Arts / Collection of Alan Beckstead and Danny Lerma)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The task of pairing the artwork with poets fell to Linda Loveland Reid, who talks excitedly of the “double adventure” the viewer can have with the exhibition. The poetry, she says, “deepens their experience.”\u003c/p>\n\u003cp>While previewing the exhibition, I came upon a lithograph by Babara Hepworth, a pleasing spare grid with black and red trapezoids and an empty circle. It was joined by a Margaret Barkley poem that begins: “I am so tired of war.”\u003c/p>\n\u003cp>I impulsively laughed at the re-contextualization. I thought: \u003cem>Are the red and black shapes opposing countries? Is the grid a jagged, unwinnable game of tic-tac-toe? \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960285\" class=\"wp-caption aligncenter\" style=\"max-width: 1361px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0003.jpg\" alt=\"\" width=\"1361\" height=\"1920\" class=\"size-full wp-image-13960285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0003.jpg 1361w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0003-800x1129.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0003-1020x1439.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0003-160x226.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0003-768x1083.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0003-1089x1536.jpg 1089w\" sizes=\"(max-width: 1361px) 100vw, 1361px\">\u003cfigcaption class=\"wp-caption-text\">Ed Ruscha, ‘Your Space Gravure,’ 2006. \u003ccite>(Sebastopol Center for the Arts / Collection of Mari Andrews)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tamsin Spencer Smith, a participating poet who also wrote \u003cem>Reverberations 3\u003c/em>’s program notes, says the empathetic process of writing poetry from another’s artwork is in line with the democratic process, and even Sonoma County’s rich history of communal living. She likens it to visiting a foreign country, and coming to understand others outside one’s own culture. \u003c/p>\n\u003cp>“That dialogue is about breaking down the walls between what we think we know, what we think we love, what we think we understand, and developing more of a mutuality and sense of connectedness to people that may not be with us anymore, or that may have lived in a time that’s very different from our own,” Smith says.\u003c/p>\n\u003cp>A large painting by Hung Liu, \u003cem>Onion Field\u003c/em>, is accompanied by a rumination by Suzanne Maxson on the artist’s time spent in Chinese labor camps. Vija Celmins’ \u003cem>Constellation – Uccello\u003c/em> inspires a meditation on destiny from poet Nancy Caver Dougherty. For Joan Brown’s \u003cem>Anna\u003c/em>, poet Robin Gabbert focuses on the artist’s first name, and the image of a bare woman in repose, to compose an ode to Joan of Arc.\u003c/p>\n\u003cfigure id=\"attachment_13960202\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sebarts1.jpg\" alt=\"\" width=\"1920\" height=\"1445\" class=\"size-full wp-image-13960202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sebarts1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sebarts1-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sebarts1-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sebarts1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sebarts1-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sebarts1-1536x1156.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lorraine Shemesh, ‘Criss-Cross,’ 1995. \u003ccite>(Sebastopol Center for the Arts / Collection of Heather Stone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each work’s wall text, meanwhile, is not a formal statement by the curator but a statement from the owner of each work, describing what it’s like to live with the art, and what it means to them. On the whole, I found these simpler and more relatable than the usual academic assessments, and considered the question: How do we choose which art to hang on our walls? Why do we choose to live among art at all? \u003c/p>\n\u003cp>\u003cem>Reverberations 3\u003c/em> comes at a pivotal time for the center. After a rough patch of fiscal losses and a subsequent \u003ca href=\"https://www.pressdemocrat.com/article/entertainment/sebastopol-center-for-the-arts-starts-major-fundraising-drive/\">fundraising drive\u003c/a>, Palandech came aboard last year as the executive director. Her primary job, she says, was to right the ship. The community-supported center and its new staff have now reinstated its literary arts program, and will bring back its Sebastopol Documentary Film Festival next year. The higher profile of \u003cem>Reverberations 3\u003c/em>, meanwhile, represents new life for the space.\u003c/p>\n\u003cp>It also represents the local community’s faith in the nonprofit’s future. Palandech tells an illustrative story: After learning how expensive professional art movers were, exhibition organizers asked the owners of often very valuable artworks if they could throw them in their cars and drop them off themselves. All but one said yes.\u003c/p>\n\u003cp>You could call it a triumph of small-town sensibility, even. \u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Reverberations 3’ is on view through Aug. 10 at the Sebastopol Center for the Arts (282 S. High St., Sebastopol). \u003ca href=\"https://www.sebarts.org/reverberations\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13960288\" class=\"wp-caption aligncenter\" style=\"max-width: 1741px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0002.jpg\" alt=\"\" width=\"1741\" height=\"1920\" class=\"size-full wp-image-13960288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0002.jpg 1741w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0002-800x882.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0002-1020x1125.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0002-160x176.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0002-768x847.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0002-1393x1536.jpg 1393w\" sizes=\"(max-width: 1741px) 100vw, 1741px\">\u003cfigcaption class=\"wp-caption-text\">Wayne Thiebaud, ‘Untitled (Paint Can),’ 1983. \u003ccite>(Sebastopol Center for the Arts / Collection of Heather Stone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sebastopol is a small town of big dualities.\u003c/p>\n\u003cp>Situated in West Sonoma County, the town of 7,000 champions environmentalism — signs at the entrance to town read “Nuclear-Free Zone” — while its bike-unfriendly downtown is increasingly crowded with SUVs. It’s resisted the Wine Country branding of nearby tourist towns like Healdsburg, even as its once-famous apple orchards have nearly all been converted to vineyards. \u003c/p>\n\u003cp>It’s not too surprising, then, that for the past 11 years, the \u003ca href=\"https://www.sebarts.org/\">Sebastopol Center for the Arts\u003c/a> has shared space with the local chapter of Veterans of Foreign Wars. The last time I visited the building, in fact, it was not for art, but the military funeral of a retired Marine. In the park just over the fence from the procession of rifles and flags, a “Peacetown” concert with twirling dancers and hippie vibes was getting underway. That’s Sebastopol for you.\u003c/p>\n\u003cp>What \u003cem>is\u003c/em> surprising is that this small arts center in a mostly rural town has managed to assemble one of the most impressive group shows of modern art I’ve ever seen in Sonoma County. \u003c/p>\n\u003cfigure id=\"attachment_13960286\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0001.jpg\" alt=\"\" width=\"1920\" height=\"1927\" class=\"size-full wp-image-13960286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0001-800x803.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0001-1020x1024.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0001-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0001-768x771.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0001-1530x1536.jpg 1530w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu, ‘Two Birds,’ 2009. \u003ccite>(Sebastopol Center for the Arts / Collection of Dinah and James Costello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Reverberations 3\u003c/em> brings together works by major figures like Wayne Thiebaud, Edward Hopper, Richard Diebenkorn, Kara Walker and Ed Ruscha, many never before exhibited. Complementing them is work from contemporary Bay Area artists like Saif Azzuz, Alicia McCarthy and Maria de los Angeles. And, speaking of dualities, each work is accompanied by a poem — a presentation known as ekphrasis — that adds another layer to each artwork. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While this is the third time the center has presented Reverberations, says Executive Director Serafina Palandech, “this is bigger and better than anything I think any of us had ever envisioned.” \u003c/p>\n\u003cp>Part of that is due to the dogged persistence of curator Alan Porter, who says he was “shameless” in asking people for work, everywhere he went.\u003c/p>\n\u003cfigure id=\"attachment_13960284\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0004.jpg\" alt=\"\" width=\"1920\" height=\"1631\" class=\"size-full wp-image-13960284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0004-800x680.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0004-1020x866.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0004-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0004-768x652.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0004-1536x1305.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Edward Hopper, ‘Night Shadows,’ 1921. \u003ccite>(Sebastopol Center for the Arts / Collection of Jack Leissring)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An announcement in his pilates class led him to the daughter of New York gallery owner Allan Stone, who provided a 1983 Wayne Thiebaud painting, \u003cem>Untitled (Paint Can)\u003c/em>, as well as a 1963 charcoal drawing by Willem de Kooning. Another call for art at a birthday party led to a woman who provided a photograph by Dorothea Lange. \u003c/p>\n\u003cp>“She knew this guy for years and years, he was in his 90s, and he gave her this photograph,” Porter says. “He didn’t even know that it was by Dorothea Lange. When she went to have it framed, they said, ‘You know, this is a Dorothea Lange.’ She went and talked to him about it and he said, ‘Oh, yeah, she was a neighbor of my mother’s.’”\u003c/p>\n\u003cfigure id=\"attachment_13960287\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0005.jpg\" alt=\"\" width=\"1759\" height=\"1920\" class=\"size-full wp-image-13960287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0005.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0005-800x873.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0005-1020x1113.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0005-160x175.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0005-768x838.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0005-1407x1536.jpg 1407w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Matt Small, ‘Omar,’ 2012. \u003ccite>(Sebastopol Center for the Arts / Collection of Alan Beckstead and Danny Lerma)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The task of pairing the artwork with poets fell to Linda Loveland Reid, who talks excitedly of the “double adventure” the viewer can have with the exhibition. The poetry, she says, “deepens their experience.”\u003c/p>\n\u003cp>While previewing the exhibition, I came upon a lithograph by Babara Hepworth, a pleasing spare grid with black and red trapezoids and an empty circle. It was joined by a Margaret Barkley poem that begins: “I am so tired of war.”\u003c/p>\n\u003cp>I impulsively laughed at the re-contextualization. I thought: \u003cem>Are the red and black shapes opposing countries? Is the grid a jagged, unwinnable game of tic-tac-toe? \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960285\" class=\"wp-caption aligncenter\" style=\"max-width: 1361px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0003.jpg\" alt=\"\" width=\"1361\" height=\"1920\" class=\"size-full wp-image-13960285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0003.jpg 1361w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0003-800x1129.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0003-1020x1439.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0003-160x226.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0003-768x1083.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2024-06-25-0003-1089x1536.jpg 1089w\" sizes=\"(max-width: 1361px) 100vw, 1361px\">\u003cfigcaption class=\"wp-caption-text\">Ed Ruscha, ‘Your Space Gravure,’ 2006. \u003ccite>(Sebastopol Center for the Arts / Collection of Mari Andrews)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tamsin Spencer Smith, a participating poet who also wrote \u003cem>Reverberations 3\u003c/em>’s program notes, says the empathetic process of writing poetry from another’s artwork is in line with the democratic process, and even Sonoma County’s rich history of communal living. She likens it to visiting a foreign country, and coming to understand others outside one’s own culture. \u003c/p>\n\u003cp>“That dialogue is about breaking down the walls between what we think we know, what we think we love, what we think we understand, and developing more of a mutuality and sense of connectedness to people that may not be with us anymore, or that may have lived in a time that’s very different from our own,” Smith says.\u003c/p>\n\u003cp>A large painting by Hung Liu, \u003cem>Onion Field\u003c/em>, is accompanied by a rumination by Suzanne Maxson on the artist’s time spent in Chinese labor camps. Vija Celmins’ \u003cem>Constellation – Uccello\u003c/em> inspires a meditation on destiny from poet Nancy Caver Dougherty. For Joan Brown’s \u003cem>Anna\u003c/em>, poet Robin Gabbert focuses on the artist’s first name, and the image of a bare woman in repose, to compose an ode to Joan of Arc.\u003c/p>\n\u003cfigure id=\"attachment_13960202\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sebarts1.jpg\" alt=\"\" width=\"1920\" height=\"1445\" class=\"size-full wp-image-13960202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sebarts1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sebarts1-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sebarts1-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sebarts1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sebarts1-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sebarts1-1536x1156.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lorraine Shemesh, ‘Criss-Cross,’ 1995. \u003ccite>(Sebastopol Center for the Arts / Collection of Heather Stone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each work’s wall text, meanwhile, is not a formal statement by the curator but a statement from the owner of each work, describing what it’s like to live with the art, and what it means to them. On the whole, I found these simpler and more relatable than the usual academic assessments, and considered the question: How do we choose which art to hang on our walls? Why do we choose to live among art at all? \u003c/p>\n\u003cp>\u003cem>Reverberations 3\u003c/em> comes at a pivotal time for the center. After a rough patch of fiscal losses and a subsequent \u003ca href=\"https://www.pressdemocrat.com/article/entertainment/sebastopol-center-for-the-arts-starts-major-fundraising-drive/\">fundraising drive\u003c/a>, Palandech came aboard last year as the executive director. Her primary job, she says, was to right the ship. The community-supported center and its new staff have now reinstated its literary arts program, and will bring back its Sebastopol Documentary Film Festival next year. The higher profile of \u003cem>Reverberations 3\u003c/em>, meanwhile, represents new life for the space.\u003c/p>\n\u003cp>It also represents the local community’s faith in the nonprofit’s future. Palandech tells an illustrative story: After learning how expensive professional art movers were, exhibition organizers asked the owners of often very valuable artworks if they could throw them in their cars and drop them off themselves. All but one said yes.\u003c/p>\n\u003cp>You could call it a triumph of small-town sensibility, even. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Reverberations 3’ is on view through Aug. 10 at the Sebastopol Center for the Arts (282 S. High St., Sebastopol). \u003ca href=\"https://www.sebarts.org/reverberations\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13960179\" class=\"wp-caption aligncenter\" style=\"max-width: 890px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960179\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-24-at-10.21.03-AM.png\" alt=\"A book cover with an illustrated split drawn down the center with a Black person's teary eye peering through.\" width=\"890\" height=\"1348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-24-at-10.21.03-AM.png 890w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-24-at-10.21.03-AM-800x1212.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-24-at-10.21.03-AM-160x242.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-24-at-10.21.03-AM-768x1163.png 768w\" sizes=\"(max-width: 890px) 100vw, 890px\">\u003cfigcaption class=\"wp-caption-text\">‘The Lion’s Den’ by Iris Mwanza. \u003ccite>(Graydon House Books via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grace Zulu clawed her way out of her village and into college to study law in the Zambian capital Lusaka. Now, at the end of 1990 and with AIDS running rampant, her first big case will test her personally and professionally: She must defend dancer Willbess “Bessy” Mulenga, who is accused of “committing acts against the order of nature.”\u003c/p>\n\u003cp>Iris Mwanza’s debut novel, \u003cem>The Lion’s Den\u003c/em>, is as zealous, smart and fresh as its main character.\u003c/p>\n\u003cp>[aside postid='arts_13959945']But, while Grace is a talented and hardworking lawyer, she’s also hot-headed and naive. She can’t see the forest for the trees beyond her own righteousness, and wouldn’t know diplomacy if it smacked her in the face — something that makes the character and the novel verge into frustrating and tiresome.\u003c/p>\n\u003cp>Fortunately, we have characters like Grace’s wise and eclectic landlady, Ms. Njavwa, who was a freedom fighter in Zambia’s struggle for independence. Ms. Njavwa and Grace’s discussions over dinner are punctuated by interruptions from her aptly named dogs David and Goliath, who eat better than Grace did in her home village growing up.\u003c/p>\n\u003cp>Food becomes a refrain in the novel, one of the many ways we see disparity in Zambia and between the characters, whether because they’re rural, gay, female, foreign, poor or some other “other.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet the heavy topics come with bits of levity, which are sorely needed, especially when everything seems to be going wrong for Grace. Sometimes she only has herself to blame, but there’s no denying the odds are severely stacked against her in conservative Christian, early-1990s Zambia, when political unrest and government corruption festered after nearly 30 years of increasing authoritarianism under the country’s first President, Kenneth Kaunda. Grace must learn to work with people and navigate the system that has become riddled with bribes and favors if she has any hope of helping Bessy and holding police to account.\u003c/p>\n\u003cp>Alongside the history and politics embedded throughout the novel, religion also plays a huge role in the story, as the title implies. \u003cem>The\u003c/em> \u003cem>Lion’s Den\u003c/em> opens with the Biblical passage in which Daniel notes that he hasn’t done God nor the king any wrongs.\u003c/p>\n\u003cp>[aside postid='arts_13959775']Grace’s ally and mentor, Father Sebastian, provides one type of religious view of the issues. The Christian colonialism dictating the law and societal opinions of LGBTQ+ people and women provide another. And Grace challenges all of it.\u003c/p>\n\u003cp>Then, in the final stretch, we finally get into courtroom drama mode; the culmination of Grace’s efforts that could have far-reaching effects beyond Bessy and his family.\u003c/p>\n\u003cp>On her website, Mwanza — who herself has worked as a lawyer in Zambia — says her goal was “to write a page-turner that doesn’t shy away from big societal issues.” She’s off to a great start. Her writing is well-versed and skilled beyond what you’d expect in a debut. While the pacing didn’t hit quite right for me, the characters and subject matter are compelling enough to push through any snags. Particularly with the novel’s timely release as Pride month comes to a close, \u003cem>The Lion’s Den\u003c/em> is an important story told with nuance that makes it excellent for book clubs and sparking thoughtful discussion.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Lion’s Den’ by Iris Mwanza is out now via Graydon House Books.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13960179\" class=\"wp-caption aligncenter\" style=\"max-width: 890px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960179\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-24-at-10.21.03-AM.png\" alt=\"A book cover with an illustrated split drawn down the center with a Black person's teary eye peering through.\" width=\"890\" height=\"1348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-24-at-10.21.03-AM.png 890w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-24-at-10.21.03-AM-800x1212.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-24-at-10.21.03-AM-160x242.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-24-at-10.21.03-AM-768x1163.png 768w\" sizes=\"(max-width: 890px) 100vw, 890px\">\u003cfigcaption class=\"wp-caption-text\">‘The Lion’s Den’ by Iris Mwanza. \u003ccite>(Graydon House Books via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grace Zulu clawed her way out of her village and into college to study law in the Zambian capital Lusaka. Now, at the end of 1990 and with AIDS running rampant, her first big case will test her personally and professionally: She must defend dancer Willbess “Bessy” Mulenga, who is accused of “committing acts against the order of nature.”\u003c/p>\n\u003cp>Iris Mwanza’s debut novel, \u003cem>The Lion’s Den\u003c/em>, is as zealous, smart and fresh as its main character.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet the heavy topics come with bits of levity, which are sorely needed, especially when everything seems to be going wrong for Grace. Sometimes she only has herself to blame, but there’s no denying the odds are severely stacked against her in conservative Christian, early-1990s Zambia, when political unrest and government corruption festered after nearly 30 years of increasing authoritarianism under the country’s first President, Kenneth Kaunda. Grace must learn to work with people and navigate the system that has become riddled with bribes and favors if she has any hope of helping Bessy and holding police to account.\u003c/p>\n\u003cp>Alongside the history and politics embedded throughout the novel, religion also plays a huge role in the story, as the title implies. \u003cem>The\u003c/em> \u003cem>Lion’s Den\u003c/em> opens with the Biblical passage in which Daniel notes that he hasn’t done God nor the king any wrongs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Grace’s ally and mentor, Father Sebastian, provides one type of religious view of the issues. The Christian colonialism dictating the law and societal opinions of LGBTQ+ people and women provide another. And Grace challenges all of it.\u003c/p>\n\u003cp>Then, in the final stretch, we finally get into courtroom drama mode; the culmination of Grace’s efforts that could have far-reaching effects beyond Bessy and his family.\u003c/p>\n\u003cp>On her website, Mwanza — who herself has worked as a lawyer in Zambia — says her goal was “to write a page-turner that doesn’t shy away from big societal issues.” She’s off to a great start. Her writing is well-versed and skilled beyond what you’d expect in a debut. While the pacing didn’t hit quite right for me, the characters and subject matter are compelling enough to push through any snags. Particularly with the novel’s timely release as Pride month comes to a close, \u003cem>The Lion’s Den\u003c/em> is an important story told with nuance that makes it excellent for book clubs and sparking thoughtful discussion.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Lion’s Den’ by Iris Mwanza is out now via Graydon House Books.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Exploratorium, the 55-year-old San Francisco institution full of frenetic energy, hands-on science and roving gangs of ecstatic children, might not seem like a place for visual art. And it’s true this museum doesn’t contain the sort of white-walled, hushed gallery spaces you find in certain cultural institutions. \u003c/p>\n\u003cp>But what the Exploratorium does provide in terms of a viewing environment is perhaps more immediate and compelling: art that is accessible to all ages, and finds guests in the midst of other discoveries to broaden their understanding of what art is.