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"content": "\u003cp>It seems the film industry’s reputation is in a perpetual state of lament. \u003cem>They don’t make them like they used to\u003c/em> can be and often is applied to movie stars, special effects, non-franchise screenplays, erotic thrillers, rom-coms.\u003c/p>\n\u003cp>There’s validity to these concerns, though every now and then, a new movie comes along with a strong whiff of throwback energy — deliberate yet breezy pacing, crackling banter that’s at once contemporary and timeless, and a performance that convinces you a star’s been born right here in this moment on screen. And with it comes the warm reminder that they still \u003cem>can \u003c/em>make them like they used to, and sometimes still do. Richard Linklater’s sexy, nihilistic comedy \u003cem>Hit Man\u003c/em> is one of those movies.\u003c/p>\n\u003cp>[aside postid='arts_13958891']Glen Powell is Gary Johnson, a conventionally attractive yet aggressively plain psych and philosophy professor at the University of New Orleans. He’s the type of unassuming jean shorts-wearing guy who blends easily into the background and is perfectly content being boring; he lives alone in the suburbs with two cats named Ego and Id, drives a Honda Civic, and appears to have no social life to speak of.\u003c/p>\n\u003cp>His sole quirk, if we’re going to call it that, is that he moonlights with the New Orleans Police Department, and as the movie begins, that part-time gig suddenly kicks into overdrive. When dirtbag undercover detective Jasper (Austin Amelio) is suspended for a police brutality case, Gary replaces him as the department’s go-to fake hit man, meeting with — and arresting — all varieties of disgruntled recruiters as “Ron.” It turns out Gary relishes convincing unsuspecting strangers he’s a cold-blooded assassin. He researches his would-be “clients” to tailor his persona to their hit man fantasies, using an array of elaborate costumes, wigs, and fake makeup. For one suspect, he eerily resembles Patrick Bateman.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DXwa8DKIK7g\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Hit Man \u003c/em>sounds wacky in premise, but it’s loosely based on a \u003ca href=\"https://www.texasmonthly.com/true-crime/hit-man-2/\">\u003cem>Texas Monthly\u003c/em> profile\u003c/a> of a real Gary Johnson, who worked on-call for the Houston Police Department and was dubbed the “Laurence Olivier” of undercover murder-for-hire investigations. Linklater and Powell, who co-wrote the screenplay, take the bones of Johnson’s story and embellish it for cinematic effect, slipping from a slick, lightly comical procedural in the first act to an erotic cat-and-mouse game by the film’s climax.\u003c/p>\n\u003cp>Like the private detective archetype in film noir, Gary is eventually hired by a gorgeous young woman, except in this case, she’s looking to off her controlling husband. Maddy (Adria Arjona) is, of course, pouty and flirty and femme fatale-y, and gets him entangled in quite a compromising pickle.\u003c/p>\n\u003cfigure id=\"attachment_13959389\" class=\"wp-caption aligncenter\" style=\"max-width: 1466px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959389\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM.png\" alt=\"A woman leans back, eyes closed against a man in a lover's embrace.\" width=\"1466\" height=\"906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM.png 1466w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-800x494.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-1020x630.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-768x475.png 768w\" sizes=\"(max-width: 1466px) 100vw, 1466px\">\u003cfigcaption class=\"wp-caption-text\">Adria Arjona as Madison and Glen Powell as Gary Johnson in ’Hit Man.‘ \u003ccite>(Brian Roedel/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story stays grounded by avoiding a few present-day pop culture clichés — thankfully there are no obvious needle-drops here — and the clear, electric chemistry between Powell and Arjona, whose dynamic evokes Jack and Karen’s frenetic dalliance in \u003cem>Out of Sight\u003c/em>.\u003c/p>\n\u003cp>But above all, this is Powell’s movie. It’s almost too easy to draw direct parallels between him and Gary, but sometimes the most obvious thing is also the most correct. The actor’s been kicking around Hollywood for some time now, more recently playing an antagonist in \u003cem>Top Gun: Maverick\u003c/em> and \u003ca href=\"https://www.nytimes.com/2024/04/23/movies/anyone-but-you-sydney-sweeney-glen-powell.html\">whipping gossip blogs into a frenzy\u003c/a> with his \u003cem>Anyone But You \u003c/em>co-star Sydney Sweeney. Yet like Gary the professor, he’s been more of a side salad than an entrée, inoffensive and fine, not exactly memorable.\u003c/p>\n\u003cp>[aside postid='arts_13959268']Ron the fake-contract-killer affords Gary the chance to tap into a part of himself that’s far more fascinating, and Powell plays this uber-confident side to the hilt. When Ron utters a corny catchphrase about pie with a straight face or goes off on a smooth tangent in great detail about how he’ll “dispose” of a body, Glen Powell, capital-M Movie Star suddenly makes sense as a concept.\u003c/p>\n\u003cp>\u003cem>Hit Man\u003c/em>’s final act is the kind you either go with or get frustrated by. It’s a big swing that tests the limits of suspending disbelief. But the movie’s driving theme reflects curiosity about the human capacity for change and self-creation, a struggle to decipher where the “real” essence of you begins and/or ends. In Gary, Linklater and Powell find a character who cleverly demonstrates how anyone, especially a movie actor, can mold the persona they wish to have — with the right tools.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hit Man’ begins streaming on Netflix on June 7, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Hit Man \u003c/em>sounds wacky in premise, but it’s loosely based on a \u003ca href=\"https://www.texasmonthly.com/true-crime/hit-man-2/\">\u003cem>Texas Monthly\u003c/em> profile\u003c/a> of a real Gary Johnson, who worked on-call for the Houston Police Department and was dubbed the “Laurence Olivier” of undercover murder-for-hire investigations. Linklater and Powell, who co-wrote the screenplay, take the bones of Johnson’s story and embellish it for cinematic effect, slipping from a slick, lightly comical procedural in the first act to an erotic cat-and-mouse game by the film’s climax.\u003c/p>\n\u003cp>Like the private detective archetype in film noir, Gary is eventually hired by a gorgeous young woman, except in this case, she’s looking to off her controlling husband. Maddy (Adria Arjona) is, of course, pouty and flirty and femme fatale-y, and gets him entangled in quite a compromising pickle.\u003c/p>\n\u003cfigure id=\"attachment_13959389\" class=\"wp-caption aligncenter\" style=\"max-width: 1466px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959389\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM.png\" alt=\"A woman leans back, eyes closed against a man in a lover's embrace.\" width=\"1466\" height=\"906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM.png 1466w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-800x494.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-1020x630.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-768x475.png 768w\" sizes=\"(max-width: 1466px) 100vw, 1466px\">\u003cfigcaption class=\"wp-caption-text\">Adria Arjona as Madison and Glen Powell as Gary Johnson in ’Hit Man.‘ \u003ccite>(Brian Roedel/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story stays grounded by avoiding a few present-day pop culture clichés — thankfully there are no obvious needle-drops here — and the clear, electric chemistry between Powell and Arjona, whose dynamic evokes Jack and Karen’s frenetic dalliance in \u003cem>Out of Sight\u003c/em>.