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.exploratorium.edu/visit/calendar/extraordinary\">ExtraOrdinary!\u003c/a>\u003c/i>, the museum’s newest exhibition of seven artists and collectives, meets all of the above criteria. Tied together by bright pink signage and lighting across several zones of the museum, this is a show of artwork made from everyday materials. The artists have taken cotton balls, wooden blocks, Lego bricks, burned-out lightbulbs and so much yarn, and turned them into sculptures, installations and interactive artworks.\u003c/p>\n\u003cp>Some of the pleasure in \u003ci>ExtraOrdinary!\u003c/i> comes from seeing generally available materials achieve surprising shifts in scale. The Slow Art Collective’s \u003ci>Bamboo Weaving Star\u003c/i>, a massive shelter-like structure made from criss-crossing poles and dangling yarn, invites visitors to weave, braid and knot to their heart’s content. The project is a bit like making potholders and friendship bracelets for giants; its cozy ambiance offers a calm area for focused activity within the bustle of the museum.\u003c/p>\n\u003cfigure id=\"attachment_13960089\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06.jpg\" alt=\"People walk under hanging strings in rainbow colors\" width=\"2500\" height=\"1667\" class=\"size-full wp-image-13960089\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06-1920x1280.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Visitors under HOTTEA’s ‘Analog Technicolor,’ 2024. \u003ccite>(Courtesy of the Exploratorium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Further along the museum’s long pier, HOTTEA’s yarn installation, a three-dimensional “color picker” from the world of digital design, hangs from a wire grid near the pier’s ceiling, dangling single strings in nearly every shade imaginable over the heads of those walking or lounging below. In this part of the museum, with its taller ceiling and less dense exhibits, \u003ci>Analog Technicolor\u003c/i> acts like a diffuse color bath, a bit of soothing amid all the ongoing stimulation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the other end of the experiential spectrum (pun intended), \u003ci>ExtraOrdinary!\u003c/i> demonstrates how magnitude can yield an audible, physical presence. Zimoun’s \u003ci>405 prepared dc motors, cotton balls, cardboard boxes 46x46x46\u003c/i> creates a wall of sound, as its title signals, with cotton balls and cardboard boxes. Small motors that originally wound up window shades send the cotton balls on a tight back-and-forth arc lighty pounding against the empty cubes. Together the 405 drums create a chamber of deep tectonic rumbling.\u003c/p>\n\u003cp>If one half of the show is about experiments in scale, the other half is about the kind of alchemy artists achieve with everyday materials, taking recognizable things and turning them, convincingly, into something completely different. \u003c/p>\n\u003cfigure id=\"attachment_13960088\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05.jpg\" alt=\"People walk past a wall display of lit wooden blocks that create a shadow silhouette\" width=\"2500\" height=\"1667\" class=\"size-full wp-image-13960088\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05-1920x1280.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">A view of Kumi Yamashita’s ‘Building Blocks,’ 2014. \u003ccite>(Courtesy of the Exploratorium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most stunning of these is Kumi Yamashita’s \u003ci>Building Blocks\u003c/i>, a simple wall installation of custom-made wooden blocks — the arches, cylinders and cubes used to build imaginary cities — that, when arranged and lit just so, create a child’s silhouette. The entire display evokes a near magical feeling: hard edges become the soft curves of a face, 3D abstract objects morph into an immediately recognizable 2D thing. \u003c/p>\n\u003cp>Similar transmutations take place in Caitlind r.c. Brown and Wayne Garrett’s \u003ci>CLOUD\u003c/i> (light bulbs become a lightning-filled storm cloud) and Ekow Nimako’s \u003ci>Building Black Mythos: DIVINITIES\u003c/i> (ordinary Lego bricks become figures from African mythology).\u003c/p>\n\u003cp>But it’s Willie Cole’s \u003ci>Masks\u003c/i> that are the most fun of the “transformation” bunch. The artist takes shoes found in thrift stores and reassembles them into charismatic, dragon-like masks. As you look at them, Cole’s sculptures play a delightful perceptual game, bouncing back and forth between individual parts and their new identity as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13960086\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04.jpg\" alt=\"Two people stand in front of sculptures made of used shoes\" width=\"2500\" height=\"1667\" class=\"size-full wp-image-13960086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04-1920x1280.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Visitors in front of Willie Cole’s ‘Masks.’ \u003ccite>(Courtesy of the Exploratorium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In true Exploratorium fashion, \u003ci>ExtraOrdinary!\u003c/i> also extends into hands-on activities in the museum’s Pop-Up Workshop. In collaboration with Community Science Workshops, visitors can make their own mini, DIY versions of popular Exploratorium exhibits (including a variation on Ned Kahn’s \u003ci>\u003ca href=\"https://www.exploratorium.edu/exhibits/cloud-rings\">Cloud Rings\u003c/a>\u003c/i>) using low-cost materials. These instructions are also available online.\u003c/p>\n\u003cp>Artists know there is no such thing as an “off-limit” material in the realm of visual art. Food, earth, animals, their own bodies — it’s all fair game when it comes to expression. But most visitors to the Exploratorium, especially the youngest of the bunch, may think of art as a block of time in their school day, one that involves pencils, paint and paper. \u003ci>ExtraOrdinary!\u003c/i> is an introduction to the vast artistic possibilities inherent in even the most commonplace stuff, and an invitation to start thinking of that stuff in a different, transformative way. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.exploratorium.edu/visit/calendar/extraordinary\">ExtraOrdinary!\u003c/a>’ in on view at the Exploratorium (Pier 15, San Francisco) through Sept. 8, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Exploratorium, the 55-year-old San Francisco institution full of frenetic energy, hands-on science and roving gangs of ecstatic children, might not seem like a place for visual art. And it’s true this museum doesn’t contain the sort of white-walled, hushed gallery spaces you find in certain cultural institutions. \u003c/p>\n\u003cp>But what the Exploratorium does provide in terms of a viewing environment is perhaps more immediate and compelling: art that is accessible to all ages, and finds guests in the midst of other discoveries to broaden their understanding of what art is.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.exploratorium.edu/visit/calendar/extraordinary\">ExtraOrdinary!\u003c/a>\u003c/i>, the museum’s newest exhibition of seven artists and collectives, meets all of the above criteria. Tied together by bright pink signage and lighting across several zones of the museum, this is a show of artwork made from everyday materials. The artists have taken cotton balls, wooden blocks, Lego bricks, burned-out lightbulbs and so much yarn, and turned them into sculptures, installations and interactive artworks.\u003c/p>\n\u003cp>Some of the pleasure in \u003ci>ExtraOrdinary!\u003c/i> comes from seeing generally available materials achieve surprising shifts in scale. The Slow Art Collective’s \u003ci>Bamboo Weaving Star\u003c/i>, a massive shelter-like structure made from criss-crossing poles and dangling yarn, invites visitors to weave, braid and knot to their heart’s content. The project is a bit like making potholders and friendship bracelets for giants; its cozy ambiance offers a calm area for focused activity within the bustle of the museum.\u003c/p>\n\u003cfigure id=\"attachment_13960089\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06.jpg\" alt=\"People walk under hanging strings in rainbow colors\" width=\"2500\" height=\"1667\" class=\"size-full wp-image-13960089\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_06-1920x1280.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Visitors under HOTTEA’s ‘Analog Technicolor,’ 2024. \u003ccite>(Courtesy of the Exploratorium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Further along the museum’s long pier, HOTTEA’s yarn installation, a three-dimensional “color picker” from the world of digital design, hangs from a wire grid near the pier’s ceiling, dangling single strings in nearly every shade imaginable over the heads of those walking or lounging below. In this part of the museum, with its taller ceiling and less dense exhibits, \u003ci>Analog Technicolor\u003c/i> acts like a diffuse color bath, a bit of soothing amid all the ongoing stimulation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the other end of the experiential spectrum (pun intended), \u003ci>ExtraOrdinary!\u003c/i> demonstrates how magnitude can yield an audible, physical presence. Zimoun’s \u003ci>405 prepared dc motors, cotton balls, cardboard boxes 46x46x46\u003c/i> creates a wall of sound, as its title signals, with cotton balls and cardboard boxes. Small motors that originally wound up window shades send the cotton balls on a tight back-and-forth arc lighty pounding against the empty cubes. Together the 405 drums create a chamber of deep tectonic rumbling.\u003c/p>\n\u003cp>If one half of the show is about experiments in scale, the other half is about the kind of alchemy artists achieve with everyday materials, taking recognizable things and turning them, convincingly, into something completely different. \u003c/p>\n\u003cfigure id=\"attachment_13960088\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05.jpg\" alt=\"People walk past a wall display of lit wooden blocks that create a shadow silhouette\" width=\"2500\" height=\"1667\" class=\"size-full wp-image-13960088\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_05-1920x1280.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">A view of Kumi Yamashita’s ‘Building Blocks,’ 2014. \u003ccite>(Courtesy of the Exploratorium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most stunning of these is Kumi Yamashita’s \u003ci>Building Blocks\u003c/i>, a simple wall installation of custom-made wooden blocks — the arches, cylinders and cubes used to build imaginary cities — that, when arranged and lit just so, create a child’s silhouette. The entire display evokes a near magical feeling: hard edges become the soft curves of a face, 3D abstract objects morph into an immediately recognizable 2D thing. \u003c/p>\n\u003cp>Similar transmutations take place in Caitlind r.c. Brown and Wayne Garrett’s \u003ci>CLOUD\u003c/i> (light bulbs become a lightning-filled storm cloud) and Ekow Nimako’s \u003ci>Building Black Mythos: DIVINITIES\u003c/i> (ordinary Lego bricks become figures from African mythology).\u003c/p>\n\u003cp>But it’s Willie Cole’s \u003ci>Masks\u003c/i> that are the most fun of the “transformation” bunch. The artist takes shoes found in thrift stores and reassembles them into charismatic, dragon-like masks. As you look at them, Cole’s sculptures play a delightful perceptual game, bouncing back and forth between individual parts and their new identity as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13960086\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04.jpg\" alt=\"Two people stand in front of sculptures made of used shoes\" width=\"2500\" height=\"1667\" class=\"size-full wp-image-13960086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/ExtraOrdinary_Opening_04-1920x1280.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Visitors in front of Willie Cole’s ‘Masks.’ \u003ccite>(Courtesy of the Exploratorium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In true Exploratorium fashion, \u003ci>ExtraOrdinary!\u003c/i> also extends into hands-on activities in the museum’s Pop-Up Workshop. In collaboration with Community Science Workshops, visitors can make their own mini, DIY versions of popular Exploratorium exhibits (including a variation on Ned Kahn’s \u003ci>\u003ca href=\"https://www.exploratorium.edu/exhibits/cloud-rings\">Cloud Rings\u003c/a>\u003c/i>) using low-cost materials. These instructions are also available online.\u003c/p>\n\u003cp>Artists know there is no such thing as an “off-limit” material in the realm of visual art. Food, earth, animals, their own bodies — it’s all fair game when it comes to expression. But most visitors to the Exploratorium, especially the youngest of the bunch, may think of art as a block of time in their school day, one that involves pencils, paint and paper. \u003ci>ExtraOrdinary!\u003c/i> is an introduction to the vast artistic possibilities inherent in even the most commonplace stuff, and an invitation to start thinking of that stuff in a different, transformative way. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.exploratorium.edu/visit/calendar/extraordinary\">ExtraOrdinary!\u003c/a>’ in on view at the Exploratorium (Pier 15, San Francisco) through Sept. 8, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are a lot of bad comedies about, and supposedly for, senior citizens. It’s especially depressing because the worst offenders, the ones that don’t just feel cheap and lazy but exploitative too, often feature our finest actors. They can take on the air of an unintentional horror film — and not the fun kind.\u003c/p>\n\u003cp>\u003cem>Thelma\u003c/em>, starring June Squibb, is not one of those.\u003c/p>\n\u003cp>In her first lead film role, she plays a 90-something who gets scammed out of $10,000 and goes on a mission to get it back. Revenge stories aren’t often (or ever, really) described as sweet, but that’s the magic of \u003cem>Thelma\u003c/em>, the feature debut of writer-director Josh Margolin that opens in theaters this week. It is charming, genuinely funny and a breeze to watch.\u003c/p>\n\u003cp>[aside postid='arts_13959577']Perhaps it works so well on a fundamental level because Margolin wrote it with his own grandmother (also named Thelma) in mind. Though there is something inherently silly and goofy about the idea of a grandmother on a \u003cem>Mission: Impossible\u003c/em>-style journey, \u003cem>Thelma\u003c/em> transcends its on-paper limitations and becomes something wholly unexpected. Kind of like its main character. This isn’t not just an idea of an old person slotted into a high concept gag. It’s specific and at least somewhat realistic. The scooter she and the late Richard Roundtree (as her friend Ben) ride might be slower than Tom Cruise on foot, but the energy is high and infectious.\u003c/p>\n\u003cp>Squibb is absolutely wonderful at the center of the film, with impeccable comedic timing and full command of her character. Thelma is living alone at 93. She lost her husband a few years prior. Lots of her friends are gone already. But she doesn’t yet see herself in an assisted living situation, or even wearing a life monitor in case she falls. “If I fall I’m toast,” she deadpans. “That’s why I don’t fall.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And she’s managing pretty well. Her doting 20-something grandson Daniel (Fred Hechinger of the first season of \u003cem>The White Lotus\u003c/em>) visits often to help with the computer and just hang out. When he’s gone, she fills her days with all her tasks: Sorting pills, doing her stationary bike exercises, watching YouTube videos, attempting to comment, attempting to backspace and revise typos and accidentally posting blurry photos of nothing to her Instagram stories.\u003c/p>\n\u003cp>That is until she gets a panicked phone call from someone claiming to be her grandson. He was in an accident, he says, and she needs to send $10,000 in cash to bail him out. By the time the family starts answering the phone, the money is in the mail, and the police are telling them there’s nothing that can be done. Her family, including Daniel’s mom Gail (Parker Posey) and dad (Clark Gregg), basically wash their hands of it. But Thelma has nothing but time, and she wants to do something about it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lyE_hYkZPPE\u003c/p>\n\u003cp>Margolin’s film was made independently. It debuted earlier this year at the Sundance Film Festival and was picked up for a theatrical release. But he had his team have made it look and feel commercial and buttoned up with a fun ‘60s-inspired score by Nick Chuba.\u003c/p>\n\u003cp>[aside postid='arts_13959801']Things really come to life when Roundtree (terrific, in his last role) enters the picture as her reluctant accomplice on their trip from the Westside of Los Angeles to Van Nuys, in the San Fernando Valley. She doesn’t drive and needs his refurbed scooter that he’s been going on about — but he’s not about to let her take it on her own.\u003c/p>\n\u003cp>They have a great rapport — an inspired pairing. The Posey/Gregg/Hechinger trio isn’t too shabby either spouting comedic banter that makes them instantly believable as a family unit. One standout sequence involves one of those dreaded Waze-directed Los Angeles left turns across a busy four lane throughway.\u003c/p>\n\u003cp>But this is ultimately Squibb’s show and she delivers, like she always does. She should have been leading pictures the whole time and finally did something about it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thelma’ is released nationwide on June 21, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are a lot of bad comedies about, and supposedly for, senior citizens. It’s especially depressing because the worst offenders, the ones that don’t just feel cheap and lazy but exploitative too, often feature our finest actors. They can take on the air of an unintentional horror film — and not the fun kind.\u003c/p>\n\u003cp>\u003cem>Thelma\u003c/em>, starring June Squibb, is not one of those.\u003c/p>\n\u003cp>In her first lead film role, she plays a 90-something who gets scammed out of $10,000 and goes on a mission to get it back. Revenge stories aren’t often (or ever, really) described as sweet, but that’s the magic of \u003cem>Thelma\u003c/em>, the feature debut of writer-director Josh Margolin that opens in theaters this week. It is charming, genuinely funny and a breeze to watch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Perhaps it works so well on a fundamental level because Margolin wrote it with his own grandmother (also named Thelma) in mind. Though there is something inherently silly and goofy about the idea of a grandmother on a \u003cem>Mission: Impossible\u003c/em>-style journey, \u003cem>Thelma\u003c/em> transcends its on-paper limitations and becomes something wholly unexpected. Kind of like its main character. This isn’t not just an idea of an old person slotted into a high concept gag. It’s specific and at least somewhat realistic. The scooter she and the late Richard Roundtree (as her friend Ben) ride might be slower than Tom Cruise on foot, but the energy is high and infectious.\u003c/p>\n\u003cp>Squibb is absolutely wonderful at the center of the film, with impeccable comedic timing and full command of her character. Thelma is living alone at 93. She lost her husband a few years prior. Lots of her friends are gone already. But she doesn’t yet see herself in an assisted living situation, or even wearing a life monitor in case she falls. “If I fall I’m toast,” she deadpans. “That’s why I don’t fall.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And she’s managing pretty well. Her doting 20-something grandson Daniel (Fred Hechinger of the first season of \u003cem>The White Lotus\u003c/em>) visits often to help with the computer and just hang out. When he’s gone, she fills her days with all her tasks: Sorting pills, doing her stationary bike exercises, watching YouTube videos, attempting to comment, attempting to backspace and revise typos and accidentally posting blurry photos of nothing to her Instagram stories.\u003c/p>\n\u003cp>That is until she gets a panicked phone call from someone claiming to be her grandson. He was in an accident, he says, and she needs to send $10,000 in cash to bail him out. By the time the family starts answering the phone, the money is in the mail, and the police are telling them there’s nothing that can be done. Her family, including Daniel’s mom Gail (Parker Posey) and dad (Clark Gregg), basically wash their hands of it. But Thelma has nothing but time, and she wants to do something about it.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lyE_hYkZPPE'\n title='//www.youtube.com/embed/lyE_hYkZPPE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Margolin’s film was made independently. It debuted earlier this year at the Sundance Film Festival and was picked up for a theatrical release. But he had his team have made it look and feel commercial and buttoned up with a fun ‘60s-inspired score by Nick Chuba.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Things really come to life when Roundtree (terrific, in his last role) enters the picture as her reluctant accomplice on their trip from the Westside of Los Angeles to Van Nuys, in the San Fernando Valley. She doesn’t drive and needs his refurbed scooter that he’s been going on about — but he’s not about to let her take it on her own.\u003c/p>\n\u003cp>They have a great rapport — an inspired pairing. The Posey/Gregg/Hechinger trio isn’t too shabby either spouting comedic banter that makes them instantly believable as a family unit. One standout sequence involves one of those dreaded Waze-directed Los Angeles left turns across a busy four lane throughway.\u003c/p>\n\u003cp>But this is ultimately Squibb’s show and she delivers, like she always does. She should have been leading pictures the whole time and finally did something about it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thelma’ is released nationwide on June 21, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For longtime political observers and students of California history, Alix Blair’s sublime documentary \u003cem>Helen and the Bear\u003c/em> (receiving its U.S. premiere Sunday, June 23 at the Vogue in \u003ca href=\"https://www.frameline.org/\">Frameline48\u003c/a>, San Francisco’s long-running LGBTQ+ film festival) has an irresistible hook: The titular co-star is Rep. Pete McCloskey. \u003c/p>\n\u003cp>The eight-term congressman from San Mateo County — a product of Stanford (undergraduate and law) and a decorated Marine (the Korean War) — was the rare Republican who opposed the Vietnam War. That was his central issue when he challenged incumbent President Richard Nixon in the 1972 New Hampshire primary. The following year, amid the Watergate scandal, McCloskey was the first member of Congress to call for Nixon’s impeachment.\u003c/p>\n\u003cp>[aside postID='arts_13957326']McCloskey is in his 90s when \u003cem>Helen and the Bear\u003c/em> begins, but still a formidable figure. He remains politically involved, telephoning allies and staying up late watching election returns. But the documentary’s engine is its complicated and compelling heroine, the force of nature named Helen Hooper McCloskey.\u003c/p>\n\u003cp>Helen, Alix Blair writes in the production notes, was the cool California aunt her family would spend half a day with during their annual summer visit from Chicago. Aunt Helen’s nickname was The Hellion, though one wonders just how much the conservative Midwesterners knew about the love affairs and cocaine that Helen discloses in the film.\u003c/p>\n\u003cfigure id=\"attachment_13960050\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000.jpg\" alt=\"Man and woman stand smiling on beach with names written below photograph\" width=\"2000\" height=\"1862\" class=\"size-full wp-image-13960050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-800x745.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-1020x950.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-768x715.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-1536x1430.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-1920x1788.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A young Helen and Pete McCloskey. \u003ccite>(Courtesy of Helen and Pete McCloskey’s personal archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her 20s, Helen got a job on McCloskey’s staff working on abortion rights and environmental legislation. He had a wife and four children but was devoted to the job above all; a few years after his divorce, Pete and Helen became a couple and married, notwithstanding an age difference of some 25 years. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is all colorful and fascinating background, which Blair and editor Katrina Taylor periodically and artfully dispense in often-impressionistic collages of home movies, newsreel excerpts, still photographs and Helen’s journal entries. (In one simple yet effective wide shot, a TV sitting in the couple’s empty living room beams an old interview with Pete, bringing to life the ghosts that reside in their farmhouse’s walls.) \u003c/p>\n\u003cp>Blair and her collaborators make the risky but correct decision not to waste her extraordinary access on a boilerplate biographical piece. Helen and Pete’s past informs their present, of course, and Helen occasionally thinks about the road not taken, but the film’s thematic and emotional focus is the dynamic of a long-term love affair.