\u003c/p>\n\u003cp>But above all, this is Powell’s movie. It’s almost too easy to draw direct parallels between him and Gary, but sometimes the most obvious thing is also the most correct. The actor’s been kicking around Hollywood for some time now, more recently playing an antagonist in \u003cem>Top Gun: Maverick\u003c/em> and \u003ca href=\"https://www.nytimes.com/2024/04/23/movies/anyone-but-you-sydney-sweeney-glen-powell.html\">whipping gossip blogs into a frenzy\u003c/a> with his \u003cem>Anyone But You \u003c/em>co-star Sydney Sweeney. Yet like Gary the professor, he’s been more of a side salad than an entrée, inoffensive and fine, not exactly memorable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ron the fake-contract-killer affords Gary the chance to tap into a part of himself that’s far more fascinating, and Powell plays this uber-confident side to the hilt. When Ron utters a corny catchphrase about pie with a straight face or goes off on a smooth tangent in great detail about how he’ll “dispose” of a body, Glen Powell, capital-M Movie Star suddenly makes sense as a concept.\u003c/p>\n\u003cp>\u003cem>Hit Man\u003c/em>’s final act is the kind you either go with or get frustrated by. It’s a big swing that tests the limits of suspending disbelief. But the movie’s driving theme reflects curiosity about the human capacity for change and self-creation, a struggle to decipher where the “real” essence of you begins and/or ends. In Gary, Linklater and Powell find a character who cleverly demonstrates how anyone, especially a movie actor, can mold the persona they wish to have — with the right tools.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hit Man’ begins streaming on Netflix on June 7, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We start — why not? — with a veggie burger.\u003c/p>\n\u003cp>Lucy (Dakota Johnson) and Jane (Sonoya Mizuno), besties in their 30s, have been so close for so long that when they meet at the diner, Jane can just recite Lucy’s regular order: Veggie burger and sweet potato fries.\u003c/p>\n\u003cp>[aside postid='arts_13958959']And so when, late into \u003cem>Am I Ok?\u003c/em>, Lucy goes rogue and orders a tomato and spinach omelet, there’s a look of subtle hurt that flits across Jane’s face. It seems silly — it was just a veggie burger — but to Jane it signifies something familiar and comforting that’s now gone.\u003c/p>\n\u003cp>There are similarly sweet, subtle touches peppered through this debut directorial effort by Tig Notaro and Stephanie Allynne — touches that land much better than the occasional attempts at broad humor that feel forced, or at least like a different movie (for example, the dialogue given to Jane’s boss, played by Sean Hayes).\u003c/p>\n\u003cp>And of course, there’s Johnson herself, the obvious focus of the lingering camera throughout, and for good reason: her always-winning authenticity, shining through in film after film even at times when the material around her feels thin.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The story here is simple and heartfelt. It’s a coming-out tale, but with the twist that the person coming out is 32, a decade (or even two) later than in most stories we see.\u003c/p>\n\u003cp>This particular story belongs to the film’s writer, Lauren Pomerantz, who came out when she was 34. Her closeness to the proceedings is evident in a few startlingly poignant moments — for example, the pain that Lucy feels when a straight woman toys with her emotions (and more). It’s one of the most moving passages in the film.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b80FbdimIHs\u003c/p>\n\u003cp>After an opening montage that establishes the female friendship at the core of the movie, we begin at the aforementioned diner, with Jane telling Lucy (over the aforementioned veggie burger) that she really needs to get together with a certain cute male friend who obviously likes her: “Just do it,” she says. Lucy can’t explain why she doesn’t want to.\u003c/p>\n\u003cp>[aside postid='arts_13958855']Meanwhile, Jane, the more professionally advanced of the two, has a major life change coming. Her boss offers her the chance to leave Los Angeles and set up a London office. Plus, her very nice boyfriend (Jermaine Fowler, not given enough to work with for too much of the film) is coming along. But for Lucy, this news is devastating — and you can tell by the unconvincing way she keeps saying “Awesome!” when Jane tells her one evening over drinks.\u003c/p>\n\u003cp>After lots of tequila, the two friends end up crying together, as close friends do (at least in the movies) in the bathroom while peeing, and then later, on a sleepover. There, Lucy finally tells Jane that she likes girls.\u003c/p>\n\u003cp>Jane is nothing if not supportive. In fact, ever ambitious, she tells Lucy she’ll be “the star of the lesbian community.” And she resolves to help her find a woman, starting with an excursion to a gay bar. However, it’s Jane who winds up kissing a woman on the dance floor. Lucy flees, embarrassed.\u003c/p>\n\u003cp>But there’s this sensuous masseuse (Kiersey Clemons) at the spa where Lucy’s a receptionist. Brittany is flirting like crazy with Lucy, who finally gets up the courage to respond. She brings Lucy out of her shell, but with ultimately disheartening results. And Lucy’s on the outs now with Jane, normally the first person she’d call with any heartache.\u003c/p>\n\u003cp>This movie may be about a pair of friends, but witnessing the supremely watchable Johnson navigate uncertainty and sadness, it’s Lucy’s life you’ll find yourself caring about most. A last-minute obstacle to Jane’s well-laid plans for her trip to London rings a bit false — or maybe it just seems wedged in as if to say, well, both women have issues.\u003c/p>\n\u003cp>[aside postid='arts_13958728']In any case, It’s been a good month for female buddy comedies. While Pamela Adlon’s comedy \u003cem>Babes\u003c/em>, went all in for the raunch inherent in childbirth, \u003cem>Am I OK?\u003c/em> goes for a sweeter, soulful vibe. It feels good that we end up where we began — back at that table in the diner, hashing stuff out. The ultimate message here may be simple, but it’s comforting: friendships may change but can still adapt, withstand and survive.\u003c/p>\n\u003cp>Even when a veggie burger yields to an omelet.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Am I OK?’ begins streaming on Max on June 6, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We start — why not? — with a veggie burger.\u003c/p>\n\u003cp>Lucy (Dakota Johnson) and Jane (Sonoya Mizuno), besties in their 30s, have been so close for so long that when they meet at the diner, Jane can just recite Lucy’s regular order: Veggie burger and sweet potato fries.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And so when, late into \u003cem>Am I Ok?\u003c/em>, Lucy goes rogue and orders a tomato and spinach omelet, there’s a look of subtle hurt that flits across Jane’s face. It seems silly — it was just a veggie burger — but to Jane it signifies something familiar and comforting that’s now gone.\u003c/p>\n\u003cp>There are similarly sweet, subtle touches peppered through this debut directorial effort by Tig Notaro and Stephanie Allynne — touches that land much better than the occasional attempts at broad humor that feel forced, or at least like a different movie (for example, the dialogue given to Jane’s boss, played by Sean Hayes).\u003c/p>\n\u003cp>And of course, there’s Johnson herself, the obvious focus of the lingering camera throughout, and for good reason: her always-winning authenticity, shining through in film after film even at times when the material around her feels thin.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The story here is simple and heartfelt. It’s a coming-out tale, but with the twist that the person coming out is 32, a decade (or even two) later than in most stories we see.\u003c/p>\n\u003cp>This particular story belongs to the film’s writer, Lauren Pomerantz, who came out when she was 34. Her closeness to the proceedings is evident in a few startlingly poignant moments — for example, the pain that Lucy feels when a straight woman toys with her emotions (and more). It’s one of the most moving passages in the film.\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/b80FbdimIHs'\n title='//www.youtube.com/embed/b80FbdimIHs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After an opening montage that establishes the female friendship at the core of the movie, we begin at the aforementioned diner, with Jane telling Lucy (over the aforementioned veggie burger) that she really needs to get together with a certain cute male friend who obviously likes her: “Just do it,” she says. Lucy can’t explain why she doesn’t want to.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Meanwhile, Jane, the more professionally advanced of the two, has a major life change coming. Her boss offers her the chance to leave Los Angeles and set up a London office. Plus, her very nice boyfriend (Jermaine Fowler, not given enough to work with for too much of the film) is coming along. But for Lucy, this news is devastating — and you can tell by the unconvincing way she keeps saying “Awesome!” when Jane tells her one evening over drinks.\u003c/p>\n\u003cp>After lots of tequila, the two friends end up crying together, as close friends do (at least in the movies) in the bathroom while peeing, and then later, on a sleepover. There, Lucy finally tells Jane that she likes girls.\u003c/p>\n\u003cp>Jane is nothing if not supportive. In fact, ever ambitious, she tells Lucy she’ll be “the star of the lesbian community.” And she resolves to help her find a woman, starting with an excursion to a gay bar. However, it’s Jane who winds up kissing a woman on the dance floor. Lucy flees, embarrassed.\u003c/p>\n\u003cp>But there’s this sensuous masseuse (Kiersey Clemons) at the spa where Lucy’s a receptionist. Brittany is flirting like crazy with Lucy, who finally gets up the courage to respond. She brings Lucy out of her shell, but with ultimately disheartening results. And Lucy’s on the outs now with Jane, normally the first person she’d call with any heartache.\u003c/p>\n\u003cp>This movie may be about a pair of friends, but witnessing the supremely watchable Johnson navigate uncertainty and sadness, it’s Lucy’s life you’ll find yourself caring about most. A last-minute obstacle to Jane’s well-laid plans for her trip to London rings a bit false — or maybe it just seems wedged in as if to say, well, both women have issues.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In any case, It’s been a good month for female buddy comedies. While Pamela Adlon’s comedy \u003cem>Babes\u003c/em>, went all in for the raunch inherent in childbirth, \u003cem>Am I OK?\u003c/em> goes for a sweeter, soulful vibe. It feels good that we end up where we began — back at that table in the diner, hashing stuff out. The ultimate message here may be simple, but it’s comforting: friendships may change but can still adapt, withstand and survive.\u003c/p>\n\u003cp>Even when a veggie burger yields to an omelet.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Am I OK?’ begins streaming on Max on June 6, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13959231\" class=\"wp-caption aligncenter\" style=\"max-width: 818px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959231\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-3.29.01-PM.png\" alt=\"A book cover with a cream background and red flames rising.\" width=\"818\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-3.29.01-PM.png 818w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-3.29.01-PM-800x1185.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-3.29.01-PM-160x237.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-3.29.01-PM-768x1138.png 768w\" sizes=\"(max-width: 818px) 100vw, 818px\">\u003cfigcaption class=\"wp-caption-text\">‘Fire Exit’ by Morgan Talty is out now. \u003ccite>(Tin House Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Morgan Talty has followed up on the success of his prize-winning story collection \u003cem>Night of the Living Rez\u003c/em> with a poignant first novel that explores the charged question of what constitutes identity — family or tribe?\u003c/p>\n\u003cp>[aside postid='arts_13958826']\u003cem>Fire Exit\u003c/em> is narrated by a white man named Charles, who lives across the river from the Penobscot Nation in Maine. For years he has watched from afar as Elizabeth, the child he fathered with a Native woman, grows up on the reservation with her mother, Mary, and her Native stepfather, Roger. He longs to tell her the truth about her paternity, but Mary insists on keeping it a secret.\u003c/p>\n\u003cp>Charles’ desire is driven in part by a history of mental illness in his family. When the novel opens, his mother, Louise, who has suffered for years from bouts of severe depression, is also exhibiting symptoms of dementia. She is at risk of losing any memory of their shared history as a family, a history that Charles wants Elizabeth to know.\u003c/p>\n\u003cp>Sadly for Charles, biology has been destiny. The son of a white mother and father, he was raised on the reservation by Louise and her second husband, Fredrick, a Native man. But at age 18, he had to leave the reservation because of a tribal law that barred anyone who was not Native from living on the land. It was that same law that prompted Mary to tell him, after she found out she was pregnant with his child, “The baby can’t be yours.”\u003c/p>\n\u003cp>[aside postid='arts_13959155']Charles, however, has little use for the complicated, controversial “blood quantum” rules that many tribes use to keep track of citizenship, which are based on the idea that the amount of “Indian blood” in an individual can be quantified. Despite his racial identity as a white man, he feels connected to the people and the land where he grew up. “It was Fredrick’s love that made me feel Native. He loved me so much that I was, and still am, convinced that I was from him, part of him… That was how I felt about Elizabeth.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The conflict between Mary and Charles comes to a head when Elizabeth, who has grown up to be a deeply troubled young woman, goes missing and Charles is enlisted to help find her during a nor’easter of epic proportions. It is a gripping ending to a thoughtful, heartfelt exploration of what it means to be part of a family and a community. Is it a matter of blood, biology or simply the bonds of love?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Fire Exit’ by Morgan Talty is out now, via Tin House Books. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>For decades, Los Ángeles Azules have opened their live performances with the refrain “de Iztapalapa para el mundo” (“from Iztapalapa to the world”), a message that reflects how their flavor of cumbia from Iztapalapa, Mexico City has become a global institution.\u003c/p>\n\u003cp>But at their Sunday performance at the first-ever Festival La Onda at the Napa Valley Expo, the group shared with the audience of thousands a slightly different message: “de Iztapalapa para Napa” — “from Iztapalapa to Napa.”\u003c/p>\n\u003cp>Indeed, Iztapalapa had reached Napa. And so had the Latin American diaspora. On June 1-2, La Onda filled Napa Valley with a star-studded lineup of Spanish-speaking artists. The creators of the event — the same team that produced \u003ca href=\"https://www.kqed.org/arts/13958567/bottlerock-2024-photo-highlights-recap\">BottleRock\u003c/a> just a week before — wanted to create a major music festival dedicated to the Latino community of the Bay Area.