\u003c/p>\n\u003cp>While this is the universal stuff of relationships, it is nonetheless a risky subject. \u003cem>Helen and the Bear\u003c/em> is at times a working-on-the-farm film, a travelogue and a portrait of elder care. Blair opts not to manipulate and massage the material to create or inflate the drama, conflict and narrative thrust that we typically want and expect from movies. \u003cem>Helen and the Bear\u003c/em> is an unusual film, therefore, that invites and demands the audience’s willingness to reflect on their own relationships.\u003c/p>\n\u003cfigure id=\"attachment_13960049\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset.jpg\" alt=\"Older woman in desert with dramatic sky behind\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13960049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Helen in the New Mexico desert. \u003ccite>(Alix Blair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You may be wondering, right about now, why Frameline is showing a movie about a 40-year heterosexual marriage. In her 30s and 40s, Helen had serious affairs with women. They were authentic expressions of her identity and sexuality, though they were also a response to being left alone by a workaholic husband. Pete criticized Helen at the time for her adultery (his word); it’s unclear if he was completely faithful during this period.\u003c/p>\n\u003cp>Ultimately, they remain unequivocally devoted to each other as they go about their days on the organic farm they operated for three decades. (Pete’s passing, in May of this year at 96, occurs off-screen, which leaves us remembering \u003cem>Helen and the Bear\u003c/em> as a sun-dappled tale of life and death.)\u003c/p>\n\u003cp>I see Frameline’s inclusion of \u003cem>Helen and the Bear\u003c/em> as a marker of how queer film festivals have evolved. In the beginning, representations of gay and lesbian identity (in its various forms) were limited (as in rare) and proscribed (as in positive). The range of relationships, and the nuance with which they can be depicted, are both much greater today. \u003c/p>\n\u003cp>To put it another way, the world has evolved and Frameline reflects the current and ongoing reality.\u003c/p>\n\u003cp>Like every other film, \u003cem>Helen and the Bear\u003c/em> is informed by the viewer’s life experiences. Some will wallow in the echoes of the hungover ’70s. Others will be cast back to a time when “principled Republican” was not an oxymoron. And other viewers will revisit their various love and sexual relationships from a more, uh, mature perspective.\u003c/p>\n\u003cp>And you will interpret and judge — and yes, admire — Helen for her choices, her commitment and her integrity. \u003cem>Helen and the Bear\u003c/em> is as rewarding as it is rare.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.frameline.org/films/frameline48/helen-and-the-bear\">Helen and the Bear\u003c/a>’ screens as part of Frameline48 on Sunday, June 23 at 2:15 p.m. at the Vogue Theatre (3290 Sacramento St., San Francisco). Tickets are currently at rush.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>McCloskey is in his 90s when \u003cem>Helen and the Bear\u003c/em> begins, but still a formidable figure. He remains politically involved, telephoning allies and staying up late watching election returns. But the documentary’s engine is its complicated and compelling heroine, the force of nature named Helen Hooper McCloskey.\u003c/p>\n\u003cp>Helen, Alix Blair writes in the production notes, was the cool California aunt her family would spend half a day with during their annual summer visit from Chicago. Aunt Helen’s nickname was The Hellion, though one wonders just how much the conservative Midwesterners knew about the love affairs and cocaine that Helen discloses in the film.\u003c/p>\n\u003cfigure id=\"attachment_13960050\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000.jpg\" alt=\"Man and woman stand smiling on beach with names written below photograph\" width=\"2000\" height=\"1862\" class=\"size-full wp-image-13960050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-800x745.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-1020x950.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-768x715.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-1536x1430.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-1920x1788.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A young Helen and Pete McCloskey. \u003ccite>(Courtesy of Helen and Pete McCloskey’s personal archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her 20s, Helen got a job on McCloskey’s staff working on abortion rights and environmental legislation. He had a wife and four children but was devoted to the job above all; a few years after his divorce, Pete and Helen became a couple and married, notwithstanding an age difference of some 25 years. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is all colorful and fascinating background, which Blair and editor Katrina Taylor periodically and artfully dispense in often-impressionistic collages of home movies, newsreel excerpts, still photographs and Helen’s journal entries. (In one simple yet effective wide shot, a TV sitting in the couple’s empty living room beams an old interview with Pete, bringing to life the ghosts that reside in their farmhouse’s walls.) \u003c/p>\n\u003cp>Blair and her collaborators make the risky but correct decision not to waste her extraordinary access on a boilerplate biographical piece. Helen and Pete’s past informs their present, of course, and Helen occasionally thinks about the road not taken, but the film’s thematic and emotional focus is the dynamic of a long-term love affair.\u003c/p>\n\u003cp>While this is the universal stuff of relationships, it is nonetheless a risky subject. \u003cem>Helen and the Bear\u003c/em> is at times a working-on-the-farm film, a travelogue and a portrait of elder care. Blair opts not to manipulate and massage the material to create or inflate the drama, conflict and narrative thrust that we typically want and expect from movies. \u003cem>Helen and the Bear\u003c/em> is an unusual film, therefore, that invites and demands the audience’s willingness to reflect on their own relationships.\u003c/p>\n\u003cfigure id=\"attachment_13960049\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset.jpg\" alt=\"Older woman in desert with dramatic sky behind\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13960049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Helen in the New Mexico desert. \u003ccite>(Alix Blair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You may be wondering, right about now, why Frameline is showing a movie about a 40-year heterosexual marriage. In her 30s and 40s, Helen had serious affairs with women. They were authentic expressions of her identity and sexuality, though they were also a response to being left alone by a workaholic husband. Pete criticized Helen at the time for her adultery (his word); it’s unclear if he was completely faithful during this period.\u003c/p>\n\u003cp>Ultimately, they remain unequivocally devoted to each other as they go about their days on the organic farm they operated for three decades. (Pete’s passing, in May of this year at 96, occurs off-screen, which leaves us remembering \u003cem>Helen and the Bear\u003c/em> as a sun-dappled tale of life and death.)\u003c/p>\n\u003cp>I see Frameline’s inclusion of \u003cem>Helen and the Bear\u003c/em> as a marker of how queer film festivals have evolved. In the beginning, representations of gay and lesbian identity (in its various forms) were limited (as in rare) and proscribed (as in positive). The range of relationships, and the nuance with which they can be depicted, are both much greater today. \u003c/p>\n\u003cp>To put it another way, the world has evolved and Frameline reflects the current and ongoing reality.\u003c/p>\n\u003cp>Like every other film, \u003cem>Helen and the Bear\u003c/em> is informed by the viewer’s life experiences. Some will wallow in the echoes of the hungover ’70s. Others will be cast back to a time when “principled Republican” was not an oxymoron. And other viewers will revisit their various love and sexual relationships from a more, uh, mature perspective.\u003c/p>\n\u003cp>And you will interpret and judge — and yes, admire — Helen for her choices, her commitment and her integrity. \u003cem>Helen and the Bear\u003c/em> is as rewarding as it is rare.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.frameline.org/films/frameline48/helen-and-the-bear\">Helen and the Bear\u003c/a>’ screens as part of Frameline48 on Sunday, June 23 at 2:15 p.m. at the Vogue Theatre (3290 Sacramento St., San Francisco). Tickets are currently at rush.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Still images have been a source of wonder and mythology in the films of Jeff Nichols.\u003c/p>\n\u003cp>[aside postid='arts_13959899']\u003cem>Mud,\u003c/em> Nichols’ Twain-soaked Mississippi fable, seemed derived from the magical sight of a boat held aloft by a tree. \u003cem>Loving\u003c/em>, about a ’60s interracial marriage, took inspiration from tender \u003cem>Life\u003c/em> magazine photographs taken of the real-life couple. Nichols’ latest, \u003cem>The Bikeriders\u003c/em>, is based on photographer Danny Lyon’s 1968 book of the same name, for which he spent four years with a Chicago motorcycle club.\u003c/p>\n\u003cp>It’s not hard to see what Nichols saw in Lyon’s black-and-white stills. There’s the stylish raw materials — the chrome bikes, the slicked back hair, the black leather jackets. But there’s also a just emerging antiauthoritarian, easy-riding spirit and camaraderie. Like the central figures of \u003cem>Loving\u003c/em>, they are classically drawn outsiders who encapsulate something glorious and uneasy about freedom in America.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PYioWaFdp70&t=10s\u003c/p>\n\u003cp>In the exhilarating first half of \u003cem>The Bikeriders\u003c/em>, which opens in theaters Friday, Nichols is less compelled to build a narrative around his bike gang, the Vandals (based on the Outlaws) than summoning an intoxicating atmosphere reminiscent of those old photographs. \u003cem>The Bikeriders\u003c/em> eventually becomes saddled with heavier plot mechanics — you can almost sense his riders growing weary from having to strap narrative devices onto their bikes. The movie wants to ride, but it’s not sure how much story to pack for the trip. But this is a vivid dramatization of the birth of an American subculture.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The framing device Nichols settles on is Lyon, himself, played by Mike Faist, who’s conducting interviews for his book. His conversations with a woman named Kathy (Jodie Comer) bookend and sporadically narrate the movie.\u003c/p>\n\u003cp>[aside postid='arts_13959796']Kathy, also based on a real person, seems at first an unlikely spokesperson for the gang. She speaks with a thick Illinois accent (an actorly distraction throughout) and has no affection for motorcycle riders. But one night at a bar, she sees Benny (Austin Butler) across the smokey room and, even if she doesn’t admit it at that moment, falls for him. Again, it’s not hard to see why. Butler is by now well removed from Elvis Presley but the suppleness with which he can sink into mid-century America is no less apparent. Benny drives Kathy home, parks his bike outside the place and patiently waits for her boyfriend to skip town.\u003c/p>\n\u003cp>Nichols, a devotee of films like \u003cem>Hud\u003c/em> and \u003cem>Cool Hand Luke\u003c/em>, is a filmmaker who works very consciously within classic American idioms. In Butler he has his James Dean, making Tom Hardy his Marlon Brando. Hardy plays Johnny, Benny’s best pal and the one who starts up and presides over the Vandals. (The “whaddya got” clip of Brando from \u003cem>The Wild One\u003c/em> is even briefly seen on a small TV in \u003cem>The Bikeriders\u003c/em>.)\u003c/p>\n\u003cfigure id=\"attachment_13960012\" class=\"wp-caption aligncenter\" style=\"max-width: 1700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960012\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM.png\" alt=\"A man stands with an unlit cigarette dangling from his mouth. At his side, a second man wearing a leather jacket.\" width=\"1700\" height=\"1086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM.png 1700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-800x511.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-1020x652.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-768x491.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-1536x981.png 1536w\" sizes=\"(max-width: 1700px) 100vw, 1700px\">\u003cfigcaption class=\"wp-caption-text\">Damon Herriman and Tom Hardy in a scene from ‘The Bikeriders.’ \u003ccite>(Focus Features via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Vandals, as a club, start about as simply as kids might call a tree house to order. They’re a bunch of guys who like riding motorcycles and like talking about them. Simple as that. But men come like moths to a flame, attracted by the tough lifestyle, the cool jackets with patches and a way out of mainstream America. Among them are Cal (Boyd Holbrook), Cockroach (Emory Cohen), Funny Sonny (Norman Reedus) and Zipco (Michael Shannon).\u003c/p>\n\u003cp>“Obscenity and motorcycles travel hand in hand,” someone says, with pride.\u003c/p>\n\u003cp>The early days of the group are, it would seem, a lot of fun. Barroom brawls and riding carefree through corn fields. Most of these guys don’t have much, but they have each other. And their loyalty is total.\u003c/p>\n\u003cp>[aside postid='arts_13959670']Kathy isn’t so sure sure. She watches the growing gang — a completely male bunch — with skepticism and fear for Benny. (In a scene teased in the film’s opening, he’s beaten badly enough to be hospitalized.) Sometimes, they throw down purely for fun. They are the original Fight Cub.\u003c/p>\n\u003cp>But soon, Kathy isn’t the only one with doubts at what they’ve created. As their gang grows, what the Vandals embody is less clear, even to Johnny and Benny. Some of the new entrants are coming straight back from Vietnam. Their old hijinks give way to more serious crimes. In one chastening scene, Kathy finds herself very nearly assaulted by its members. The gang — and all its posturing of toughness — begins to feel more like a trap for even its leader. Benny is drawn into a choice between the Vandals and Kathy. The homoerotic subtext is understated but not ignored; when Benny and Johnny discuss their future together, they do it gently and intimately, in the dark, like a secret confession.\u003c/p>\n\u003cp>As the Vandals’ original ideals disintegrate, it can feel like \u003cem>The Bikeriders\u003c/em> gets locked into a familiar \u003cem>Goodfellas\u003c/em>-like structure, but with a telling shift in narrator for a drama that’s ultimately about masculinity. This is a movie that’s juggling a lot of contradictory ambitions. It wants to be authentic but it wants to tell a grand America saga. It wants mythology but also naturalism. It’s those instincts that have made Nichols one of the most essential filmmakers of his generation, even if the results have sometimes been underwhelming by a hair. Even his best, most firmly rooted films (\u003cem>Take Shelter\u003c/em>, \u003cem>Mud\u003c/em>) strive for a balancing act that can be elusive.\u003c/p>\n\u003cp>But I think it’s those dual impulses — and, again, all the cool jackets — that makes \u003cem>The Bikeriders\u003c/em> work. The movie is unabashedly romantic about the Vandals but it’s equally dubious about the rugged masculinity they embody, too. \u003cem>The Bikeriders\u003c/em> has its hands firmly on the throttle just it does the brakes.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Bikeriders’ is released nationwide on June 21, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Mud,\u003c/em> Nichols’ Twain-soaked Mississippi fable, seemed derived from the magical sight of a boat held aloft by a tree. \u003cem>Loving\u003c/em>, about a ’60s interracial marriage, took inspiration from tender \u003cem>Life\u003c/em> magazine photographs taken of the real-life couple. Nichols’ latest, \u003cem>The Bikeriders\u003c/em>, is based on photographer Danny Lyon’s 1968 book of the same name, for which he spent four years with a Chicago motorcycle club.\u003c/p>\n\u003cp>It’s not hard to see what Nichols saw in Lyon’s black-and-white stills. There’s the stylish raw materials — the chrome bikes, the slicked back hair, the black leather jackets. But there’s also a just emerging antiauthoritarian, easy-riding spirit and camaraderie. Like the central figures of \u003cem>Loving\u003c/em>, they are classically drawn outsiders who encapsulate something glorious and uneasy about freedom in America.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PYioWaFdp70'\n title='//www.youtube.com/embed/PYioWaFdp70'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the exhilarating first half of \u003cem>The Bikeriders\u003c/em>, which opens in theaters Friday, Nichols is less compelled to build a narrative around his bike gang, the Vandals (based on the Outlaws) than summoning an intoxicating atmosphere reminiscent of those old photographs. \u003cem>The Bikeriders\u003c/em> eventually becomes saddled with heavier plot mechanics — you can almost sense his riders growing weary from having to strap narrative devices onto their bikes. The movie wants to ride, but it’s not sure how much story to pack for the trip. But this is a vivid dramatization of the birth of an American subculture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Kathy, also based on a real person, seems at first an unlikely spokesperson for the gang. She speaks with a thick Illinois accent (an actorly distraction throughout) and has no affection for motorcycle riders. But one night at a bar, she sees Benny (Austin Butler) across the smokey room and, even if she doesn’t admit it at that moment, falls for him. Again, it’s not hard to see why. Butler is by now well removed from Elvis Presley but the suppleness with which he can sink into mid-century America is no less apparent. Benny drives Kathy home, parks his bike outside the place and patiently waits for her boyfriend to skip town.\u003c/p>\n\u003cp>Nichols, a devotee of films like \u003cem>Hud\u003c/em> and \u003cem>Cool Hand Luke\u003c/em>, is a filmmaker who works very consciously within classic American idioms. In Butler he has his James Dean, making Tom Hardy his Marlon Brando. Hardy plays Johnny, Benny’s best pal and the one who starts up and presides over the Vandals. (The “whaddya got” clip of Brando from \u003cem>The Wild One\u003c/em> is even briefly seen on a small TV in \u003cem>The Bikeriders\u003c/em>.)\u003c/p>\n\u003cfigure id=\"attachment_13960012\" class=\"wp-caption aligncenter\" style=\"max-width: 1700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960012\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM.png\" alt=\"A man stands with an unlit cigarette dangling from his mouth. At his side, a second man wearing a leather jacket.\" width=\"1700\" height=\"1086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM.png 1700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-800x511.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-1020x652.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-768x491.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-1536x981.png 1536w\" sizes=\"(max-width: 1700px) 100vw, 1700px\">\u003cfigcaption class=\"wp-caption-text\">Damon Herriman and Tom Hardy in a scene from ‘The Bikeriders.’ \u003ccite>(Focus Features via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Vandals, as a club, start about as simply as kids might call a tree house to order. They’re a bunch of guys who like riding motorcycles and like talking about them. Simple as that. But men come like moths to a flame, attracted by the tough lifestyle, the cool jackets with patches and a way out of mainstream America. Among them are Cal (Boyd Holbrook), Cockroach (Emory Cohen), Funny Sonny (Norman Reedus) and Zipco (Michael Shannon).\u003c/p>\n\u003cp>“Obscenity and motorcycles travel hand in hand,” someone says, with pride.\u003c/p>\n\u003cp>The early days of the group are, it would seem, a lot of fun. Barroom brawls and riding carefree through corn fields. Most of these guys don’t have much, but they have each other. And their loyalty is total.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Kathy isn’t so sure sure. She watches the growing gang — a completely male bunch — with skepticism and fear for Benny. (In a scene teased in the film’s opening, he’s beaten badly enough to be hospitalized.) Sometimes, they throw down purely for fun. They are the original Fight Cub.\u003c/p>\n\u003cp>But soon, Kathy isn’t the only one with doubts at what they’ve created. As their gang grows, what the Vandals embody is less clear, even to Johnny and Benny. Some of the new entrants are coming straight back from Vietnam. Their old hijinks give way to more serious crimes. In one chastening scene, Kathy finds herself very nearly assaulted by its members. The gang — and all its posturing of toughness — begins to feel more like a trap for even its leader. Benny is drawn into a choice between the Vandals and Kathy. The homoerotic subtext is understated but not ignored; when Benny and Johnny discuss their future together, they do it gently and intimately, in the dark, like a secret confession.\u003c/p>\n\u003cp>As the Vandals’ original ideals disintegrate, it can feel like \u003cem>The Bikeriders\u003c/em> gets locked into a familiar \u003cem>Goodfellas\u003c/em>-like structure, but with a telling shift in narrator for a drama that’s ultimately about masculinity. This is a movie that’s juggling a lot of contradictory ambitions. It wants to be authentic but it wants to tell a grand America saga. It wants mythology but also naturalism. It’s those instincts that have made Nichols one of the most essential filmmakers of his generation, even if the results have sometimes been underwhelming by a hair. Even his best, most firmly rooted films (\u003cem>Take Shelter\u003c/em>, \u003cem>Mud\u003c/em>) strive for a balancing act that can be elusive.\u003c/p>\n\u003cp>But I think it’s those dual impulses — and, again, all the cool jackets — that makes \u003cem>The Bikeriders\u003c/em> work. The movie is unabashedly romantic about the Vandals but it’s equally dubious about the rugged masculinity they embody, too. \u003cem>The Bikeriders\u003c/em> has its hands firmly on the throttle just it does the brakes.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Bikeriders’ is released nationwide on June 21, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-nonfiction-books-2024-npr-staff-picks",
"title": "20 Nonfiction Books NPR Staffers Have Loved So Far This Year",
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"headTitle": "20 Nonfiction Books NPR Staffers Have Loved So Far This Year | KQED",