\u003c/p>\n\u003cp>And they succeeded.\u003c/p>\n\u003cfigure id=\"attachment_13959000\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Farruko performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reggaetón star Farruko had the crowd jumping on Saturday with hits like “Pepas” and “La Tóxica.” Chilean indie artist Mon Laferte had fans in tears when she performed “Tu Falta de Querer” and “Si tú me quisieras.” Danna Paola — who began her career at just four years old on Mexican television and reached global fame after joining Netflix’s \u003cem>Élite\u003c/em> in 2018 — proclaimed the start of Pride month with “TQ Y YA,” a queer love anthem that proclaims in its chorus “amor es amor y que nadie se meta” (“love is love and nobody else needs to get involved”).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The festival was truly blessed with its lineup of superstars from both rock en español and regional mexicano. Never has the Bay Area seen these two worlds come together so seamlessly. Rockero icons like Café Tacvba, Maná and Maldita Vecindad blasted timeless hits only a few couple hundred feet from where regional artists like Eslabón Armado, Junior H, Yahritza y su Esencia and La Arrolladora performed.\u003c/p>\n\u003cfigure id=\"attachment_13959059\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959059\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Maná performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans at the festival were just as diverse as the genres represented on stage. Thousands of Latinos from all over the West Coast filled the Napa Valley Expo grounds. Perhaps only at \u003ca href=\"https://www.kqed.org/news/11987764/carnaval-san-francisco-celebrates-46-years-with-spectacular-mission-street-parade\">Carnaval San Francisco\u003c/a> do you see so many young Latinos and families together in one place. Rancheros, rockeros, bichotas, bellacos, homegirls, chavorrucos and more were all in the house.\u003c/p>\n\u003cp>While the majority of the crowd could be spotted with vaqueras and waving Mexican flags, there definitely were fans rocking Colombian vueltiao sombreros, Salvadoran jerseys and bandanas with Nicaraguan flags.\u003c/p>\n\u003cfigure id=\"attachment_13959058\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959058\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fans watch Fuerza Regida perform at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s no doubt now that a festival featuring only Latino artists — playing music essentially only in Spanish — can succeed in the Bay Area.\u003c/p>\n\u003cp>And most importantly, the Latino community of the North Bay was very well represented. Over a third of Napa County’s population identifies as Latino and the region’s world famous wine industry, which brings billions of dollars in investment and tourism, depends on the labor of tens of thousands of Latino and Indigenous workers.\u003c/p>\n\u003cp>Natalie Arana, who lives in Napa County and came with her husband, says she immediately signed up for the ticket presale when she heard a Latino music festival was coming. “It made me very happy that they’re finally doing something for us because there’s so many of us here,” she said, and added that her whole family works in the wine industry. “We are honestly the ones that make this place run.”\u003c/p>\n\u003cp>Will she be coming back next year?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Of course! ¡Claro que sí!”\u003c/p>\n\u003cfigure id=\"attachment_13958997\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958997\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees watch Danna Paola perform at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958994\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958994\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Danna Paola performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958991\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958991\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mauricio Castro (center) dances with his friend at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959003\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959003\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Los Ángeles Azules perform at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959007\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959007\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esmeralda Figueroa (left) and her husband Jose Hurtado dance in front of the Verizon Stage as Los Ángeles Azules perform at La Onda festival on Saturday, June 1, 2024. The two live in Napa splurged on tickets to the festival to see Los Ángeles Azules. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959011\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959011\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Junior H performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959019\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959019\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alejandro Fernández performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959021\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959021\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival-goers cheer exuberantly at the Verizon Stage as Alejandro Fernández delivers a captivating performance at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959022\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fans at the Verizon Stage sing along passionately as Alejandro Fernández performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959023\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees wear ponchos as temperatures drop at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959063\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959063\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Maná performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959068\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959068\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather at the La Onda stage as Maná headlines La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959069\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959069\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lourdes Diaz Mota (center) enjoys Maná’s performance late into the night at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959071\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959071\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd sways to the beat as Maná performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959038\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959038\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dancers perform a traditional Aztec ceremony at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959039\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959039\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sara Velez (left) and her sister Bianett Velez proudly flaunt matching Maná shirts at La Onda festival on Sunday, June 2, 2024. The siblings traveled from Stockton to see Maná and attend their first festival together. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959040\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959040\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fans watch a lucha libre match during La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959043\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959043\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Napa resident Manuel De la Pena shouts with delight as he watches a lucha libre match at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959044\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959044\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees walk past Catrina sculptures, among the vibrant decorations honoring Latinx culture at La Onda festival on Sunday, June 2, 2024 at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959045\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959045\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eslabon Armado performs at La Onda festival on Sunday, June 2, 2024.