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"content": "\u003cp>We see you, hard-core NPR readers — just because it’s summer doesn’t mean it’s all fiction, all the time. So we asked around the newsroom to find our staffers’ favorite nonfiction from the first half of 2024. We’ve got biography and memoir, health and science, history, sports and more. (And, sure, if you \u003cem>only\u003c/em> want to take fiction to the beach, we’ve got you: \u003ca href=\"https://www.kqed.org/arts/13958311/best-new-books-summer-2024-npr-critics-picks\">Click here\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13952988\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952988\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-9.37.25-AM.png\" alt=\"A book cover featuring a close-up headshot of a white woman with short brown hair. She is wearing aviator sunglasses that show a reflection of fire.\" width=\"838\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-9.37.25-AM.png 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-9.37.25-AM-800x1161.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-9.37.25-AM-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-9.37.25-AM-768x1114.png 768w\" sizes=\"auto, (max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">‘Burn Book: A Tech Love Story’ by Kara Swisher. \u003ccite>(Simon & Schuster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003ch2>\u003cstrong>‘Burn Book: A Tech Love Story’ by Kara Swisher\u003c/strong>\u003c/h2>\n\u003cp>Kara Swisher pulls off a magic trick here, delivering several sharply written books in one. There’s her story of becoming media’s most influential tech analyst, chronicling the rise of Facebook, Amazon, Google and, of course, X/Twitter — psychoanalyzing all the driven, flawed (mostly) dudebros who turned them into world-shaking platforms.\u003c/p>\n\u003cp>There’s also an affecting personal memoir, charting her journey as a gay woman, spouse, mother, entrepreneurial journalist and advocate. And there’s a passionate critique of toxic technology, slamming self-centered tech CEOs who pursue engagement through enragement, unleashing social division. It’s all knit together with nimble-yet-effective prose, outlining how Silicon Valley works, how journalism works and how society works in one neat package\u003cem>. — \u003ca href=\"https://www.npr.org/people/243254424/eric-deggans\">Eric Deggans,\u003c/a> TV critic\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959959\" class=\"wp-caption aligncenter\" style=\"max-width: 830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-11.49.27-AM.png\" alt=\"A book cover depicting a Renaissance style painting of a nun's habit and jawline.\" width=\"830\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-11.49.27-AM.png 830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-11.49.27-AM-800x1170.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-11.49.27-AM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-11.49.27-AM-768x1123.png 768w\" sizes=\"auto, (max-width: 830px) 100vw, 830px\">\u003cfigcaption class=\"wp-caption-text\">‘Cloistered: My Years As a Nun’ by Catherine Coldstream. \u003ccite>(St Martin's Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Cloistered: My Years as a Nun’ by Catherine Coldstream\u003c/strong>\u003c/h2>\n\u003cp>Nuns have captured our imaginations as characters in fiction and on film over the years, but it’s rare to hear from one firsthand. This compelling memoir provides a glimpse into the life of a cloistered nun as the author shares her journey into — and ultimately out of — an order of Carmelite nuns in England.\u003c/p>\n\u003cp>Coldstream seamlessly weaves her own personal motivations for seeking a life of solitude, contemplation and service alongside an exploration of the challenges, reforms and purpose of such orders at the turn of the 21st century. This book will push you to reflect on faith, power and personal agency in your own communities as you consider Coldstream’s experience. \u003cem>— Tayla Burney, director, Network Programming & Production\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959960\" class=\"wp-caption aligncenter\" style=\"max-width: 868px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959960\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-11.58.02-AM.png\" alt=\"A book cover featuring letters collapsing in on one another.\" width=\"868\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-11.58.02-AM.png 868w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-11.58.02-AM-800x1119.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-11.58.02-AM-160x224.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-11.58.02-AM-768x1074.png 768w\" sizes=\"auto, (max-width: 868px) 100vw, 868px\">\u003cfigcaption class=\"wp-caption-text\">‘Grief is for People’ by Sloane Crosley. \u003ccite>(MCD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Grief is for People’ by Sloane Crosley\u003c/strong>\u003c/h2>\n\u003cp>I spent most of the last year mourning my mother and found few books that even got close to capturing my altered mental state. My brain kept rehashing the past and finding significance in the oddest things, and I so wanted to share that experience with the very person I was missing. In a slim 191 pages, Sloane Crosley nails it precisely as she details mourning her best friend, who died suddenly by suicide.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While poignant and vulnerable, her memoir is also insightful and funny, especially as she recounts adventures with Russell and her attempts to track down and reclaim jewelry that was stolen from her apartment about a month before he died: a caper he would have enjoyed in the telling. I finished it feeling grateful for her friend’s life and even more appreciative of my mom’s. \u003cem>— \u003ca href=\"https://www.npr.org/people/474954558/melissa-gray\">Melissa Gray,\u003c/a> senior producer, ‘Weekend Edition’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959961\" class=\"wp-caption aligncenter\" style=\"max-width: 834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.01.51-PM.png\" alt=\"A book cover depicting a smiling grey-haired woman in a suit.\" width=\"834\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.01.51-PM.png 834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.01.51-PM-800x1161.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.01.51-PM-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.01.51-PM-768x1114.png 768w\" sizes=\"auto, (max-width: 834px) 100vw, 834px\">\u003cfigcaption class=\"wp-caption-text\">‘Grown Woman Talk: Your Guide to Getting and Staying Healthy’ by Sharon Malone M.D. \u003ccite>(Crown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Grown Woman Talk: Your Guide to Getting and Staying Healthy’ by Sharon Malone M.D.\u003c/strong>\u003c/h2>\n\u003cp>If you want to be more proactive in managing your health, Dr. Sharon Malone can help. \u003cem>Grown Woman Talk\u003c/em> is a playbook for navigating a fragmented and flawed health care system, written by a doctor who has spent more than 30 years practicing as an OB/GYN and is a certified menopause practitioner. She weaves in insights from her childhood in Mobile, Ala., when doctor visits were rare for her family. She recalls the first time she saw a doctor, entering the hospital through the “colored” door for an emergency tonsillectomy — and describes her mother as a “Jedi master” of managing injuries and illnesses with home remedies. Her deep sense of loss and anger at the death of her mom from cancer when she was 12 inspired her to be the kind of doctor and caretaker we need more of.\u003cem> — \u003ca href=\"https://www.npr.org/people/2100208/allison-aubrey\">Allison Aubrey,\u003c/a> health correspondent\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959962\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959962\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.04.12-PM.png\" alt=\"A book cover depicting two overlapping circles with loose illustrations of people stretched out in them.\" width=\"838\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.04.12-PM.png 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.04.12-PM-800x1159.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.04.12-PM-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.04.12-PM-768x1113.png 768w\" sizes=\"auto, (max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">‘Here After: A Memoir’ by Amy Lin. \u003ccite>(Zibby Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Here After: A Memoir’ by Amy Lin\u003c/strong>\u003c/h2>\n\u003cp>In this memoir, the past and the present bleed together, as short wisps of chapters build the case for Kurtis and Amy as soul mates, while also telling the story of Kurtis’ sudden and unexplained death. Poetic, visceral and stark, this beautifully crafted book is a gift, pulling back the curtain on the intimate processes of love and grief. Steeped in the greatest of personal losses, Amy Lin allows us to witness her plod against the cascading losses that follow and behold the life raft that is memory. \u003cem>— \u003ca href=\"https://www.npr.org/people/637150103/becky-harlan\">Beck Harlan,\u003c/a> visuals editor, ‘Life Kit’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959963\" class=\"wp-caption aligncenter\" style=\"max-width: 812px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959963\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.06.45-PM.png\" alt=\"A stark book cover featuring only grey text on a black background.\" width=\"812\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.06.45-PM.png 812w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.06.45-PM-800x1194.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.06.45-PM-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.06.45-PM-768x1146.png 768w\" sizes=\"auto, (max-width: 812px) 100vw, 812px\">\u003cfigcaption class=\"wp-caption-text\">‘Invisible Rulers: The People Who Turn Lies Into Reality’ by Renée DiResta. \u003ccite>(PublicAffairs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Invisible Rulers: The People Who Turn Lies Into Reality’ by Renée DiResta\u003c/strong>\u003c/h2>\n\u003cp>At a time when our screens are clogged with viral lies and conspiracy theories, \u003cem>Invisible Rulers \u003c/em>takes a long view toward explaining media manipulation and how we got to this moment. The book skillfully weaves together history and technology to explain the changing iterations of political propaganda over the past century.\u003c/p>\n\u003cp>Renée DiResta, a disinformation researcher at Stanford University, shares her own experiences on the front lines of the struggle to define objective reality, including entering the field after confronting anti-vaccine sentiment when she became a parent. In the years since, DiResta has found herself a focal point for conspiracy theories, as powerful politicians have sought to discredit her work and that of other researchers in the field. \u003cem>— \u003ca href=\"https://www.npr.org/people/467974737/brett-neely\">Brett Neely,\u003c/a> supervising editor, Disinformation Reporting\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959964\" class=\"wp-caption aligncenter\" style=\"max-width: 830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959964\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.09.20-PM.png\" alt=\"A book cover featuring the national mall at sunset.\" width=\"830\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.09.20-PM.png 830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.09.20-PM-800x1166.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.09.20-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.09.20-PM-768x1120.png 768w\" sizes=\"auto, (max-width: 830px) 100vw, 830px\">\u003cfigcaption class=\"wp-caption-text\">‘Life After Power: Seven Presidents and Their Search for Purpose Beyond the White House’ by Jared Cohen. \u003ccite>(Simon & Schuster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Life After Power: Seven Presidents and Their Search for Purpose Beyond the White House’ by Jared Cohen\u003c/strong>\u003c/h2>\n\u003cp>The American presidency is viewed as the most powerful position in the world. What happens when the job ends? History is often surprising. Not everyone found the role to be the most fulfilling one they ever had. Jared Cohen looks at some fascinating case studies that back that up. John Quincy Adams and William Howard Taft found greater joy in other branches of government: Congress and the Supreme Court. George Bush enjoys his private life and art studio. Life after power\u003cem> CAN \u003c/em>be much more rewarding.\u003cem> — \u003ca href=\"https://www.npr.org/people/153024115/edith-chapin\">Edith Chapin,\u003c/a> senior vice president and editor in chief\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959966\" class=\"wp-caption aligncenter\" style=\"max-width: 812px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959966\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.11.00-PM.png\" alt=\"A book cover featuring an illustration of the state of Florida filled in with branches and mangos. \" width=\"812\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.11.00-PM.png 812w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.11.00-PM-800x1196.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.11.00-PM-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.11.00-PM-768x1148.png 768w\" sizes=\"auto, (max-width: 812px) 100vw, 812px\">\u003cfigcaption class=\"wp-caption-text\">‘The Mango Tree: A Memoir of Fruit, Florida, and Felony’ by Annabelle Tometich. \u003ccite>(Little, Brown and Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Mango Tree: A Memoir of Fruit, Florida, and Felony’ by Annabelle Tometich\u003c/strong>\u003c/h2>\n\u003cp>This family memoir begins with a courtroom scene like no other. After a night in jail, Annabelle Tometich’s mom is charged with firing at a man who, she says, was stealing mangoes from the tree in her front yard. Tometich then hits rewind, taking readers back through her Fort Myers, Fla., childhood — with her Filipino American mom and white dad, a couple whose personality differences do not make them stronger together. The writing is both jewel-like and effortless, and Tometich’s memories — some mundane, some extraordinary — are mesmerizing. \u003cem>— \u003ca href=\"https://www.npr.org/people/349278028/shannon-rhoades\">Shannon Rhoades,\u003c/a> senior editor, ‘Weekend Edition’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959967\" class=\"wp-caption aligncenter\" style=\"max-width: 814px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959967\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.18.53-PM.png\" alt=\"A colorful book cover featuring a flat circle.\" width=\"814\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.18.53-PM.png 814w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.18.53-PM-800x1191.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.18.53-PM-160x238.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.18.53-PM-768x1144.png 768w\" sizes=\"auto, (max-width: 814px) 100vw, 814px\">\u003cfigcaption class=\"wp-caption-text\">‘Not the End of the World: How We Can Be the First Generation to Build a Sustainable Planet’ by Hannah Ritchie. \u003ccite>(Little, Brown Spark)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Not the End of the World: How We Can Be the First Generation to Build a Sustainable Planet’ by Hannah Ritchie\u003c/strong>\u003c/h2>\n\u003cp>\u003cem>Not the End of the World\u003c/em> sifts through the evidence on pollution, extinction threats and deforestation. Once the numbers are clinically separated from emotion, a surprising guidebook to an eco-friendly life emerges. Food miles: not likely to affect climate change much. Meatless Mondays: helpful, especially if eschewing beef. Not everyone will interpret the world’s chances of staying within 2 degrees Celsius of warming with the same cautious optimism as Hannah Ritchie (“I’m confident we can keep moving closer”). But Ritchie’s data-first perspective makes this book an invaluable chaser to climate doomscrolling.\u003cem> — \u003ca href=\"https://www.npr.org/people/724387257/darian-woods\">Darian Woods,\u003c/a> co-host, ‘The Indicator’ from ‘Planet Money’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959968\" class=\"wp-caption aligncenter\" style=\"max-width: 820px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959968\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.32.48-PM.png\" alt=\"A book cover depicting three empty hospital cots for infants.\" width=\"820\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.32.48-PM.png 820w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.32.48-PM-800x1182.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.32.48-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.32.48-PM-768x1135.png 768w\" sizes=\"auto, (max-width: 820px) 100vw, 820px\">\u003cfigcaption class=\"wp-caption-text\">‘Relinquished: The Politics of Adoption and the Privilege of American Motherhood’ by Gretchen Sisson. \u003ccite>(St. Martin's Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Relinquished: The Politics of Adoption and the Privilege of American Motherhood’ by Gretchen Sisson\u003c/strong>\u003c/h2>\n\u003cp>Gretchen Sisson’s research and careful retelling of first/birth mothers’ experiences sheds light on the people who are too often ignored, dehumanized and erased within the institution of adoption.\u003c/p>\n\u003cp>This book deepened my understanding of how adoption, while typically viewed as a noble, feel-good form of family building, actually hinges on the trauma of family separation. \u003cem>Relinquished\u003c/em> reveals the structural forces behind this loss, commonly blamed on the individual failures of a mother or birth parents. These are interviews that broadened my understanding of reproductive justice and myself as an adopted person. It’s essential reading in this era of reproductive rights under threat, for anyone who has thought of adoption as “a simple alternative” to abortion, and anyone considering adoption as a family plan.\u003cem> — \u003ca href=\"https://www.npr.org/people/1160672029/schuyler-swenson\">Schuyler Swenson,\u003c/a> content development producer\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959970\" class=\"wp-caption aligncenter\" style=\"max-width: 808px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959970\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.35.35-PM.png\" alt=\"A book cover depicting. dramatic path through the wilderness. A cabin stands high on a hill. \" width=\"808\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.35.35-PM.png 808w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.35.35-PM-800x1200.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.35.35-PM-160x240.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.35.35-PM-768x1152.png 768w\" sizes=\"auto, (max-width: 808px) 100vw, 808px\">\u003cfigcaption class=\"wp-caption-text\">‘Slow Productivity: The Lost Art of Accomplishment Without Burnout’ by Cal Newport. \u003ccite>(Portfolio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Slow Productivity: The Lost Art of Accomplishment Without Burnout’ by Cal Newport\u003c/strong>\u003c/h2>\n\u003cp>If you’re the typical knowledge worker, your life is overwhelmed by a dizzying flurry of emails and Slack messages breaking your focus every few minutes. You breathlessly ricochet from task to task yet never get enough real work done. Stop. Take a deep breath. Then read\u003cem> Slow Productivity, \u003c/em>which expounds on productivity expert Cal Newport’s tripartite philosophy of 1) do fewer things 2) work at a natural pace and 3) obsess over quality. He provides practical hacks to implement these principles into your life, while weaving in examples of how deep thinkers such as Jane Austen embodied slow productivity. Newport writes, “The way we’re working no longer works.” But if enough knowledge workers embrace slow productivity, we can revolutionize the world of work. \u003cem>— Preeti Aroon, copy editor, NPR.org\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959971\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959971\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.38.20-PM.png\" alt=\"A book cover depicting a singled piece of wallpaper that resembles a flower.\" width=\"838\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.38.20-PM.png 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.38.20-PM-800x1153.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.38.20-PM-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.38.20-PM-768x1107.png 768w\" sizes=\"auto, (max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">‘Smoke and Ashes: Opium’s Hidden Histories’ by Amitav Ghosh. \u003ccite>(Farrar, Straus and Giroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Smoke and Ashes: Opium’s Hidden Histories’ by Amitav Ghosh\u003c/strong>\u003c/h2>\n\u003cp>This is a gripping tale of how the British became history’s first narco state, curiously, to help pay for the tea its people so loved to drink. Amitav Ghosh narrates how the British forced opium into China, creating a market by creating addicts. But opium did so much more. Ghosh investigates how it created many of the modern merchant families of India and the United States, including the fortunes of the Delanos (Roosevelt’s maternal grandfather) and the Forbeses. But perhaps the most important part of this book is how Ghosh looks at the history of opium through the prism of what we know now about opioid addiction, and the relatively newfound sympathy we have toward addicts — white addicts. \u003cem>— \u003ca href=\"https://www.npr.org/people/536641200/diaa-hadid\">Diaa Hadid,\u003c/a> international correspondent\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959972\" class=\"wp-caption aligncenter\" style=\"max-width: 1178px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959972\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.42.34-PM.png\" alt=\"A book cover featuring white block lettering on a red background.\" width=\"1178\" height=\"844\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.42.34-PM.png 1178w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.42.34-PM-800x573.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.42.34-PM-1020x731.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.42.34-PM-160x115.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.42.34-PM-768x550.png 768w\" sizes=\"auto, (max-width: 1178px) 100vw, 1178px\">\u003cfigcaption class=\"wp-caption-text\">‘Thank You Please Come Again: How Gas Stations Feed & Fuel the American South’ by Kate Medley. \u003ccite>(The Bitter Southerner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Thank You Please Come Again: How Gas Stations Feed & Fuel the American South’ by Kate Medley\u003c/strong>\u003c/h2>\n\u003cp>As someone who travels Southern backroads reporting for NPR, I’ve long noticed how gas stations tend to serve as hubs in rural communities. And I have certainly sampled my share of convenience store fried chicken and sweet tea. Now, photojournalist Kate Medley, a native of Mississippi, takes us on a picturesque road trip across 11 states to document the food cultures you find at service stations. It’s a lovely coffee table book that puts a fascinating lens on a changing American South. There’s a little bit of everything — live bait and ammunition, hot tamales, catfish plates, Cajun banh mi, boiled peanuts, chicken tikka masala and hand-cut steaks. Writer Kiese Laymon’s forward sets the table with a story from his Mississippi youth as he recalls “my favorite restaurant served gas.” \u003cem>— \u003ca href=\"https://www.npr.org/people/2100438/debbie-elliott\">Debbie Elliott,\u003c/a> national correspondent\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959973\" class=\"wp-caption aligncenter\" style=\"max-width: 840px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959973\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.44.59-PM.png\" alt=\"A book cover depicting a young Black child wearing Air Jordan sneakers and sitting on top of a basketball hoop.\" width=\"840\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.44.59-PM.png 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.44.59-PM-800x1152.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.44.59-PM-160x230.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.44.59-PM-768x1106.png 768w\" sizes=\"auto, (max-width: 840px) 100vw, 840px\">\u003cfigcaption class=\"wp-caption-text\">‘There’s Always This Year: On Basketball and Ascension’ by Hanif Abdurraqib. \u003ccite>(Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘There’s Always This Year: On Basketball and Ascension’ by Hanif Abdurraqib\u003c/strong>\u003c/h2>\n\u003cp>I don’t even watch basketball all that much. And yet, there’s something alluring about Hanif Abdurraqib’s meditation on the sport. Because, sure, it’s about hoops and LeBron James and Cleveland and the funny way time works when you’re watching a Game 7. But it’s also about losing loved ones.\u003c/p>\n\u003cp>Fans of Abdurraqib’s work will recognize his rhythms and stylistic flairs that hardly ever fail to draw a reader in, and his talent at making you see the beauty in the things he finds beautiful. \u003cem>— \u003ca href=\"https://www.npr.org/people/348740829/andrew-limbong\">Andrew Limbong,\u003c/a> correspondent, Culture Desk, and host, NPR’s ‘Book of the Day’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959974\" class=\"wp-caption aligncenter\" style=\"max-width: 836px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959974\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.48.55-PM.png\" alt=\"A book cover featuring a photo of Ukraine's president.\" width=\"836\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.48.55-PM.png 836w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.48.55-PM-800x1162.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.48.55-PM-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.48.55-PM-768x1115.png 768w\" sizes=\"auto, (max-width: 836px) 100vw, 836px\">\u003cfigcaption class=\"wp-caption-text\">‘The Showman: Inside the Invasion That Shook the World and Made a Leader of Volodymyr Zelensky’ by Simon Shuster. \u003ccite>(William Morrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Showman: Inside the Invasion That Shook the World and Made a Leader of Volodymyr Zelensky’ by Simon Shuster\u003c/strong>\u003c/h2>\n\u003cp>In \u003ca href=\"https://www.npr.org/2024/01/23/1226278535/the-showman-ukraine-russia-zelenskyy-simon-shuster\">this cinematic page-turner,\u003c/a> \u003cem>Time \u003c/em>correspondent Simon Shuster paints a vivid portrait of the Ukrainian president, who honed his powerful communication skills during decades as one of Ukraine’s most popular comedians. Shuster charts the rise from naïve political novice to steely — and unforgiving — wartime president. Deeply reported and deftly written, this book is a feat not only because it sheds light on one of today’s most consequential political figures, but also the history that shaped him and the tectonic shift in geopolitics that he’s now forced to navigate. \u003cem>— \u003ca href=\"https://www.npr.org/people/464446135/joanna-kakissis\">Joanna Kakissis,\u003c/a> Ukraine correspondent\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959975\" class=\"wp-caption aligncenter\" style=\"max-width: 828px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959975\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.51.02-PM.png\" alt=\"A book cover featuring the star of david.\" width=\"828\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.51.02-PM.png 828w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.51.02-PM-800x1169.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.51.02-PM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.51.02-PM-768x1122.png 768w\" sizes=\"auto, (max-width: 828px) 100vw, 828px\">\u003cfigcaption class=\"wp-caption-text\">‘The Threshold of Dissent: A History of American Jewish Critics of Zionism’ by Marjorie N. Feld. \u003ccite>(NYU Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Threshold of Dissent: A History of American Jewish Critics of Zionism’ by Marjorie N. Feld\u003c/strong>\u003c/h2>\n\u003cp>The world is a very confusing place right now — at least, that’s how it feels to me — so I’m always looking for books that can help me better understand where we are as a society and how we got here. \u003cem>The Threshold of Dissent\u003c/em> is one of those books.\u003c/p>\n\u003cp>In clear, careful language, the author illustrates some of the major moments over the past century that have shaped Jewish beliefs about Zionism, anti-Zionism and non-Zionism. It’s a history told with both rigor and compassion — two qualities that seem especially essential when embarking in conversation on such a fraught and contentious subject. \u003cem>— \u003ca href=\"https://www.npr.org/people/477473044/leah-donnella\">Leah Donnella,\u003c/a> senior editor, ‘Code Switch’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959976\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959976\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.53.50-PM.png\" alt=\"A book cover featuring an old photo of a young red-headed boy sitting next to a trunk in front of a car with open windows.\" width=\"832\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.53.50-PM.png 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.53.50-PM-800x1167.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.53.50-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.53.50-PM-768x1121.png 768w\" sizes=\"auto, (max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">‘A Very Private School: A Memoir’ by Charles Spencer. \u003ccite>(Gallery Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘A Very Private School: A Memoir’ by Charles Spencer\u003c/strong>\u003c/h2>\n\u003cp>Charles Spencer — younger brother of Diana, Princess of Wales — turns his considerable talents as a writer and historian on his own childhood. \u003cem>A Very Private School \u003c/em>details what he says happened to him and his classmates — physical, sexual, emotional abuse — at one of Britain’s most elite boarding schools.\u003c/p>\n\u003cp>Undergirding all is a culture of privilege, yes, but also silence and tradition rooted in the British Empire, sending 8-year-olds away from home as “the done thing.” Spencer’s quote from author Hilary Mantel in the book’s epigraph is telling, “I am writing in order to take charge of my childhood.” \u003cem>— \u003ca href=\"https://www.npr.org/people/349278028/shannon-rhoades\">Shannon Rhoades,\u003c/a> senior editor, ‘Weekend Edition’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959977\" class=\"wp-caption aligncenter\" style=\"max-width: 814px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959977\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.56.48-PM.png\" alt=\"A book cover featuring a photo of a judge in robes with his seeing eye dog.\" width=\"814\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.56.48-PM.png 814w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.56.48-PM-800x1193.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.56.48-PM-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.56.48-PM-768x1145.png 768w\" sizes=\"auto, (max-width: 814px) 100vw, 814px\">\u003cfigcaption class=\"wp-caption-text\">‘Vision: A Memoir of Blindness and Justice’ by David S. Tatel. \u003ccite>(Little, Brown and Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Vision: A Memoir of Blindness and Justice’ by David S. Tatel\u003c/strong>\u003c/h2>\n\u003cp>David Tatel has written the book that his friends and admirers always hoped he would write, but expected he would not. One that deals candidly with his “vision” — his blindness, and his years of treating it as an asterisk, all while becoming one of the most prominent and thoughtful judges in the country.\u003c/p>\n\u003cp>This book is both novelistic and introspective in its treatment of his lack of sight — from his love affair with his wife and children, to his “cane lessons,” to his later-in-life affection for his guide dog, Vixen. Along the way, it is also a book about the law, the art of judging and today’s Supreme Court. And it’s fascinating. \u003cem>— \u003ca href=\"https://www.npr.org/people/2101289/nina-totenberg\">Nina Totenberg,\u003c/a> legal affairs correspondent\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959978\" class=\"wp-caption aligncenter\" style=\"max-width: 834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959978\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.59.23-PM.png\" alt=\"A white book cover with black text.\" width=\"834\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.59.23-PM.png 834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.59.23-PM-800x1163.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.59.23-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.59.23-PM-768x1116.png 768w\" sizes=\"auto, (max-width: 834px) 100vw, 834px\">\u003cfigcaption class=\"wp-caption-text\">‘Who’s Afraid of Gender?’ by Judith Butler. \u003ccite>(Farrar, Straus and Giroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Who’s Afraid of Gender?’ by Judith Butler\u003c/strong>\u003c/h2>\n\u003cp>Judith Butler’s groundbreaking 1990 book \u003cem>Gender Trouble\u003c/em> revolutionized gender studies by arguing that gender is socially constructed, almost mythlike, but that myth can create reality.\u003c/p>\n\u003cp>In this book, Butler leans into the titular question: Why has gender become such a “phantasm” in American life, and what does it tell us about how we’re approaching some of the biggest problems facing us, like climate change and far-right extremism? Butler has a clear perspective — and spells out the dangers of an ascendant “anti-gender ideology.” But it’s also an invitation to consider how we think about gender — and what that might tell us about who we are. \u003cem>— \u003ca href=\"https://www.npr.org/people/989930879/tinbete-ermyas\">Tinbete Ermyas,\u003c/a> editor, ‘All Things Considered’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959979\" class=\"wp-caption aligncenter\" style=\"max-width: 814px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959979\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-1.01.39-PM.png\" alt=\"A book cover featuring primitive artwork of a horse and plant life. \" width=\"814\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-1.01.39-PM.png 814w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-1.01.39-PM-800x1189.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-1.01.39-PM-160x238.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-1.01.39-PM-768x1142.png 768w\" sizes=\"auto, (max-width: 814px) 100vw, 814px\">\u003cfigcaption class=\"wp-caption-text\">‘You Are Here: Poetry in the Natural World’ by Ada Limón. \u003ccite>(Milkweed Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘You Are Here: Poetry in the Natural World’ by Ada Limón\u003c/strong>\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This anthology of 50 never-before-published poems about nature was edited by the 24th poet laureate of the United States, Ada Limón. The collection is both achingly beautiful and terrifyingly urgent. From a humorous take on getting drenched in a rainstorm to a beloved tree on its last day of existence to a woman processing the bleak reality of the world her grandchildren will inherit, these poems encouraged a heightened noticing in me and (bonus!) introduced me to the work of many new-to-me poets I’m eager to explore. \u003cem>— \u003ca href=\"https://www.npr.org/people/637150103/becky-harlan\">Beck Harlan,\u003c/a> visuals editor, ‘Life Kit’\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We see you, hard-core NPR readers — just because it’s summer doesn’t mean it’s all fiction, all the time. So we asked around the newsroom to find our staffers’ favorite nonfiction from the first half of 2024. We’ve got biography and memoir, health and science, history, sports and more. (And, sure, if you \u003cem>only\u003c/em> want to take fiction to the beach, we’ve got you: \u003ca href=\"https://www.kqed.org/arts/13958311/best-new-books-summer-2024-npr-critics-picks\">Click here\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13952988\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952988\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-9.37.25-AM.png\" alt=\"A book cover featuring a close-up headshot of a white woman with short brown hair. She is wearing aviator sunglasses that show a reflection of fire.\" width=\"838\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-9.37.25-AM.png 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-9.37.25-AM-800x1161.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-9.37.25-AM-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-9.37.25-AM-768x1114.png 768w\" sizes=\"auto, (max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">‘Burn Book: A Tech Love Story’ by Kara Swisher. \u003ccite>(Simon & Schuster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003ch2>\u003cstrong>‘Burn Book: A Tech Love Story’ by Kara Swisher\u003c/strong>\u003c/h2>\n\u003cp>Kara Swisher pulls off a magic trick here, delivering several sharply written books in one. There’s her story of becoming media’s most influential tech analyst, chronicling the rise of Facebook, Amazon, Google and, of course, X/Twitter — psychoanalyzing all the driven, flawed (mostly) dudebros who turned them into world-shaking platforms.\u003c/p>\n\u003cp>There’s also an affecting personal memoir, charting her journey as a gay woman, spouse, mother, entrepreneurial journalist and advocate. And there’s a passionate critique of toxic technology, slamming self-centered tech CEOs who pursue engagement through enragement, unleashing social division. It’s all knit together with nimble-yet-effective prose, outlining how Silicon Valley works, how journalism works and how society works in one neat package\u003cem>. — \u003ca href=\"https://www.npr.org/people/243254424/eric-deggans\">Eric Deggans,\u003c/a> TV critic\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959959\" class=\"wp-caption aligncenter\" style=\"max-width: 830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-11.49.27-AM.png\" alt=\"A book cover depicting a Renaissance style painting of a nun's habit and jawline.\" width=\"830\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-11.49.27-AM.png 830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-11.49.27-AM-800x1170.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-11.49.27-AM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-11.49.27-AM-768x1123.png 768w\" sizes=\"auto, (max-width: 830px) 100vw, 830px\">\u003cfigcaption class=\"wp-caption-text\">‘Cloistered: My Years As a Nun’ by Catherine Coldstream. \u003ccite>(St Martin's Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Cloistered: My Years as a Nun’ by Catherine Coldstream\u003c/strong>\u003c/h2>\n\u003cp>Nuns have captured our imaginations as characters in fiction and on film over the years, but it’s rare to hear from one firsthand. This compelling memoir provides a glimpse into the life of a cloistered nun as the author shares her journey into — and ultimately out of — an order of Carmelite nuns in England.\u003c/p>\n\u003cp>Coldstream seamlessly weaves her own personal motivations for seeking a life of solitude, contemplation and service alongside an exploration of the challenges, reforms and purpose of such orders at the turn of the 21st century. This book will push you to reflect on faith, power and personal agency in your own communities as you consider Coldstream’s experience. \u003cem>— Tayla Burney, director, Network Programming & Production\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959960\" class=\"wp-caption aligncenter\" style=\"max-width: 868px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959960\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-11.58.02-AM.png\" alt=\"A book cover featuring letters collapsing in on one another.\" width=\"868\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-11.58.02-AM.png 868w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-11.58.02-AM-800x1119.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-11.58.02-AM-160x224.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-11.58.02-AM-768x1074.png 768w\" sizes=\"auto, (max-width: 868px) 100vw, 868px\">\u003cfigcaption class=\"wp-caption-text\">‘Grief is for People’ by Sloane Crosley. \u003ccite>(MCD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Grief is for People’ by Sloane Crosley\u003c/strong>\u003c/h2>\n\u003cp>I spent most of the last year mourning my mother and found few books that even got close to capturing my altered mental state. My brain kept rehashing the past and finding significance in the oddest things, and I so wanted to share that experience with the very person I was missing. In a slim 191 pages, Sloane Crosley nails it precisely as she details mourning her best friend, who died suddenly by suicide.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While poignant and vulnerable, her memoir is also insightful and funny, especially as she recounts adventures with Russell and her attempts to track down and reclaim jewelry that was stolen from her apartment about a month before he died: a caper he would have enjoyed in the telling. I finished it feeling grateful for her friend’s life and even more appreciative of my mom’s. \u003cem>— \u003ca href=\"https://www.npr.org/people/474954558/melissa-gray\">Melissa Gray,\u003c/a> senior producer, ‘Weekend Edition’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959961\" class=\"wp-caption aligncenter\" style=\"max-width: 834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.01.51-PM.png\" alt=\"A book cover depicting a smiling grey-haired woman in a suit.\" width=\"834\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.01.51-PM.png 834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.01.51-PM-800x1161.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.01.51-PM-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.01.51-PM-768x1114.png 768w\" sizes=\"auto, (max-width: 834px) 100vw, 834px\">\u003cfigcaption class=\"wp-caption-text\">‘Grown Woman Talk: Your Guide to Getting and Staying Healthy’ by Sharon Malone M.D. \u003ccite>(Crown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Grown Woman Talk: Your Guide to Getting and Staying Healthy’ by Sharon Malone M.D.\u003c/strong>\u003c/h2>\n\u003cp>If you want to be more proactive in managing your health, Dr. Sharon Malone can help. \u003cem>Grown Woman Talk\u003c/em> is a playbook for navigating a fragmented and flawed health care system, written by a doctor who has spent more than 30 years practicing as an OB/GYN and is a certified menopause practitioner. She weaves in insights from her childhood in Mobile, Ala., when doctor visits were rare for her family. She recalls the first time she saw a doctor, entering the hospital through the “colored” door for an emergency tonsillectomy — and describes her mother as a “Jedi master” of managing injuries and illnesses with home remedies. Her deep sense of loss and anger at the death of her mom from cancer when she was 12 inspired her to be the kind of doctor and caretaker we need more of.\u003cem> — \u003ca href=\"https://www.npr.org/people/2100208/allison-aubrey\">Allison Aubrey,\u003c/a> health correspondent\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959962\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959962\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.04.12-PM.png\" alt=\"A book cover depicting two overlapping circles with loose illustrations of people stretched out in them.\" width=\"838\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.04.12-PM.png 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.04.12-PM-800x1159.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.04.12-PM-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.04.12-PM-768x1113.png 768w\" sizes=\"auto, (max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">‘Here After: A Memoir’ by Amy Lin. \u003ccite>(Zibby Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Here After: A Memoir’ by Amy Lin\u003c/strong>\u003c/h2>\n\u003cp>In this memoir, the past and the present bleed together, as short wisps of chapters build the case for Kurtis and Amy as soul mates, while also telling the story of Kurtis’ sudden and unexplained death. Poetic, visceral and stark, this beautifully crafted book is a gift, pulling back the curtain on the intimate processes of love and grief. Steeped in the greatest of personal losses, Amy Lin allows us to witness her plod against the cascading losses that follow and behold the life raft that is memory. \u003cem>— \u003ca href=\"https://www.npr.org/people/637150103/becky-harlan\">Beck Harlan,\u003c/a> visuals editor, ‘Life Kit’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959963\" class=\"wp-caption aligncenter\" style=\"max-width: 812px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959963\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.06.45-PM.png\" alt=\"A stark book cover featuring only grey text on a black background.\" width=\"812\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.06.45-PM.png 812w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.06.45-PM-800x1194.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.06.45-PM-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.06.45-PM-768x1146.png 768w\" sizes=\"auto, (max-width: 812px) 100vw, 812px\">\u003cfigcaption class=\"wp-caption-text\">‘Invisible Rulers: The People Who Turn Lies Into Reality’ by Renée DiResta. \u003ccite>(PublicAffairs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Invisible Rulers: The People Who Turn Lies Into Reality’ by Renée DiResta\u003c/strong>\u003c/h2>\n\u003cp>At a time when our screens are clogged with viral lies and conspiracy theories, \u003cem>Invisible Rulers \u003c/em>takes a long view toward explaining media manipulation and how we got to this moment. The book skillfully weaves together history and technology to explain the changing iterations of political propaganda over the past century.\u003c/p>\n\u003cp>Renée DiResta, a disinformation researcher at Stanford University, shares her own experiences on the front lines of the struggle to define objective reality, including entering the field after confronting anti-vaccine sentiment when she became a parent. In the years since, DiResta has found herself a focal point for conspiracy theories, as powerful politicians have sought to discredit her work and that of other researchers in the field. \u003cem>— \u003ca href=\"https://www.npr.org/people/467974737/brett-neely\">Brett Neely,\u003c/a> supervising editor, Disinformation Reporting\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959964\" class=\"wp-caption aligncenter\" style=\"max-width: 830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959964\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.09.20-PM.png\" alt=\"A book cover featuring the national mall at sunset.\" width=\"830\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.09.20-PM.png 830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.09.20-PM-800x1166.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.09.20-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.09.20-PM-768x1120.png 768w\" sizes=\"auto, (max-width: 830px) 100vw, 830px\">\u003cfigcaption class=\"wp-caption-text\">‘Life After Power: Seven Presidents and Their Search for Purpose Beyond the White House’ by Jared Cohen. \u003ccite>(Simon & Schuster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Life After Power: Seven Presidents and Their Search for Purpose Beyond the White House’ by Jared Cohen\u003c/strong>\u003c/h2>\n\u003cp>The American presidency is viewed as the most powerful position in the world. What happens when the job ends? History is often surprising. Not everyone found the role to be the most fulfilling one they ever had. Jared Cohen looks at some fascinating case studies that back that up. John Quincy Adams and William Howard Taft found greater joy in other branches of government: Congress and the Supreme Court. George Bush enjoys his private life and art studio. Life after power\u003cem> CAN \u003c/em>be much more rewarding.\u003cem> — \u003ca href=\"https://www.npr.org/people/153024115/edith-chapin\">Edith Chapin,\u003c/a> senior vice president and editor in chief\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959966\" class=\"wp-caption aligncenter\" style=\"max-width: 812px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959966\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.11.00-PM.png\" alt=\"A book cover featuring an illustration of the state of Florida filled in with branches and mangos. \" width=\"812\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.11.00-PM.png 812w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.11.00-PM-800x1196.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.11.00-PM-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.11.00-PM-768x1148.png 768w\" sizes=\"auto, (max-width: 812px) 100vw, 812px\">\u003cfigcaption class=\"wp-caption-text\">‘The Mango Tree: A Memoir of Fruit, Florida, and Felony’ by Annabelle Tometich. \u003ccite>(Little, Brown and Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Mango Tree: A Memoir of Fruit, Florida, and Felony’ by Annabelle Tometich\u003c/strong>\u003c/h2>\n\u003cp>This family memoir begins with a courtroom scene like no other. After a night in jail, Annabelle Tometich’s mom is charged with firing at a man who, she says, was stealing mangoes from the tree in her front yard. Tometich then hits rewind, taking readers back through her Fort Myers, Fla., childhood — with her Filipino American mom and white dad, a couple whose personality differences do not make them stronger together. The writing is both jewel-like and effortless, and Tometich’s memories — some mundane, some extraordinary — are mesmerizing. \u003cem>— \u003ca href=\"https://www.npr.org/people/349278028/shannon-rhoades\">Shannon Rhoades,\u003c/a> senior editor, ‘Weekend Edition’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959967\" class=\"wp-caption aligncenter\" style=\"max-width: 814px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959967\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.18.53-PM.png\" alt=\"A colorful book cover featuring a flat circle.\" width=\"814\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.18.53-PM.png 814w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.18.53-PM-800x1191.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.18.53-PM-160x238.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.18.53-PM-768x1144.png 768w\" sizes=\"auto, (max-width: 814px) 100vw, 814px\">\u003cfigcaption class=\"wp-caption-text\">‘Not the End of the World: How We Can Be the First Generation to Build a Sustainable Planet’ by Hannah Ritchie. \u003ccite>(Little, Brown Spark)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Not the End of the World: How We Can Be the First Generation to Build a Sustainable Planet’ by Hannah Ritchie\u003c/strong>\u003c/h2>\n\u003cp>\u003cem>Not the End of the World\u003c/em> sifts through the evidence on pollution, extinction threats and deforestation. Once the numbers are clinically separated from emotion, a surprising guidebook to an eco-friendly life emerges. Food miles: not likely to affect climate change much. Meatless Mondays: helpful, especially if eschewing beef. Not everyone will interpret the world’s chances of staying within 2 degrees Celsius of warming with the same cautious optimism as Hannah Ritchie (“I’m confident we can keep moving closer”). But Ritchie’s data-first perspective makes this book an invaluable chaser to climate doomscrolling.\u003cem> — \u003ca href=\"https://www.npr.org/people/724387257/darian-woods\">Darian Woods,\u003c/a> co-host, ‘The Indicator’ from ‘Planet Money’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959968\" class=\"wp-caption aligncenter\" style=\"max-width: 820px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959968\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.32.48-PM.png\" alt=\"A book cover depicting three empty hospital cots for infants.