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959048\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959048\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Enthusiastic fans in the front row of the Verizon Stage wave roses as Eslabon Armado performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959051\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959051\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Café Tacvba performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fuerza Regida performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959064\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959064\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather at the Verizon Stage as Fuerza Regida performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959065\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959065\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees dance as Fuerza Regida performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Latinos from all over the West Coast came to Napa to see Maná, Junior H, Los Ángeles Azules and more.",
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"title": "PHOTOS: Festival La Onda Made a Star-Studded Debut in Napa | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For decades, Los Ángeles Azules have opened their live performances with the refrain “de Iztapalapa para el mundo” (“from Iztapalapa to the world”), a message that reflects how their flavor of cumbia from Iztapalapa, Mexico City has become a global institution.\u003c/p>\n\u003cp>But at their Sunday performance at the first-ever Festival La Onda at the Napa Valley Expo, the group shared with the audience of thousands a slightly different message: “de Iztapalapa para Napa” — “from Iztapalapa to Napa.”\u003c/p>\n\u003cp>Indeed, Iztapalapa had reached Napa. And so had the Latin American diaspora. On June 1-2, La Onda filled Napa Valley with a star-studded lineup of Spanish-speaking artists. The creators of the event — the same team that produced \u003ca href=\"https://www.kqed.org/arts/13958567/bottlerock-2024-photo-highlights-recap\">BottleRock\u003c/a> just a week before — wanted to create a major music festival dedicated to the Latino community of the Bay Area.\u003c/p>\n\u003cp>And they succeeded.\u003c/p>\n\u003cfigure id=\"attachment_13959000\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_11-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Farruko performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reggaetón star Farruko had the crowd jumping on Saturday with hits like “Pepas” and “La Tóxica.” Chilean indie artist Mon Laferte had fans in tears when she performed “Tu Falta de Querer” and “Si tú me quisieras.” Danna Paola — who began her career at just four years old on Mexican television and reached global fame after joining Netflix’s \u003cem>Élite\u003c/em> in 2018 — proclaimed the start of Pride month with “TQ Y YA,” a queer love anthem that proclaims in its chorus “amor es amor y que nadie se meta” (“love is love and nobody else needs to get involved”).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The festival was truly blessed with its lineup of superstars from both rock en español and regional mexicano. Never has the Bay Area seen these two worlds come together so seamlessly. Rockero icons like Café Tacvba, Maná and Maldita Vecindad blasted timeless hits only a few couple hundred feet from where regional artists like Eslabón Armado, Junior H, Yahritza y su Esencia and La Arrolladora performed.\u003c/p>\n\u003cfigure id=\"attachment_13959059\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959059\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_62-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Maná performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans at the festival were just as diverse as the genres represented on stage. Thousands of Latinos from all over the West Coast filled the Napa Valley Expo grounds. Perhaps only at \u003ca href=\"https://www.kqed.org/news/11987764/carnaval-san-francisco-celebrates-46-years-with-spectacular-mission-street-parade\">Carnaval San Francisco\u003c/a> do you see so many young Latinos and families together in one place. Rancheros, rockeros, bichotas, bellacos, homegirls, chavorrucos and more were all in the house.\u003c/p>\n\u003cp>While the majority of the crowd could be spotted with vaqueras and waving Mexican flags, there definitely were fans rocking Colombian vueltiao sombreros, Salvadoran jerseys and bandanas with Nicaraguan flags.\u003c/p>\n\u003cfigure id=\"attachment_13959058\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959058\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_61-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fans watch Fuerza Regida perform at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s no doubt now that a festival featuring only Latino artists — playing music essentially only in Spanish — can succeed in the Bay Area.\u003c/p>\n\u003cp>And most importantly, the Latino community of the North Bay was very well represented. Over a third of Napa County’s population identifies as Latino and the region’s world famous wine industry, which brings billions of dollars in investment and tourism, depends on the labor of tens of thousands of Latino and Indigenous workers.\u003c/p>\n\u003cp>Natalie Arana, who lives in Napa County and came with her husband, says she immediately signed up for the ticket presale when she heard a Latino music festival was coming. “It made me very happy that they’re finally doing something for us because there’s so many of us here,” she said, and added that her whole family works in the wine industry. “We are honestly the ones that make this place run.”\u003c/p>\n\u003cp>Will she be coming back next year?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Of course! ¡Claro que sí!”\u003c/p>\n\u003cfigure id=\"attachment_13958997\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958997\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_08-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees watch Danna Paola perform at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958994\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958994\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_05-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Danna Paola performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958991\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958991\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_02-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mauricio Castro (center) dances with his friend at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959003\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959003\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_14-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Los Ángeles Azules perform at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959007\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959007\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_18-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esmeralda Figueroa (left) and her husband Jose Hurtado dance in front of the Verizon Stage as Los Ángeles Azules perform at La Onda festival on Saturday, June 1, 2024. The two live in Napa splurged on tickets to the festival to see Los Ángeles Azules. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959011\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959011\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_22-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Junior H performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959019\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959019\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_30-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alejandro Fernández performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959021\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959021\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival-goers cheer exuberantly at the Verizon Stage as Alejandro Fernández delivers a captivating performance at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959022\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_33-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fans at the Verizon Stage sing along passionately as Alejandro Fernández performs at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959023\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_34-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees wear ponchos as temperatures drop at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959063\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959063\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_66-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Maná performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959068\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959068\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_71-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather at the La Onda stage as Maná headlines La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959069\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959069\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_72-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lourdes Diaz Mota (center) enjoys Maná’s performance late into the night at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959071\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959071\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_74-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd sways to the beat as Maná performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959038\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959038\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_41-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dancers perform a traditional Aztec ceremony at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959039\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959039\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_42-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sara Velez (left) and her sister Bianett Velez proudly flaunt matching Maná shirts at La Onda festival on Sunday, June 2, 2024. The siblings traveled from Stockton to see Maná and attend their first festival together. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959040\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959040\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_43-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fans watch a lucha libre match during La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959043\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959043\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_46-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Napa resident Manuel De la Pena shouts with delight as he watches a lucha libre match at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959044\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959044\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_47-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees walk past Catrina sculptures, among the vibrant decorations honoring Latinx culture at La Onda festival on Sunday, June 2, 2024 at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959045\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959045\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_48-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eslabon Armado performs at La Onda festival on Sunday, June 2, 2024.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959048\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959048\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_51-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Enthusiastic fans in the front row of the Verizon Stage wave roses as Eslabon Armado performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959051\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959051\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_54-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Café Tacvba performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_59-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fuerza Regida performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959064\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959064\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_67-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather at the Verizon Stage as Fuerza Regida performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13959065\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959065\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_68-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees dance as Fuerza Regida performs at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "the-dead-dont-hurt-review-viggo-mortensen-western-vicky-krieps",
"title": "‘The Dead Don’t Hurt’ Is a Tender Love Story and a Subversive Western",
"publishDate": 1717188970,
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"headTitle": "‘The Dead Don’t Hurt’ Is a Tender Love Story and a Subversive Western | KQED",
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"content": "\u003cp>One of the many charms of \u003cem>The Dead Don’t Hurt\u003c/em> is that you can’t immediately tell whether it’s trying to be an old-fashioned Western or a revisionist one. It has a lot of familiar genre signposts: men riding horses across rugged landscapes, a bloody shootout in a saloon, and two actors, \u003ca href=\"https://www.npr.org/2007/09/13/14384937/cronenberg-mortensen-making-eastern-promises\">Viggo Mortensen\u003c/a> and \u003ca href=\"https://www.npr.org/2022/12/25/1145471861/vicky-krieps-plays-the-rebellious-empress-elisabeth-in-new-period-film-corsage\">Vicky Krieps\u003c/a>, who bring traditional movie-star charisma to a tender love story.\u003c/p>\n\u003cp>[aside postid='arts_13958735']But at times the film feels casually subversive. The first of those horsemen we see is not a cowboy but a knight in shining armor — a figure out of a child’s fantastical dream. And then there’s the way the movie plays with time: That shootout, which technically happens at the end of the story, is instead shown at the very beginning.\u003c/p>\n\u003cp>Mortensen, who wrote and directed the movie, trusts us to know the Western well enough by now that he can play around with the form without losing our attention. He isn’t attempting a radical reinvention of the genre, but he is using its conventions to tell a different and politically resonant kind of story.\u003c/p>\n\u003cfigure id=\"attachment_13958962\" class=\"wp-caption aligncenter\" style=\"max-width: 1444px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958962\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM.png\" alt=\"An old west cowboy sits next to his horse on a bench, reading a book.\" width=\"1444\" height=\"946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM.png 1444w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM-768x503.png 768w\" sizes=\"(max-width: 1444px) 100vw, 1444px\">\u003cfigcaption class=\"wp-caption-text\">Viggo Mortensen plays Holger Olsen in ‘The Dead Don’t Hurt.’ \u003ccite>(Marcel-Zyskind/ Shout! Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s especially significant that the two lead characters are both immigrants. Mortensen stars as Holger Olsen, a wandering Danish-born carpenter who finds himself in San Francisco in the 1860s. That’s where he meets Vivienne, a French Canadian florist, played by Krieps, who’s every bit as independent-minded as he is.\u003c/p>\n\u003cp>The two fall in love, and Vivienne moves with Olsen to a dusty Nevada town called Elk Flats. Because the story is told out of sequence, we already know some bad things are headed their way, but for now, the mood is light and even comical as Vivienne grouchily sets about tidying their wooden shack of a home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Vivienne isn’t one for domestic confinement, and she soon gets a job bartending at the saloon, where she catches the eye of one of the nastiest customers in town: Weston Jeffries, played by Solly McLeod, the brutish son of a wealthy rancher. Meanwhile, with the Civil War under way, Olsen decides to join the Union Army, to Vivienne’s fury.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Xgv25Ni_jv0\u003c/p>\n\u003cp>One of the best things about \u003cem>The Dead Don’t Hurt\u003c/em> is that it honors Vivienne’s grit and capability while also acknowledging how alone and vulnerable she is in this hostile, male-dominated environment. Several months after Olsen leaves, Vivienne gives birth to a baby boy under circumstances that are shrouded in some mystery. Years later, Olsen returns to Vivienne and the child, but it isn’t an entirely happy reunion, and they face a grim reckoning with the town and some of its most corrupt individuals.\u003c/p>\n\u003cp>[aside postid='arts_13958855']Mortensen made his feature directing debut with the 2020 drama \u003cem>Falling\u003c/em>, in which he played a gay man trying to take care of his ailing, bigoted father. With \u003cem>The Dead Don’t Hurt\u003c/em>, he uses a story set in the past to comment on issues that are still with us in the present, from male violence against women to the complexity of immigrant relationships with their adopted country. Even as Vivienne embraces her life as an American settler, she proudly clings to her French Canadian roots, sometimes dreamily recalling the stories her mother told her about Joan of Arc — an obvious hero for a woman trying to forge her own unorthodox path through life.\u003c/p>\n\u003cp>As a director, Mortensen handles the material with quiet assurance; even when he cuts back and forth through time, he never loses the narrative thread. He also gives a gently grounded performance as Olsen, a decent man who sometimes makes impulsive, reckless decisions.\u003c/p>\n\u003cp>But this is ultimately Krieps’ movie. She’s often played women chafing against their proscribed stations in life, in dramas like \u003cem>Phantom Thread\u003c/em> and \u003cem>Corsage\u003c/em>. Here, she captures the indomitable spirit of a woman who’s making her way in a strange land and is determined to find and nurture beauty in even the harshest circumstances.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Dead Don’t Hurt’ is released nationwide on May 31, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the many charms of \u003cem>The Dead Don’t Hurt\u003c/em> is that you can’t immediately tell whether it’s trying to be an old-fashioned Western or a revisionist one. It has a lot of familiar genre signposts: men riding horses across rugged landscapes, a bloody shootout in a saloon, and two actors, \u003ca href=\"https://www.npr.org/2007/09/13/14384937/cronenberg-mortensen-making-eastern-promises\">Viggo Mortensen\u003c/a> and \u003ca href=\"https://www.npr.org/2022/12/25/1145471861/vicky-krieps-plays-the-rebellious-empress-elisabeth-in-new-period-film-corsage\">Vicky Krieps\u003c/a>, who bring traditional movie-star charisma to a tender love story.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But at times the film feels casually subversive. The first of those horsemen we see is not a cowboy but a knight in shining armor — a figure out of a child’s fantastical dream. And then there’s the way the movie plays with time: That shootout, which technically happens at the end of the story, is instead shown at the very beginning.\u003c/p>\n\u003cp>Mortensen, who wrote and directed the movie, trusts us to know the Western well enough by now that he can play around with the form without losing our attention. He isn’t attempting a radical reinvention of the genre, but he is using its conventions to tell a different and politically resonant kind of story.\u003c/p>\n\u003cfigure id=\"attachment_13958962\" class=\"wp-caption aligncenter\" style=\"max-width: 1444px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958962\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM.png\" alt=\"An old west cowboy sits next to his horse on a bench, reading a book.\" width=\"1444\" height=\"946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM.png 1444w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM-768x503.png 768w\" sizes=\"(max-width: 1444px) 100vw, 1444px\">\u003cfigcaption class=\"wp-caption-text\">Viggo Mortensen plays Holger Olsen in ‘The Dead Don’t Hurt.’ \u003ccite>(Marcel-Zyskind/ Shout! Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s especially significant that the two lead characters are both immigrants. Mortensen stars as Holger Olsen, a wandering Danish-born carpenter who finds himself in San Francisco in the 1860s. That’s where he meets Vivienne, a French Canadian florist, played by Krieps, who’s every bit as independent-minded as he is.\u003c/p>\n\u003cp>The two fall in love, and Vivienne moves with Olsen to a dusty Nevada town called Elk Flats. Because the story is told out of sequence, we already know some bad things are headed their way, but for now, the mood is light and even comical as Vivienne grouchily sets about tidying their wooden shack of a home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Vivienne isn’t one for domestic confinement, and she soon gets a job bartending at the saloon, where she catches the eye of one of the nastiest customers in town: Weston Jeffries, played by Solly McLeod, the brutish son of a wealthy rancher. Meanwhile, with the Civil War under way, Olsen decides to join the Union Army, to Vivienne’s fury.\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/Xgv25Ni_jv0'\n title='//www.youtube.com/embed/Xgv25Ni_jv0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of the best things about \u003cem>The Dead Don’t Hurt\u003c/em> is that it honors Vivienne’s grit and capability while also acknowledging how alone and vulnerable she is in this hostile, male-dominated environment. Several months after Olsen leaves, Vivienne gives birth to a baby boy under circumstances that are shrouded in some mystery. Years later, Olsen returns to Vivienne and the child, but it isn’t an entirely happy reunion, and they face a grim reckoning with the town and some of its most corrupt individuals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mortensen made his feature directing debut with the 2020 drama \u003cem>Falling\u003c/em>, in which he played a gay man trying to take care of his ailing, bigoted father. With \u003cem>The Dead Don’t Hurt\u003c/em>, he uses a story set in the past to comment on issues that are still with us in the present, from male violence against women to the complexity of immigrant relationships with their adopted country. Even as Vivienne embraces her life as an American settler, she proudly clings to her French Canadian roots, sometimes dreamily recalling the stories her mother told her about Joan of Arc — an obvious hero for a woman trying to forge her own unorthodox path through life.\u003c/p>\n\u003cp>As a director, Mortensen handles the material with quiet assurance; even when he cuts back and forth through time, he never loses the narrative thread. He also gives a gently grounded performance as Olsen, a decent man who sometimes makes impulsive, reckless decisions.\u003c/p>\n\u003cp>But this is ultimately Krieps’ movie. She’s often played women chafing against their proscribed stations in life, in dramas like \u003cem>Phantom Thread\u003c/em> and \u003cem>Corsage\u003c/em>. Here, she captures the indomitable spirit of a woman who’s making her way in a strange land and is determined to find and nurture beauty in even the harshest circumstances.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Dead Don’t Hurt’ is released nationwide on May 31, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘The Lehman Trilogy’ at ACT: Phenomenal Acting, But Too Kind to Finance",