\" width=\"820\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.32.48-PM.png 820w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.32.48-PM-800x1182.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.32.48-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.32.48-PM-768x1135.png 768w\" sizes=\"auto, (max-width: 820px) 100vw, 820px\">\u003cfigcaption class=\"wp-caption-text\">‘Relinquished: The Politics of Adoption and the Privilege of American Motherhood’ by Gretchen Sisson. \u003ccite>(St. Martin's Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Relinquished: The Politics of Adoption and the Privilege of American Motherhood’ by Gretchen Sisson\u003c/strong>\u003c/h2>\n\u003cp>Gretchen Sisson’s research and careful retelling of first/birth mothers’ experiences sheds light on the people who are too often ignored, dehumanized and erased within the institution of adoption.\u003c/p>\n\u003cp>This book deepened my understanding of how adoption, while typically viewed as a noble, feel-good form of family building, actually hinges on the trauma of family separation. \u003cem>Relinquished\u003c/em> reveals the structural forces behind this loss, commonly blamed on the individual failures of a mother or birth parents. These are interviews that broadened my understanding of reproductive justice and myself as an adopted person. It’s essential reading in this era of reproductive rights under threat, for anyone who has thought of adoption as “a simple alternative” to abortion, and anyone considering adoption as a family plan.\u003cem> — \u003ca href=\"https://www.npr.org/people/1160672029/schuyler-swenson\">Schuyler Swenson,\u003c/a> content development producer\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959970\" class=\"wp-caption aligncenter\" style=\"max-width: 808px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959970\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.35.35-PM.png\" alt=\"A book cover depicting. dramatic path through the wilderness. A cabin stands high on a hill. \" width=\"808\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.35.35-PM.png 808w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.35.35-PM-800x1200.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.35.35-PM-160x240.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.35.35-PM-768x1152.png 768w\" sizes=\"auto, (max-width: 808px) 100vw, 808px\">\u003cfigcaption class=\"wp-caption-text\">‘Slow Productivity: The Lost Art of Accomplishment Without Burnout’ by Cal Newport. \u003ccite>(Portfolio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Slow Productivity: The Lost Art of Accomplishment Without Burnout’ by Cal Newport\u003c/strong>\u003c/h2>\n\u003cp>If you’re the typical knowledge worker, your life is overwhelmed by a dizzying flurry of emails and Slack messages breaking your focus every few minutes. You breathlessly ricochet from task to task yet never get enough real work done. Stop. Take a deep breath. Then read\u003cem> Slow Productivity, \u003c/em>which expounds on productivity expert Cal Newport’s tripartite philosophy of 1) do fewer things 2) work at a natural pace and 3) obsess over quality. He provides practical hacks to implement these principles into your life, while weaving in examples of how deep thinkers such as Jane Austen embodied slow productivity. Newport writes, “The way we’re working no longer works.” But if enough knowledge workers embrace slow productivity, we can revolutionize the world of work. \u003cem>— Preeti Aroon, copy editor, NPR.org\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959971\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959971\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.38.20-PM.png\" alt=\"A book cover depicting a singled piece of wallpaper that resembles a flower.\" width=\"838\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.38.20-PM.png 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.38.20-PM-800x1153.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.38.20-PM-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.38.20-PM-768x1107.png 768w\" sizes=\"auto, (max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">‘Smoke and Ashes: Opium’s Hidden Histories’ by Amitav Ghosh. \u003ccite>(Farrar, Straus and Giroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Smoke and Ashes: Opium’s Hidden Histories’ by Amitav Ghosh\u003c/strong>\u003c/h2>\n\u003cp>This is a gripping tale of how the British became history’s first narco state, curiously, to help pay for the tea its people so loved to drink. Amitav Ghosh narrates how the British forced opium into China, creating a market by creating addicts. But opium did so much more. Ghosh investigates how it created many of the modern merchant families of India and the United States, including the fortunes of the Delanos (Roosevelt’s maternal grandfather) and the Forbeses. But perhaps the most important part of this book is how Ghosh looks at the history of opium through the prism of what we know now about opioid addiction, and the relatively newfound sympathy we have toward addicts — white addicts. \u003cem>— \u003ca href=\"https://www.npr.org/people/536641200/diaa-hadid\">Diaa Hadid,\u003c/a> international correspondent\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959972\" class=\"wp-caption aligncenter\" style=\"max-width: 1178px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959972\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.42.34-PM.png\" alt=\"A book cover featuring white block lettering on a red background.\" width=\"1178\" height=\"844\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.42.34-PM.png 1178w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.42.34-PM-800x573.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.42.34-PM-1020x731.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.42.34-PM-160x115.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.42.34-PM-768x550.png 768w\" sizes=\"auto, (max-width: 1178px) 100vw, 1178px\">\u003cfigcaption class=\"wp-caption-text\">‘Thank You Please Come Again: How Gas Stations Feed & Fuel the American South’ by Kate Medley. \u003ccite>(The Bitter Southerner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Thank You Please Come Again: How Gas Stations Feed & Fuel the American South’ by Kate Medley\u003c/strong>\u003c/h2>\n\u003cp>As someone who travels Southern backroads reporting for NPR, I’ve long noticed how gas stations tend to serve as hubs in rural communities. And I have certainly sampled my share of convenience store fried chicken and sweet tea. Now, photojournalist Kate Medley, a native of Mississippi, takes us on a picturesque road trip across 11 states to document the food cultures you find at service stations. It’s a lovely coffee table book that puts a fascinating lens on a changing American South. There’s a little bit of everything — live bait and ammunition, hot tamales, catfish plates, Cajun banh mi, boiled peanuts, chicken tikka masala and hand-cut steaks. Writer Kiese Laymon’s forward sets the table with a story from his Mississippi youth as he recalls “my favorite restaurant served gas.” \u003cem>— \u003ca href=\"https://www.npr.org/people/2100438/debbie-elliott\">Debbie Elliott,\u003c/a> national correspondent\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959973\" class=\"wp-caption aligncenter\" style=\"max-width: 840px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959973\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.44.59-PM.png\" alt=\"A book cover depicting a young Black child wearing Air Jordan sneakers and sitting on top of a basketball hoop.\" width=\"840\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.44.59-PM.png 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.44.59-PM-800x1152.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.44.59-PM-160x230.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.44.59-PM-768x1106.png 768w\" sizes=\"auto, (max-width: 840px) 100vw, 840px\">\u003cfigcaption class=\"wp-caption-text\">‘There’s Always This Year: On Basketball and Ascension’ by Hanif Abdurraqib. \u003ccite>(Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘There’s Always This Year: On Basketball and Ascension’ by Hanif Abdurraqib\u003c/strong>\u003c/h2>\n\u003cp>I don’t even watch basketball all that much. And yet, there’s something alluring about Hanif Abdurraqib’s meditation on the sport. Because, sure, it’s about hoops and LeBron James and Cleveland and the funny way time works when you’re watching a Game 7. But it’s also about losing loved ones.\u003c/p>\n\u003cp>Fans of Abdurraqib’s work will recognize his rhythms and stylistic flairs that hardly ever fail to draw a reader in, and his talent at making you see the beauty in the things he finds beautiful. \u003cem>— \u003ca href=\"https://www.npr.org/people/348740829/andrew-limbong\">Andrew Limbong,\u003c/a> correspondent, Culture Desk, and host, NPR’s ‘Book of the Day’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959974\" class=\"wp-caption aligncenter\" style=\"max-width: 836px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959974\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.48.55-PM.png\" alt=\"A book cover featuring a photo of Ukraine's president.\" width=\"836\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.48.55-PM.png 836w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.48.55-PM-800x1162.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.48.55-PM-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.48.55-PM-768x1115.png 768w\" sizes=\"auto, (max-width: 836px) 100vw, 836px\">\u003cfigcaption class=\"wp-caption-text\">‘The Showman: Inside the Invasion That Shook the World and Made a Leader of Volodymyr Zelensky’ by Simon Shuster. \u003ccite>(William Morrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Showman: Inside the Invasion That Shook the World and Made a Leader of Volodymyr Zelensky’ by Simon Shuster\u003c/strong>\u003c/h2>\n\u003cp>In \u003ca href=\"https://www.npr.org/2024/01/23/1226278535/the-showman-ukraine-russia-zelenskyy-simon-shuster\">this cinematic page-turner,\u003c/a> \u003cem>Time \u003c/em>correspondent Simon Shuster paints a vivid portrait of the Ukrainian president, who honed his powerful communication skills during decades as one of Ukraine’s most popular comedians. Shuster charts the rise from naïve political novice to steely — and unforgiving — wartime president. Deeply reported and deftly written, this book is a feat not only because it sheds light on one of today’s most consequential political figures, but also the history that shaped him and the tectonic shift in geopolitics that he’s now forced to navigate. \u003cem>— \u003ca href=\"https://www.npr.org/people/464446135/joanna-kakissis\">Joanna Kakissis,\u003c/a> Ukraine correspondent\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959975\" class=\"wp-caption aligncenter\" style=\"max-width: 828px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959975\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.51.02-PM.png\" alt=\"A book cover featuring the star of david.\" width=\"828\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.51.02-PM.png 828w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.51.02-PM-800x1169.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.51.02-PM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.51.02-PM-768x1122.png 768w\" sizes=\"auto, (max-width: 828px) 100vw, 828px\">\u003cfigcaption class=\"wp-caption-text\">‘The Threshold of Dissent: A History of American Jewish Critics of Zionism’ by Marjorie N. Feld. \u003ccite>(NYU Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Threshold of Dissent: A History of American Jewish Critics of Zionism’ by Marjorie N. Feld\u003c/strong>\u003c/h2>\n\u003cp>The world is a very confusing place right now — at least, that’s how it feels to me — so I’m always looking for books that can help me better understand where we are as a society and how we got here. \u003cem>The Threshold of Dissent\u003c/em> is one of those books.\u003c/p>\n\u003cp>In clear, careful language, the author illustrates some of the major moments over the past century that have shaped Jewish beliefs about Zionism, anti-Zionism and non-Zionism. It’s a history told with both rigor and compassion — two qualities that seem especially essential when embarking in conversation on such a fraught and contentious subject. \u003cem>— \u003ca href=\"https://www.npr.org/people/477473044/leah-donnella\">Leah Donnella,\u003c/a> senior editor, ‘Code Switch’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959976\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959976\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.53.50-PM.png\" alt=\"A book cover featuring an old photo of a young red-headed boy sitting next to a trunk in front of a car with open windows.\" width=\"832\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.53.50-PM.png 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.53.50-PM-800x1167.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.53.50-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.53.50-PM-768x1121.png 768w\" sizes=\"auto, (max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">‘A Very Private School: A Memoir’ by Charles Spencer. \u003ccite>(Gallery Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘A Very Private School: A Memoir’ by Charles Spencer\u003c/strong>\u003c/h2>\n\u003cp>Charles Spencer — younger brother of Diana, Princess of Wales — turns his considerable talents as a writer and historian on his own childhood. \u003cem>A Very Private School \u003c/em>details what he says happened to him and his classmates — physical, sexual, emotional abuse — at one of Britain’s most elite boarding schools.\u003c/p>\n\u003cp>Undergirding all is a culture of privilege, yes, but also silence and tradition rooted in the British Empire, sending 8-year-olds away from home as “the done thing.” Spencer’s quote from author Hilary Mantel in the book’s epigraph is telling, “I am writing in order to take charge of my childhood.” \u003cem>— \u003ca href=\"https://www.npr.org/people/349278028/shannon-rhoades\">Shannon Rhoades,\u003c/a> senior editor, ‘Weekend Edition’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959977\" class=\"wp-caption aligncenter\" style=\"max-width: 814px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959977\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.56.48-PM.png\" alt=\"A book cover featuring a photo of a judge in robes with his seeing eye dog.\" width=\"814\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.56.48-PM.png 814w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.56.48-PM-800x1193.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.56.48-PM-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.56.48-PM-768x1145.png 768w\" sizes=\"auto, (max-width: 814px) 100vw, 814px\">\u003cfigcaption class=\"wp-caption-text\">‘Vision: A Memoir of Blindness and Justice’ by David S. Tatel. \u003ccite>(Little, Brown and Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Vision: A Memoir of Blindness and Justice’ by David S. Tatel\u003c/strong>\u003c/h2>\n\u003cp>David Tatel has written the book that his friends and admirers always hoped he would write, but expected he would not. One that deals candidly with his “vision” — his blindness, and his years of treating it as an asterisk, all while becoming one of the most prominent and thoughtful judges in the country.\u003c/p>\n\u003cp>This book is both novelistic and introspective in its treatment of his lack of sight — from his love affair with his wife and children, to his “cane lessons,” to his later-in-life affection for his guide dog, Vixen. Along the way, it is also a book about the law, the art of judging and today’s Supreme Court. And it’s fascinating. \u003cem>— \u003ca href=\"https://www.npr.org/people/2101289/nina-totenberg\">Nina Totenberg,\u003c/a> legal affairs correspondent\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959978\" class=\"wp-caption aligncenter\" style=\"max-width: 834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959978\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.59.23-PM.png\" alt=\"A white book cover with black text.\" width=\"834\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.59.23-PM.png 834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.59.23-PM-800x1163.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.59.23-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-12.59.23-PM-768x1116.png 768w\" sizes=\"auto, (max-width: 834px) 100vw, 834px\">\u003cfigcaption class=\"wp-caption-text\">‘Who’s Afraid of Gender?’ by Judith Butler. \u003ccite>(Farrar, Straus and Giroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Who’s Afraid of Gender?’ by Judith Butler\u003c/strong>\u003c/h2>\n\u003cp>Judith Butler’s groundbreaking 1990 book \u003cem>Gender Trouble\u003c/em> revolutionized gender studies by arguing that gender is socially constructed, almost mythlike, but that myth can create reality.\u003c/p>\n\u003cp>In this book, Butler leans into the titular question: Why has gender become such a “phantasm” in American life, and what does it tell us about how we’re approaching some of the biggest problems facing us, like climate change and far-right extremism? Butler has a clear perspective — and spells out the dangers of an ascendant “anti-gender ideology.” But it’s also an invitation to consider how we think about gender — and what that might tell us about who we are. \u003cem>— \u003ca href=\"https://www.npr.org/people/989930879/tinbete-ermyas\">Tinbete Ermyas,\u003c/a> editor, ‘All Things Considered’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959979\" class=\"wp-caption aligncenter\" style=\"max-width: 814px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959979\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-1.01.39-PM.png\" alt=\"A book cover featuring primitive artwork of a horse and plant life. \" width=\"814\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-1.01.39-PM.png 814w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-1.01.39-PM-800x1189.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-1.01.39-PM-160x238.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-18-at-1.01.39-PM-768x1142.png 768w\" sizes=\"auto, (max-width: 814px) 100vw, 814px\">\u003cfigcaption class=\"wp-caption-text\">‘You Are Here: Poetry in the Natural World’ by Ada Limón. \u003ccite>(Milkweed Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘You Are Here: Poetry in the Natural World’ by Ada Limón\u003c/strong>\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This anthology of 50 never-before-published poems about nature was edited by the 24th poet laureate of the United States, Ada Limón. The collection is both achingly beautiful and terrifyingly urgent. From a humorous take on getting drenched in a rainstorm to a beloved tree on its last day of existence to a woman processing the bleak reality of the world her grandchildren will inherit, these poems encouraged a heightened noticing in me and (bonus!) introduced me to the work of many new-to-me poets I’m eager to explore. \u003cem>— \u003ca href=\"https://www.npr.org/people/637150103/becky-harlan\">Beck Harlan,\u003c/a> visuals editor, ‘Life Kit’\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "lgbtq-comedians-new-netflix-documentary-review-outstanding-comedy-revolution",
"title": "‘Laughter Is Disarming’: A New Documentary Traces Generations of LGBTQ Comedy",
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"headTitle": "‘Laughter Is Disarming’: A New Documentary Traces Generations of LGBTQ Comedy | KQED",
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"content": "\u003cp>“Comedy’s always a reflection of the culture, good and bad,” says Page Hurwitz. Her new Netflix documentary about the history and current state of LGBTQ comedy is proof. Through archival footage, performances and interviews, \u003cem>Outstanding: A Comedy Revolution\u003c/em> spans nearly a century of LGBTQ comedy, including the milestones and setbacks for queer comedians pursuing careers making people laugh.\u003c/p>\n\u003cp>[aside postid='arts_13959601']A multigenerational who’s who of comedy fills this documentary. Lily Tomlin, Rosie O’Donnell, Eddie Izzard, Sandra Bernhard, Billy Eichner, Fortune Feimster, Tig Notaro and Solomon Georgio are among the many performers who recount their personal stories of developing their comedic styles and grappling with homophobia.\u003c/p>\n\u003cp>Hurwitz began her career doing stand-up in the late 1990s in San Francisco’s Castro district. Today, she writes, produces and directs comedy specials and TV series. When she started putting the documentary together, she knew there was something she had to get right: “We’re the gays, so I wanted to make it dynamic. There’s nothing worse you could be than banal.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dEZX9LNX3BA\u003c/p>\n\u003cp>To ensure her documentary had some dazzle, Hurwitz organized a massive event at the Greek Theatre in Los Angeles featuring a marquis lineup of LGBTQ comedians. She turned the event into its own \u003ca href=\"https://www.netflix.com/title/81170956\">special for Netflix\u003c/a> and interspersed footage from it throughout the documentary.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Among the revelatory moments in \u003cem>Outstanding\u003c/em> are interviews with comedians who might’ve been more famous had they not come out.\u003c/p>\n\u003cp>[aside postid='arts_13958101']Robin Tyler, one of the first comedians to come out on national television, says she was never in the closet. “Closets are vertical coffins,” she declares in the film. “All you do is suffocate to death.”\u003c/p>\n\u003cp>Tyler’s comedy career suffered when she included jokes about Anita Bryant in her act. Bryant, the former beauty pageant winner, singer and Christian, was one of the most active voices in the anti-gay crusade. One such joke declared that Bryant “is to Christianity what paint-by-numbers is to art.”\u003c/p>\n\u003cp>“That’s why no one knows her name,” says Hurwitz of Tyler, “And she should be a household name because she’s so funny and so talented.”\u003c/p>\n\u003cfigure id=\"attachment_13959921\" class=\"wp-caption aligncenter\" style=\"max-width: 1084px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959921\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM.png\" alt=\"An older woman is viewed in profile, sitting in a chair in a dimly lit room.\" width=\"1084\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM.png 1084w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-768x512.png 768w\" sizes=\"(max-width: 1084px) 100vw, 1084px\">\u003cfigcaption class=\"wp-caption-text\">Robin Tyler in ‘Outstanding: A Comedy Revolution.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hurwitz and a small staff pored over hundreds of archival performances and news footage to show how, from one decade to the next, queer comedians either made strides or suffered, depending on the political and cultural climate of the day. There’s Moms Mabley playing an openly gay character in a movie from the 1930s and the so-called \u003ca href=\"https://www.nps.gov/articles/000/cold-war-lavender-scare-and-lgbtq-activism.htm#:~:text=In%201953%2C%20President%20Eisenhower%20signed,losing%20their%20jobs%20and%20reputations.&text=This%20is%20now%20known%20as%20the%20Lavender%20Scare.\">Lavender Scare\u003c/a> during the Cold War.\u003c/p>\n\u003cp>[aside postid='arts_13959827']As comedian Scott Thompson puts it in the documentary, “I just thought life can change on a dime and society can change on a dime.”\u003c/p>\n\u003cp>Thompson points to an “embrace” of gay culture in the 1970s — think disco and Village People — to a complete about-face in the 1980s with the AIDS epidemic.\u003c/p>\n\u003cp>“It went back 30, 40 years, instantly, almost overnight,” he says. “Gay men in those days were considered vile.”\u003c/p>\n\u003cfigure id=\"attachment_13959922\" class=\"wp-caption aligncenter\" style=\"max-width: 1130px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959922\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM.png\" alt=\"A dapper man sits in front of a purple curtain, smiling and raising a cocktail.\" width=\"1130\" height=\"792\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM.png 1130w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-800x561.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-1020x715.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-768x538.png 768w\" sizes=\"(max-width: 1130px) 100vw, 1130px\">\u003cfigcaption class=\"wp-caption-text\">Scott Thompson/Buddy Cole at The Greek Theatre for Netflix Is A Joke Fest. \u003ccite>(Beth Dubber/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Comedy at that time was incredibly homophobic,” says Hurwitz, “and we had a lot of well-known comedians who were choosing to turn that tragedy into fodder for their hackneyed comedy acts. So, whether it was Andrew Dice Clay or Sam Kinison or frankly, for that matter, Eddie Murphy.”\u003c/p>\n\u003cp>But comedians know how to counterpunch and during the AIDS crisis, Sandra Bernhard’s politically charged, cabaret-style performances were a force. As she explains in the documentary, “This became like the next wave of having to be there and jump in full throttle.”\u003c/p>\n\u003cp>[aside postid='arts_13958734']Comedian and actor Joel Kim Booster, who’s interviewed in the documentary, says he was “floored” when he saw the final cut of \u003cem>Outstanding\u003c/em>. He says it made him grateful to all of the queer comedians who blazed a trail for his generation. “We were not the ones who busted down the door. We just walked through it,” he says.\u003c/p>\n\u003cp>\u003cem>Outstanding\u003c/em> shows how there are still challenges for gay performers, most significantly transphobic material by big-name comedians. But Page Hurwitz says that LGBTQ comedians will continue to take the stage, make people laugh and change the culture.\u003c/p>\n\u003cp>“You’re sharing who you are with the audience and it’s so powerful,” she says, “because laughter is disarming. You make the personal universal, so we can realize that actually, we’re more alike than we are different.”\u003c/p>\n\u003cfigure id=\"attachment_13959923\" class=\"wp-caption aligncenter\" style=\"max-width: 1172px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959923\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM.png\" alt=\"Two drag queens perform at the front of a stage, while a chorus sings behind them.\" width=\"1172\" height=\"790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM.png 1172w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-800x539.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-1020x688.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-768x518.png 768w\" sizes=\"(max-width: 1172px) 100vw, 1172px\">\u003cfigcaption class=\"wp-caption-text\">Bob The Drag Queen, Trixie Mattel, Rosie O’Donnell at The Greek Theatre for Netflix Is A Joke Fest. \u003ccite>(Beth Dubber/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The audio and digital versions of this story were edited by Ciera Crawford. The audio story was produced by Isabella Gomez-Sarmiento. The digital was produced by Beth Novey.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Comedy’s always a reflection of the culture, good and bad,” says Page Hurwitz. Her new Netflix documentary about the history and current state of LGBTQ comedy is proof. Through archival footage, performances and interviews, \u003cem>Outstanding: A Comedy Revolution\u003c/em> spans nearly a century of LGBTQ comedy, including the milestones and setbacks for queer comedians pursuing careers making people laugh.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A multigenerational who’s who of comedy fills this documentary. Lily Tomlin, Rosie O’Donnell, Eddie Izzard, Sandra Bernhard, Billy Eichner, Fortune Feimster, Tig Notaro and Solomon Georgio are among the many performers who recount their personal stories of developing their comedic styles and grappling with homophobia.\u003c/p>\n\u003cp>Hurwitz began her career doing stand-up in the late 1990s in San Francisco’s Castro district. Today, she writes, produces and directs comedy specials and TV series. When she started putting the documentary together, she knew there was something she had to get right: “We’re the gays, so I wanted to make it dynamic. There’s nothing worse you could be than banal.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dEZX9LNX3BA'\n title='//www.youtube.com/embed/dEZX9LNX3BA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>To ensure her documentary had some dazzle, Hurwitz organized a massive event at the Greek Theatre in Los Angeles featuring a marquis lineup of LGBTQ comedians. She turned the event into its own \u003ca href=\"https://www.netflix.com/title/81170956\">special for Netflix\u003c/a> and interspersed footage from it throughout the documentary.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Among the revelatory moments in \u003cem>Outstanding\u003c/em> are interviews with comedians who might’ve been more famous had they not come out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Robin Tyler, one of the first comedians to come out on national television, says she was never in the closet. “Closets are vertical coffins,” she declares in the film. “All you do is suffocate to death.”\u003c/p>\n\u003cp>Tyler’s comedy career suffered when she included jokes about Anita Bryant in her act. Bryant, the former beauty pageant winner, singer and Christian, was one of the most active voices in the anti-gay crusade. One such joke declared that Bryant “is to Christianity what paint-by-numbers is to art.”\u003c/p>\n\u003cp>“That’s why no one knows her name,” says Hurwitz of Tyler, “And she should be a household name because she’s so funny and so talented.”\u003c/p>\n\u003cfigure id=\"attachment_13959921\" class=\"wp-caption aligncenter\" style=\"max-width: 1084px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959921\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM.png\" alt=\"An older woman is viewed in profile, sitting in a chair in a dimly lit room.\" width=\"1084\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM.png 1084w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-768x512.png 768w\" sizes=\"(max-width: 1084px) 100vw, 1084px\">\u003cfigcaption class=\"wp-caption-text\">Robin Tyler in ‘Outstanding: A Comedy Revolution.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hurwitz and a small staff pored over hundreds of archival performances and news footage to show how, from one decade to the next, queer comedians either made strides or suffered, depending on the political and cultural climate of the day. There’s Moms Mabley playing an openly gay character in a movie from the 1930s and the so-called \u003ca href=\"https://www.nps.gov/articles/000/cold-war-lavender-scare-and-lgbtq-activism.htm#:~:text=In%201953%2C%20President%20Eisenhower%20signed,losing%20their%20jobs%20and%20reputations.&text=This%20is%20now%20known%20as%20the%20Lavender%20Scare.\">Lavender Scare\u003c/a> during the Cold War.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As comedian Scott Thompson puts it in the documentary, “I just thought life can change on a dime and society can change on a dime.”\u003c/p>\n\u003cp>Thompson points to an “embrace” of gay culture in the 1970s — think disco and Village People — to a complete about-face in the 1980s with the AIDS epidemic.\u003c/p>\n\u003cp>“It went back 30, 40 years, instantly, almost overnight,” he says. “Gay men in those days were considered vile.”\u003c/p>\n\u003cfigure id=\"attachment_13959922\" class=\"wp-caption aligncenter\" style=\"max-width: 1130px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959922\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM.png\" alt=\"A dapper man sits in front of a purple curtain, smiling and raising a cocktail.\" width=\"1130\" height=\"792\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM.png 1130w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-800x561.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-1020x715.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-768x538.png 768w\" sizes=\"(max-width: 1130px) 100vw, 1130px\">\u003cfigcaption class=\"wp-caption-text\">Scott Thompson/Buddy Cole at The Greek Theatre for Netflix Is A Joke Fest. \u003ccite>(Beth Dubber/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Comedy at that time was incredibly homophobic,” says Hurwitz, “and we had a lot of well-known comedians who were choosing to turn that tragedy into fodder for their hackneyed comedy acts. So, whether it was Andrew Dice Clay or Sam Kinison or frankly, for that matter, Eddie Murphy.”\u003c/p>\n\u003cp>But comedians know how to counterpunch and during the AIDS crisis, Sandra Bernhard’s politically charged, cabaret-style performances were a force. As she explains in the documentary, “This became like the next wave of having to be there and jump in full throttle.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Comedian and actor Joel Kim Booster, who’s interviewed in the documentary, says he was “floored” when he saw the final cut of \u003cem>Outstanding\u003c/em>. He says it made him grateful to all of the queer comedians who blazed a trail for his generation. “We were not the ones who busted down the door. We just walked through it,” he says.\u003c/p>\n\u003cp>\u003cem>Outstanding\u003c/em> shows how there are still challenges for gay performers, most significantly transphobic material by big-name comedians. But Page Hurwitz says that LGBTQ comedians will continue to take the stage, make people laugh and change the culture.\u003c/p>\n\u003cp>“You’re sharing who you are with the audience and it’s so powerful,” she says, “because laughter is disarming. You make the personal universal, so we can realize that actually, we’re more alike than we are different.”\u003c/p>\n\u003cfigure id=\"attachment_13959923\" class=\"wp-caption aligncenter\" style=\"max-width: 1172px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959923\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM.png\" alt=\"Two drag queens perform at the front of a stage, while a chorus sings behind them.\" width=\"1172\" height=\"790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM.png 1172w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-800x539.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-1020x688.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-768x518.png 768w\" sizes=\"(max-width: 1172px) 100vw, 1172px\">\u003cfigcaption class=\"wp-caption-text\">Bob The Drag Queen, Trixie Mattel, Rosie O’Donnell at The Greek Theatre for Netflix Is A Joke Fest. \u003ccite>(Beth Dubber/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The audio and digital versions of this story were edited by Ciera Crawford. The audio story was produced by Isabella Gomez-Sarmiento. The digital was produced by Beth Novey.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Under Paris’ Is a Seine-Sational French Shark Movie",
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"content": "\u003cp>I will be the first to admit I didn’t even know there \u003cem>was \u003c/em>a French shark movie until I saw it appear at the very top of Netflix’s top 10 movies. And it’s not as if it’s hiding anything about its topic: It’s called \u003cem>Under Paris\u003c/em>. You know why? Because it’s all about sharks under Paris. Specifically, it’s about sharks in the Seine. Initially, there are just a couple of sharks. But then, there are a \u003cem>lot \u003c/em>of sharks. And the movie is apparently an enormous hit, although/because it is, while not as silly as \u003cem>Sharknado\u003c/em>, very silly.\u003c/p>\n\u003cp>[aside postid='arts_13959801']\u003cem>Under Paris \u003c/em>(aka, to me at least, \u003cem>Sharknadeau\u003c/em>) begins as a standard menacing-creature story. Sophia (Bérénice Bejo, Oscar nominee for \u003cem>The Artist\u003c/em>) is a scientist studying sharks in the vicinity of the Great Pacific Garbage Patch (a real, depressing thing). She and her team get a signal from one of their tagged sharks, named Lilith, and several members of the team go on a dive to obtain a blood sample. This dive does not go well (I mean, I suppose it goes OK for Lilith), leaving Sophia traumatized.\u003c/p>\n\u003cp>A few years later, a shark-saving group in Paris alerts Sophia that they know where Lilith is: in the Seine. Now, sharks in the Seine are not a real thing, but perhaps the only upside of climate change is the expansion of options for disaster movies. After all, a movie like this can throw its hands in the air and say, “Honestly, you don’t know \u003cem>what’s \u003c/em>possible now that you can go to the beach on Christmas, do you?” So: sharks in the Seine. Not just that, but \u003cem>multiplying \u003c/em>sharks in the Seine.\u003c/p>\n\u003cfigure id=\"attachment_13959908\" class=\"wp-caption aligncenter\" style=\"max-width: 1230px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM.png\" alt=\"A woman in scrubs examines a dead, blood-covered shark.\" width=\"1230\" height=\"766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM.png 1230w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-1020x635.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-768x478.png 768w\" sizes=\"(max-width: 1230px) 100vw, 1230px\">\u003cfigcaption class=\"wp-caption-text\">Bérénice Bejo stars as Sophia, a shark scientist. \u003ccite>(Sofie Gheysens/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, Paris has an arrogant, careless mayor who, like all government officials in shark movies, suffers from a pathological failure to be adequately afraid of sharks. She has only one priority: making sure that the upcoming triathlon goes off without a hitch. That’s right: The Seine is infested with ravenous sharks at the very moment when crowds of swimmers are about to throw themselves into the Seine at a highly public event. Mon dieu! Now, if it were you or me, perhaps we think to ourselves, “Better to cancel the event in advance than have it canceled on account of all the swimmers being devoured,” but no, the mayor of Paris has no such caution.\u003c/p>\n\u003cp>For the first half or so, \u003cem>Under Paris \u003c/em>unfolds like a fairly classy suspense film about a rarely seen threat. It does not look cheap in the way \u003cem>Sharknado \u003c/em>did, for instance. It’s quite competently shot and edited, it’s tense, and it’s frightening. In other words, it gets the job done.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jnCefPQIH98\u003c/p>\n\u003cp>In the second half, the movie goes fully bazoo. Certain arguments about the sharks’ intentions are resolved when some participants in those arguments are eaten. You get your first of a couple of overhead shots of a shark leaping out of the water, mouth first, the better to show you someone in its jaws (heh) who is thinking, “This seems bad.” Crowds run in terror. Blood gushes. If you are watching the movie in the original French (which I recommend) and you have the English subtitles on, you will see a lot of the caption “[panicked screams].”\u003c/p>\n\u003cp>[aside postid='arts_13959670']All this to say: It’s not hard to understand why this is such a hot property at the moment. It gives you half of a fairly normal movie and half of an absolutely wacky one. About half of it is suspense, and about half of it is full-on creature horror, incredibly bloody and with a very (very) high body count. And at the end, there’s no question that just as these sharks are under Paris, the next ones will be under London (or New York, or wherever). If you’re looking for a popcorn movie and you don’t mind a lot of cartoonish gore, you could do a lot worse.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003ca href=\"https://www.npr.org/newsletter/pop-culture\">Sign up for the newsletter\u003c/a> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003ca href=\"http://n.pr/3xNgYt9\">Apple Podcasts\u003c/a> and \u003ca href=\"http://n.pr/3ELR3n6\">Spotify\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I will be the first to admit I didn’t even know there \u003cem>was \u003c/em>a French shark movie until I saw it appear at the very top of Netflix’s top 10 movies. And it’s not as if it’s hiding anything about its topic: It’s called \u003cem>Under Paris\u003c/em>. You know why? Because it’s all about sharks under Paris. Specifically, it’s about sharks in the Seine. Initially, there are just a couple of sharks. But then, there are a \u003cem>lot \u003c/em>of sharks. And the movie is apparently an enormous hit, although/because it is, while not as silly as \u003cem>Sharknado\u003c/em>, very silly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Under Paris \u003c/em>(aka, to me at least, \u003cem>Sharknadeau\u003c/em>) begins as a standard menacing-creature story. Sophia (Bérénice Bejo, Oscar nominee for \u003cem>The Artist\u003c/em>) is a scientist studying sharks in the vicinity of the Great Pacific Garbage Patch (a real, depressing thing). She and her team get a signal from one of their tagged sharks, named Lilith, and several members of the team go on a dive to obtain a blood sample. This dive does not go well (I mean, I suppose it goes OK for Lilith), leaving Sophia traumatized.\u003c/p>\n\u003cp>A few years later, a shark-saving group in Paris alerts Sophia that they know where Lilith is: in the Seine. Now, sharks in the Seine are not a real thing, but perhaps the only upside of climate change is the expansion of options for disaster movies. After all, a movie like this can throw its hands in the air and say, “Honestly, you don’t know \u003cem>what’s \u003c/em>possible now that you can go to the beach on Christmas, do you?” So: sharks in the Seine. Not just that, but \u003cem>multiplying \u003c/em>sharks in the Seine.\u003c/p>\n\u003cfigure id=\"attachment_13959908\" class=\"wp-caption aligncenter\" style=\"max-width: 1230px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM.png\" alt=\"A woman in scrubs examines a dead, blood-covered shark.\" width=\"1230\" height=\"766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM.png 1230w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-1020x635.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-768x478.png 768w\" sizes=\"(max-width: 1230px) 100vw, 1230px\">\u003cfigcaption class=\"wp-caption-text\">Bérénice Bejo stars as Sophia, a shark scientist. \u003ccite>(Sofie Gheysens/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, Paris has an arrogant, careless mayor who, like all government officials in shark movies, suffers from a pathological failure to be adequately afraid of sharks. She has only one priority: making sure that the upcoming triathlon goes off without a hitch. That’s right: The Seine is infested with ravenous sharks at the very moment when crowds of swimmers are about to throw themselves into the Seine at a highly public event. Mon dieu! Now, if it were you or me, perhaps we think to ourselves, “Better to cancel the event in advance than have it canceled on account of all the swimmers being devoured,” but no, the mayor of Paris has no such caution.\u003c/p>\n\u003cp>For the first half or so, \u003cem>Under Paris \u003c/em>unfolds like a fairly classy suspense film about a rarely seen threat. It does not look cheap in the way \u003cem>Sharknado \u003c/em>did, for instance. It’s quite competently shot and edited, it’s tense, and it’s frightening. In other words, it gets the job done.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jnCefPQIH98'\n title='//www.youtube.com/embed/jnCefPQIH98'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the second half, the movie goes fully bazoo. Certain arguments about the sharks’ intentions are resolved when some participants in those arguments are eaten. You get your first of a couple of overhead shots of a shark leaping out of the water, mouth first, the better to show you someone in its jaws (heh) who is thinking, “This seems bad.” Crowds run in terror. Blood gushes. If you are watching the movie in the original French (which I recommend) and you have the English subtitles on, you will see a lot of the caption “[panicked screams].”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>All this to say: It’s not hard to understand why this is such a hot property at the moment. It gives you half of a fairly normal movie and half of an absolutely wacky one. About half of it is suspense, and about half of it is full-on creature horror, incredibly bloody and with a very (very) high body count. And at the end, there’s no question that just as these sharks are under Paris, the next ones will be under London (or New York, or wherever). If you’re looking for a popcorn movie and you don’t mind a lot of cartoonish gore, you could do a lot worse.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003ca href=\"https://www.npr.org/newsletter/pop-culture\">Sign up for the newsletter\u003c/a> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003ca href=\"http://n.pr/3xNgYt9\">Apple Podcasts\u003c/a> and \u003ca href=\"http://n.pr/3ELR3n6\">Spotify\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13959869\" class=\"wp-caption aligncenter\" style=\"max-width: 830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-14-at-11.43.20-AM.png\" alt=\"A book cover with illustration of a woman lying front-first on a couch, one arm hanging over the side.\" width=\"830\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-14-at-11.43.20-AM.png 830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-14-at-11.43.20-AM-800x1168.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-14-at-11.43.20-AM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-14-at-11.43.20-AM-768x1121.png 768w\" sizes=\"(max-width: 830px) 100vw, 830px\">\u003cfigcaption class=\"wp-caption-text\">‘Margo’s Got Money Troubles’ by Rufi Thorpe. \u003ccite>(William Morrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cover art and title of \u003cem>Margo’s Got Money Troubles\u003c/em> don’t quite convey the wild ride readers who crack open this new fiction from Rufi Thorpe will take. There’s a reason Apple TV+ optioned it as a series starring Nicole Kidman and Elle Fanning before it was even published. This is a wholly original novel.\u003c/p>\n\u003cp>[aside postid='arts_13959775']A brief plot summary: Margo gets knocked up at 19 by her community college professor, has the baby, drops out of school, and discovers OnlyFans, where she flashes herself for money and rates the NSFW pics that subscribers send her, giving them each a Pokémon doppelgänger. But wait — there’s more! Her father, Jinx, is a famous professional wrestler, now retired, who actually introduces her to OnlyFans and helps her grow her audience using many of the same techniques that made him a star in the ring.\u003c/p>\n\u003cp>Meanwhile, her mother, Shyanne, who also had Margo at a young age and now spends considerable time altering her appearance in an effort to attract a man who can provide for her, begs Margo to stop selling visuals of her body for money because, “No man will marry you now.”\u003c/p>\n\u003cp>If that’s not strange enough, Thorpe also goes a little crazy with the book’s voice. Margo is always the narrator, but switches often from third- to first-person, because, “It is so much easier to have sympathy for the Margo who existed back then rather than try to explain how and why I did all the things that I did.”\u003c/p>\n\u003cp>It’s a book that grabs and keeps your attention. Who doesn’t want to hear the end of a story that opens with a baby shower featuring a cake shaped like a big penis? Stuffed with laughs, it’s also filled with sharp insights about celebrity, social media, and what modern success even means.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13959530']For all her questionable life choices, Margo is someone readers will root for, and the love story that emerges as the heart of the novel — between Margo and one of her OnlyFans — seems quite plausible in the Internet Age.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It wouldn’t be fair to spoil the final two sentences of the book, and curses on any reader who now jumps ahead to them, but Thorpe is both poetic and profound in the way she brings her remarkable story to an end.\u003c/p>\n\n",
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The director Kelsey Mann, taking over for the first film’s Pete Docter, cleverly dramatizes the onset of puberty as a huge disruption for Joy and Company, who don’t know why their usual routine is suddenly causing Riley to undergo wild mood swings. It turns out, a new emotion has joined headquarters: Anxiety, voiced by a terrific Maya Hawke.\u003c/p>\n\u003cp>Anxiety has brought along her own team of emotions. They’re basically the three E’s: Envy, Ennui and Embarrassment, voiced by \u003ca href=\"https://www.kqed.org/arts/tag/ayo-edebiri\">Ayo Edebiri\u003c/a>, Adèle Exarchopoulos and Paul Walter Hauser. Some of this stretches conceptual credibility: Surely this isn’t the first time in her life that Riley has experienced some of those feelings. But that’s part of the whimsical pleasure of the \u003cem>Inside Out\u003c/em> films: It’s fun to feel your own brain arguing with how it’s represented. It’s also fun to see new regions of Riley’s mental landscape, like the giant ravine that fuels her contemptuous side — naturally, it’s called the Sar-chasm.\u003c/p>\n\u003cfigure class=\"wp-block-embed npr-promo-card insettwocolumn\">\n\u003cdiv class=\"wp-block-embed__wrapper\">\u003c/div>\n\u003c/figure>\n\u003cp>The story kicks into gear when Riley is sent to an elite three-day hockey camp, where she’s forced to make some tough decisions, like whether to stick with her two closest friends or hang out with the cool older kids. As the pressure on Riley mounts and the competition gets more cutthroat, it’s Anxiety who emerges as the movie’s villain.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LEjhY15eCx0&t=15s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hawke does a great job of making the character’s polite bundle-of-nerves routine a little more annoying — and sinister — in every scene. Anxiety basically engineers a hostile takeover of Riley’s mind, banishing Joy, Sadness, Fear, Anger and Disgust to the outskirts of consciousness, and setting out to mold Riley into a more successful version of herself. What she’s unwittingly doing is making Riley more ambitious and conniving.\u003c/p>\n\u003cp>\u003cem>Inside Out 2\u003c/em>, in other words, is something of an anti-stress movie, where unchecked drivenness can destroy a person’s true sense of self. It’s hard to argue with that, but it’s also hard not to push back a little. This isn’t the first Pixar movie that’s tried to teach us to lighten up and let things go, a lesson that dates as far back as the first \u003cem>Toy Story. \u003c/em>But it’s always struck me as a bit rich coming from Pixar, given the hyper-ambition and perfectionism that have long defined the studio’s brand.\u003c/p>\n\u003cp>Fortunately, there is a better, deeper message at the heart of \u003cem>Inside Out 2\u003c/em>, that encourages us to take a more expansive view of ourselves — to acknowledge that we all have the capacity for good and bad. As in the first movie, the goal is to strive for balance, embrace complexity and learn to be OK with imperfection.\u003c/p>\n\u003cp>[aside postid='arts_13958728']I’m trying to do that myself with \u003cem>Inside Out 2\u003c/em>, which, despite its many pleasures, is a pretty imperfect movie. It isn’t nearly as emotionally overwhelming as its predecessor, but how could it be? The first \u003cem>Inside Out\u003c/em> was a piercing lament for childhood’s end, with Joy and Sadness’ frenemy dynamic as its irresistible core.\u003c/p>\n\u003cp>Now, Riley’s older and maturing, and it’s natural that her latest adventure should hit us differently. But there are also some bewildering choices here that suggest the story could have used, well, a rethink. There’s one overlong sequence, in which Joy and her friends encounter memories of old cartoon and video-game characters buried deep in Riley’s mind; it’s a cheap gag, and it almost pulled me out of the movie entirely. And there’s a recurring joke, involving Riley’s sense of Nostalgia, that strikes a weirdly sour note. Ironically, it made me feel a little nostalgic myself — for the days when Pixar would have known to leave a bit like that on the cutting-room floor.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Inside Out 2’ is released nationwide on June 14, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As \u003cem>Inside Out 2\u003c/em> gets under way, things are looking up for Riley, the hockey-loving kid who moved with her parents from Minnesota to San Francisco in the first \u003ca href=\"https://www.kqed.org/arts/10782253/why-the-key-character-in-inside-out-is-the-one-who-isnt-there\">\u003cem>Inside Out\u003c/em>\u003c/a>. She’s adjusted to her new life, school and friends, and her five personified emotions — who share the high-tech headquarters of her brain — have learned to work together in relative harmony. Joy, voiced by \u003ca href=\"https://www.kqed.org/pop/tag/amy-poehler\">Amy Poehler\u003c/a>, is still mostly in charge, but now she and Sadness — the incomparable Phyllis Smith — make a great team, along with the other key emotions, Anger, Fear and Disgust.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But now Riley is 13, which means pimples, growth spurts and a much more complicated emotional life. The director Kelsey Mann, taking over for the first film’s Pete Docter, cleverly dramatizes the onset of puberty as a huge disruption for Joy and Company, who don’t know why their usual routine is suddenly causing Riley to undergo wild mood swings. It turns out, a new emotion has joined headquarters: Anxiety, voiced by a terrific Maya Hawke.\u003c/p>\n\u003cp>Anxiety has brought along her own team of emotions. They’re basically the three E’s: Envy, Ennui and Embarrassment, voiced by \u003ca href=\"https://www.kqed.org/arts/tag/ayo-edebiri\">Ayo Edebiri\u003c/a>, Adèle Exarchopoulos and Paul Walter Hauser. Some of this stretches conceptual credibility: Surely this isn’t the first time in her life that Riley has experienced some of those feelings. But that’s part of the whimsical pleasure of the \u003cem>Inside Out\u003c/em> films: It’s fun to feel your own brain arguing with how it’s represented. It’s also fun to see new regions of Riley’s mental landscape, like the giant ravine that fuels her contemptuous side — naturally, it’s called the Sar-chasm.\u003c/p>\n\u003cfigure class=\"wp-block-embed npr-promo-card insettwocolumn\">\n\u003cdiv class=\"wp-block-embed__wrapper\">\u003c/div>\n\u003c/figure>\n\u003cp>The story kicks into gear when Riley is sent to an elite three-day hockey camp, where she’s forced to make some tough decisions, like whether to stick with her two closest friends or hang out with the cool older kids. As the pressure on Riley mounts and the competition gets more cutthroat, it’s Anxiety who emerges as the movie’s villain.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LEjhY15eCx0'\n title='//www.youtube.com/embed/LEjhY15eCx0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hawke does a great job of making the character’s polite bundle-of-nerves routine a little more annoying — and sinister — in every scene. Anxiety basically engineers a hostile takeover of Riley’s mind, banishing Joy, Sadness, Fear, Anger and Disgust to the outskirts of consciousness, and setting out to mold Riley into a more successful version of herself. What she’s unwittingly doing is making Riley more ambitious and conniving.\u003c/p>\n\u003cp>\u003cem>Inside Out 2\u003c/em>, in other words, is something of an anti-stress movie, where unchecked drivenness can destroy a person’s true sense of self. It’s hard to argue with that, but it’s also hard not to push back a little. This isn’t the first Pixar movie that’s tried to teach us to lighten up and let things go, a lesson that dates as far back as the first \u003cem>Toy Story. \u003c/em>But it’s always struck me as a bit rich coming from Pixar, given the hyper-ambition and perfectionism that have long defined the studio’s brand.\u003c/p>\n\u003cp>Fortunately, there is a better, deeper message at the heart of \u003cem>Inside Out 2\u003c/em>, that encourages us to take a more expansive view of ourselves — to acknowledge that we all have the capacity for good and bad. As in the first movie, the goal is to strive for balance, embrace complexity and learn to be OK with imperfection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I’m trying to do that myself with \u003cem>Inside Out 2\u003c/em>, which, despite its many pleasures, is a pretty imperfect movie. It isn’t nearly as emotionally overwhelming as its predecessor, but how could it be? The first \u003cem>Inside Out\u003c/em> was a piercing lament for childhood’s end, with Joy and Sadness’ frenemy dynamic as its irresistible core.\u003c/p>\n\u003cp>Now, Riley’s older and maturing, and it’s natural that her latest adventure should hit us differently. But there are also some bewildering choices here that suggest the story could have used, well, a rethink. There’s one overlong sequence, in which Joy and her friends encounter memories of old cartoon and video-game characters buried deep in Riley’s mind; it’s a cheap gag, and it almost pulled me out of the movie entirely. And there’s a recurring joke, involving Riley’s sense of Nostalgia, that strikes a weirdly sour note. Ironically, it made me feel a little nostalgic myself — for the days when Pixar would have known to leave a bit like that on the cutting-room floor.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Inside Out 2’ is released nationwide on June 14, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘It Was All a Dream’ Shows the Work of a Nascent Rap Feminist",
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"content": "\u003cp>History is never really linear, no matter how nicely it’s packaged. \u003cem>It Was All a Dream\u003c/em>, a new documentary by \u003ca href=\"https://www.kqed.org/arts/13848278/making-surviving-r-kelly-a-conversation-with-executive-producer-dream-hampton\">dream hampton\u003c/a>, is a collection of archival footage from the famed filmmaker’s early days covering hip-hop. This unearthed material, found in hampton’s home decades later, shows how complicated the gleam of rap’s golden age was even before it was minted.\u003c/p>\n\u003cp>The director’s visual memoir, which premiered at the 2024 Tribeca Film Festival, is a selection of roving snapshots of life from 1993 to 1995, a pivotal period when Dr. Dre’s \u003cem>The Chronic\u003c/em> stamped the flag in the West Coast and the \u003ca href=\"https://www.kqed.org/arts/13847666/hip-hop-deserves-that-respect-honoring-the-notorious-b-i-g-wu-tang-clan-in-nyc\">Notorious B.I.G.\u003c/a>’s \u003cem>Ready To Die\u003c/em> was the answer from the East, when the genre itself was transitioning from being a Black cultural dialogue to a money-making, mainstream fascination. It’s also when rap feminist foremothers were the fledglings weeding through a messy love-hate relationship timeline with the artform.\u003c/p>\n\u003cp>[aside postid='arts_13932030']During this time, new acts were popping up everywhere and hampton was getting all the footage she could. Before they were prolific rap icons or masters behind the boards, they were as hampton writes later, “kamikazee capitalists who just happened to be teenagers,” young men and women making sense out of the world. The film welcomes the viewer into intimate, informal interviews with Notorious B.I.G, Snoop Dogg and Method Man, smirked, bright-eyed faces of artists who would become bonafide stars way before their hip-hop or Hollywood personas were cemented.\u003c/p>\n\u003cp>With roots in hip-hop journalism, hampton (who stylizes her name in all lowercase as a nod to Black feminist bell hooks) is a writer, producer and filmmaker who’s penned influential pieces about music and culture for \u003cem>The Village Voice\u003c/em>, \u003cem>Vibe\u003c/em>, \u003cem>The Source\u003c/em> and more. She has positioned her lens to cover movements of both subjugation and liberation, including the award-winning documentaries \u003ca href=\"https://www.kqed.org/pop/109568/surviving-r-kelly-producer-dream-hampton-takes-on-ecosystem-that-supported-the-star\">\u003cem>Surviving R. Kelly\u003c/em>\u003c/a> and \u003cem>Ladies First: A Story of Women in Hip-Hop\u003c/em>.\u003c/p>\n\u003cp>Though the exclusivity of the classic material is the draw, \u003cem>It Was All a Dream \u003c/em>stands out for another reason. By partially making herself the subject of the doc, hampton does what few artists ever have the courage or humility to do: show their first drafts. Though the narration of the film is pulled from articles she’d written in the same time period — eloquent words that now feel like sacred texts of early hip-hop feminist theory — the footage shows a much less incisive critic. It’s a period when hampton was a film student at NYU and, just as her subjects, still figuring it out as she went.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For most of the film, hampton is a grinning, tomboy femme fly on the wall. She’s much more in documentarian mode than interviewer while in studio sessions, backstage at shows and sharing blunts in the back of Biggie’s Benz. B.I.G’s booming laugh and Coogi-down’d presence is a centerpiece of the visual. (Biggie’s own son, C.J. Wallace, became an executive producer on the project after hampton showed him footage of his late father.) For Frank White fans, it’s a treasure trove of material. For hampton fans, it’s a window into the complexities — and the complicity — of trying to cover someone as both a subject and a friend.\u003c/p>\n\u003cp>There are behind the scenes looks at \u003cem>Source\u003c/em> photo shoots in progress with Onyx and \u003ca href=\"https://www.kqed.org/arts/13911949/cypress-hill-documentary-showtime-insane-in-the-brain-estevan-oriol\">Cypress Hill\u003c/a>; cross-coast studio sessions featuring the likes of \u003ca href=\"https://www.kqed.org/bayareabites/112562/from-mobb-deep-rapper-a-cookbook-for-healthy-eating-in-prison\">Mobb Deep\u003c/a>, Q-Tip, Snoop, Dre, Tha Dogg Pound, Lady of Rage and Warren G cooking up soon-to-be classics; and shots of Big freestyling off the dome and his (\u003ca href=\"https://www.kqed.org/arts/13954740/diddy-allegations-sean-combs-raids-sex-trafficking-cassie-joi-rod-harve-pierre-jane-doe\">recently besmirched\u003c/a>) Bad Boy exec, Puff Daddy, mimicking his flow. But when hampton does question her subjects or convenes with her editors\u003cem>, \u003c/em>she uses her access, intellect and curiosity to not only capture the moment, but really zoom in.\u003c/p>\n\u003cp>[aside postid='arts_13934460']hampton films herself in a brainstorm with \u003cem>The Source\u003c/em> associate editor Kierna Mayo and tries to chart when misogyny became so “overbearing” in the music. “We just have to be careful to analyze it wholly,” Mayo says of hampton’s pitch. When hampton hosts a roundtable discussion and photoshoot (attended by now-defamed executive Russell Simmons) with rappers Nikki D, Boss, LeShaun and Hurricane Gloria, the women break down, as hampton writes, having to be “three times as good” in the face of hip-hop’s sexist double standard.\u003c/p>\n\u003cp>“Ain’t nobody at this table right here scared of being called a bitch,” says Nikki D, Def Jam Recording’s first signed female rapper. “You can call me a bitch all you want to, but you know what you can and what you can’t do with me.”\u003c/p>\n\u003cp>In one studio session where Big, bathed in red light, raps lines of what will become a feature on Pudgee tha Phat Bastard’s “\u003ca href=\"https://www.youtube.com/watch?v=PM0Yvpfu9AQ\">Think Big\u003c/a>” and freestyles a joke about a “rap rapist,” hampton appears from slightly off to the side to say, while laughing, that she’s offended by the joke. Even more telling, there is a scene about an hour in where Big scolds a young Lil’ Kim, his Junior M.A.F.I.A artist and girlfriend at the time, about her attitude and not taking pictures. While Kim ignores him at first, Big leans over and lifts up a chair, an action that makes Kim visibly flinch. It’s no more than a minute, but it’s a glimpse of the unspoken dynamic of their relationship, one that Kim would later speak on as being violent, caught on camera by hampton.\u003c/p>\n\u003cp>During an interview with Guru, hampton follows up a question to the rapper-producer about rap fantasies with a counter about the very real virulence towards women in the rhymes. “Why do n****s wanna kill bitches?” she poses to him clearly. Guru’s expression never changes but he lets out a small laugh as a brush-off. He then flips the question, rationalizing that maybe “bitches wanna kill n****s”; that there’s women who “don’t have their sh** together” and makes the distinction that rappers aren’t talking about women who are intelligent with ambition.\u003c/p>\n\u003cp>[aside postid='arts_13927349']These same themes of exceptionalism and compartmentalization come around often enough that they repeatedly obscure the point hampton is trying to drive in the discourse. Even with her feminist theory and moments of fearlessness, try as she might, her voice is not cutting through just yet. Maybe because her audience never really wants to change or maybe because it’s a dichotomous thesis she’s still wrestling with herself.\u003c/p>\n\u003cp>One of the last scenes in the doc finds hampton on-camera, looking downward at the Hudson River as she travels on the Staten Island Ferry. As her eyelashes brush the far-off Twin Towers in the Manhattan background, hampton appears introspective and frustrated. She’d just had a debate with Wu-Tang Clan’s Method Man, who’s no more than 23 at the time, about his own misogynistic lyrics. “I don’t like when brothers make distinctions between women like some of us are hoodrats and some of us are goddesses. I think that we’re all goddesses,” hampton says to a friend. She remembers her interview with \u003ca href=\"https://www.kqed.org/arts/13934043/leila-steinberg-tupac-shakur-manager\">Tupac Shakur\u003c/a>, not shown in the film, annoyed with her missed opportunity, admitting, “I don’t know if I was challenging enough.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Though the film promises never-before-seen footage of hip-hop greats, \u003cem>It Was All a Dream \u003c/em>is really a nostalgic, nascent Trojan horse, one that shows the important, imperfect, initial seed-sowing of the deeper questions we’re still tilling as a hip-hop culture today.\u003c/p>\n\u003chr>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>History is never really linear, no matter how nicely it’s packaged. \u003cem>It Was All a Dream\u003c/em>, a new documentary by \u003ca href=\"https://www.kqed.org/arts/13848278/making-surviving-r-kelly-a-conversation-with-executive-producer-dream-hampton\">dream hampton\u003c/a>, is a collection of archival footage from the famed filmmaker’s early days covering hip-hop. This unearthed material, found in hampton’s home decades later, shows how complicated the gleam of rap’s golden age was even before it was minted.\u003c/p>\n\u003cp>The director’s visual memoir, which premiered at the 2024 Tribeca Film Festival, is a selection of roving snapshots of life from 1993 to 1995, a pivotal period when Dr. Dre’s \u003cem>The Chronic\u003c/em> stamped the flag in the West Coast and the \u003ca href=\"https://www.kqed.org/arts/13847666/hip-hop-deserves-that-respect-honoring-the-notorious-b-i-g-wu-tang-clan-in-nyc\">Notorious B.I.G.\u003c/a>’s \u003cem>Ready To Die\u003c/em> was the answer from the East, when the genre itself was transitioning from being a Black cultural dialogue to a money-making, mainstream fascination. It’s also when rap feminist foremothers were the fledglings weeding through a messy love-hate relationship timeline with the artform.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During this time, new acts were popping up everywhere and hampton was getting all the footage she could. Before they were prolific rap icons or masters behind the boards, they were as hampton writes later, “kamikazee capitalists who just happened to be teenagers,” young men and women making sense out of the world. The film welcomes the viewer into intimate, informal interviews with Notorious B.I.G, Snoop Dogg and Method Man, smirked, bright-eyed faces of artists who would become bonafide stars way before their hip-hop or Hollywood personas were cemented.\u003c/p>\n\u003cp>With roots in hip-hop journalism, hampton (who stylizes her name in all lowercase as a nod to Black feminist bell hooks) is a writer, producer and filmmaker who’s penned influential pieces about music and culture for \u003cem>The Village Voice\u003c/em>, \u003cem>Vibe\u003c/em>, \u003cem>The Source\u003c/em> and more. She has positioned her lens to cover movements of both subjugation and liberation, including the award-winning documentaries \u003ca href=\"https://www.kqed.org/pop/109568/surviving-r-kelly-producer-dream-hampton-takes-on-ecosystem-that-supported-the-star\">\u003cem>Surviving R. Kelly\u003c/em>\u003c/a> and \u003cem>Ladies First: A Story of Women in Hip-Hop\u003c/em>.\u003c/p>\n\u003cp>Though the exclusivity of the classic material is the draw, \u003cem>It Was All a Dream \u003c/em>stands out for another reason. By partially making herself the subject of the doc, hampton does what few artists ever have the courage or humility to do: show their first drafts. Though the narration of the film is pulled from articles she’d written in the same time period — eloquent words that now feel like sacred texts of early hip-hop feminist theory — the footage shows a much less incisive critic. It’s a period when hampton was a film student at NYU and, just as her subjects, still figuring it out as she went.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For most of the film, hampton is a grinning, tomboy femme fly on the wall. She’s much more in documentarian mode than interviewer while in studio sessions, backstage at shows and sharing blunts in the back of Biggie’s Benz. B.I.G’s booming laugh and Coogi-down’d presence is a centerpiece of the visual. (Biggie’s own son, C.J. Wallace, became an executive producer on the project after hampton showed him footage of his late father.) For Frank White fans, it’s a treasure trove of material. For hampton fans, it’s a window into the complexities — and the complicity — of trying to cover someone as both a subject and a friend.\u003c/p>\n\u003cp>There are behind the scenes looks at \u003cem>Source\u003c/em> photo shoots in progress with Onyx and \u003ca href=\"https://www.kqed.org/arts/13911949/cypress-hill-documentary-showtime-insane-in-the-brain-estevan-oriol\">Cypress Hill\u003c/a>; cross-coast studio sessions featuring the likes of \u003ca href=\"https://www.kqed.org/bayareabites/112562/from-mobb-deep-rapper-a-cookbook-for-healthy-eating-in-prison\">Mobb Deep\u003c/a>, Q-Tip, Snoop, Dre, Tha Dogg Pound, Lady of Rage and Warren G cooking up soon-to-be classics; and shots of Big freestyling off the dome and his (\u003ca href=\"https://www.kqed.org/arts/13954740/diddy-allegations-sean-combs-raids-sex-trafficking-cassie-joi-rod-harve-pierre-jane-doe\">recently besmirched\u003c/a>) Bad Boy exec, Puff Daddy, mimicking his flow. But when hampton does question her subjects or convenes with her editors\u003cem>, \u003c/em>she uses her access, intellect and curiosity to not only capture the moment, but really zoom in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>hampton films herself in a brainstorm with \u003cem>The Source\u003c/em> associate editor Kierna Mayo and tries to chart when misogyny became so “overbearing” in the music. “We just have to be careful to analyze it wholly,” Mayo says of hampton’s pitch. When hampton hosts a roundtable discussion and photoshoot (attended by now-defamed executive Russell Simmons) with rappers Nikki D, Boss, LeShaun and Hurricane Gloria, the women break down, as hampton writes, having to be “three times as good” in the face of hip-hop’s sexist double standard.\u003c/p>\n\u003cp>“Ain’t nobody at this table right here scared of being called a bitch,” says Nikki D, Def Jam Recording’s first signed female rapper. “You can call me a bitch all you want to, but you know what you can and what you can’t do with me.”\u003c/p>\n\u003cp>In one studio session where Big, bathed in red light, raps lines of what will become a feature on Pudgee tha Phat Bastard’s “\u003ca href=\"https://www.youtube.com/watch?v=PM0Yvpfu9AQ\">Think Big\u003c/a>” and freestyles a joke about a “rap rapist,” hampton appears from slightly off to the side to say, while laughing, that she’s offended by the joke. Even more telling, there is a scene about an hour in where Big scolds a young Lil’ Kim, his Junior M.A.F.I.A artist and girlfriend at the time, about her attitude and not taking pictures. While Kim ignores him at first, Big leans over and lifts up a chair, an action that makes Kim visibly flinch. It’s no more than a minute, but it’s a glimpse of the unspoken dynamic of their relationship, one that Kim would later speak on as being violent, caught on camera by hampton.\u003c/p>\n\u003cp>During an interview with Guru, hampton follows up a question to the rapper-producer about rap fantasies with a counter about the very real virulence towards women in the rhymes. “Why do n****s wanna kill bitches?” she poses to him clearly. Guru’s expression never changes but he lets out a small laugh as a brush-off. He then flips the question, rationalizing that maybe “bitches wanna kill n****s”; that there’s women who “don’t have their sh** together” and makes the distinction that rappers aren’t talking about women who are intelligent with ambition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These same themes of exceptionalism and compartmentalization come around often enough that they repeatedly obscure the point hampton is trying to drive in the discourse. Even with her feminist theory and moments of fearlessness, try as she might, her voice is not cutting through just yet. Maybe because her audience never really wants to change or maybe because it’s a dichotomous thesis she’s still wrestling with herself.\u003c/p>\n\u003cp>One of the last scenes in the doc finds hampton on-camera, looking downward at the Hudson River as she travels on the Staten Island Ferry. As her eyelashes brush the far-off Twin Towers in the Manhattan background, hampton appears introspective and frustrated. She’d just had a debate with Wu-Tang Clan’s Method Man, who’s no more than 23 at the time, about his own misogynistic lyrics. “I don’t like when brothers make distinctions between women like some of us are hoodrats and some of us are goddesses. I think that we’re all goddesses,” hampton says to a friend. She remembers her interview with \u003ca href=\"https://www.kqed.org/arts/13934043/leila-steinberg-tupac-shakur-manager\">Tupac Shakur\u003c/a>, not shown in the film, annoyed with her missed opportunity, admitting, “I don’t know if I was challenging enough.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though the film promises never-before-seen footage of hip-hop greats, \u003cem>It Was All a Dream \u003c/em>is really a nostalgic, nascent Trojan horse, one that shows the important, imperfect, initial seed-sowing of the deeper questions we’re still tilling as a hip-hop culture today.\u003c/p>\n\u003chr>\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": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"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.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
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