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"content": "\u003cp>\u003cem>The Lehman Trilogy\u003c/em>, which opened at A.C.T. Wednesday in San Francisco, is a three-and-a-half hour tour de force of impeccable acting talent. On Broadway, it won five Tony Awards, including Best Play. It is a thrill to watch. It will also evaporate your faith in this country’s financial system, and the willingness of theater to challenge its abuses.\u003c/p>\n\u003cp>A chronological telling of the Lehman Brothers as both a family and a company, the play opens in 1844, when Henry Lehman arrives in New York from Bavaria. Filled with reverence for the promise of America, he moves to Montgomery, Alabama, and is soon joined by his brothers Emanuel and Mayer, who help run the Lehman general store.\u003c/p>\n\u003cfigure id=\"attachment_13958916\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958916\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Aaron Krohn (Mayer Lehman), John Heffernan (Henry Lehman), and Howard W. Overshown (Emanuel Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over three acts, the Lehmans serve as a proxy for a history of U.S. finance. Slavery, the Civil War, various tragedies and downturns — the Lehmans, as middlemen, find a way to profit from all of it. They go from buying and selling commodities to investing their millions into industry, technology and, ultimately, the intangible concept of investing itself. (As one character bellows: “Money is a ghost! Money is numbers! Money is air!”)\u003c/p>\n\u003cp>Every actor on stage delivers jaw-dropping performances. In \u003cem>The Lehman Trilogy\u003c/em>’s masterclass, actors John Hefferman, Aaron Krohn and Howard W. Overshown play their roles, narrate the action, occupy new characters and impersonate others, often in the same 10-second span. With exact pacing from famed director Sam Mendes, and a taut script by Stefano Massini, these are experts at their craft. The set design by Es Devlin is similarly dazzling — a plain office of boxes and furniture on a turntable, constantly and imaginatively transformed against a semicircle of projected backdrops.\u003c/p>\n\u003cfigure id=\"attachment_13958919\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958919\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Howard W. Overshown (Emanuel Lehman), John Heffernan (Henry Lehman), and Aaron Krohn (Mayer Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But at the end of each act, I had to ask myself: Where is any sort of indictment for the Lehmans’ rampant greed and exploitation?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a Horatio Alger story of the opportunity of America, \u003cem>The Lehman Trilogy\u003c/em> too often lionizes rather than criticizes the firm that played a leading role in the financial collapse and subsequent Great Recession. It jumps from the 1960s to 2008 in a short matter of minutes, skipping entirely over the Reagan era, deregulation, the repeal of the Glass-Steagall Act, adjustable rate mortgages, credit default swaps, foreclosed homes and the many who suffered and died at the hands of Wall Street run amok.\u003c/p>\n\u003cfigure id=\"attachment_13958918\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958918\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Howard W. Overshown (Emanuel Lehman), Aaron Krohn (Mayer Lehman), and John Heffernan (Henry Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I repeat: the acting is astonishing. But while the play’s final image on stage is mesmerizing, after three and a half hours of humanizing the Lehman Brothers firm, the play doesn’t present its bankruptcy and collapse as comeuppance so much as a sad loss of one family’s American dream.\u003c/p>\n\u003cp>Thousands of other American families, meanwhile, would like a word.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Lehman Trilogy’ runs through June 23 at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2023-24-season/the-lehman-trilogy/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Lehman Trilogy\u003c/em>, which opened at A.C.T. Wednesday in San Francisco, is a three-and-a-half hour tour de force of impeccable acting talent. On Broadway, it won five Tony Awards, including Best Play. It is a thrill to watch. It will also evaporate your faith in this country’s financial system, and the willingness of theater to challenge its abuses.\u003c/p>\n\u003cp>A chronological telling of the Lehman Brothers as both a family and a company, the play opens in 1844, when Henry Lehman arrives in New York from Bavaria. Filled with reverence for the promise of America, he moves to Montgomery, Alabama, and is soon joined by his brothers Emanuel and Mayer, who help run the Lehman general store.\u003c/p>\n\u003cfigure id=\"attachment_13958916\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958916\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Aaron Krohn (Mayer Lehman), John Heffernan (Henry Lehman), and Howard W. Overshown (Emanuel Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over three acts, the Lehmans serve as a proxy for a history of U.S. finance. Slavery, the Civil War, various tragedies and downturns — the Lehmans, as middlemen, find a way to profit from all of it. They go from buying and selling commodities to investing their millions into industry, technology and, ultimately, the intangible concept of investing itself. (As one character bellows: “Money is a ghost! Money is numbers! Money is air!”)\u003c/p>\n\u003cp>Every actor on stage delivers jaw-dropping performances. In \u003cem>The Lehman Trilogy\u003c/em>’s masterclass, actors John Hefferman, Aaron Krohn and Howard W. Overshown play their roles, narrate the action, occupy new characters and impersonate others, often in the same 10-second span. With exact pacing from famed director Sam Mendes, and a taut script by Stefano Massini, these are experts at their craft. The set design by Es Devlin is similarly dazzling — a plain office of boxes and furniture on a turntable, constantly and imaginatively transformed against a semicircle of projected backdrops.\u003c/p>\n\u003cfigure id=\"attachment_13958919\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958919\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Howard W. Overshown (Emanuel Lehman), John Heffernan (Henry Lehman), and Aaron Krohn (Mayer Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But at the end of each act, I had to ask myself: Where is any sort of indictment for the Lehmans’ rampant greed and exploitation?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a Horatio Alger story of the opportunity of America, \u003cem>The Lehman Trilogy\u003c/em> too often lionizes rather than criticizes the firm that played a leading role in the financial collapse and subsequent Great Recession. It jumps from the 1960s to 2008 in a short matter of minutes, skipping entirely over the Reagan era, deregulation, the repeal of the Glass-Steagall Act, adjustable rate mortgages, credit default swaps, foreclosed homes and the many who suffered and died at the hands of Wall Street run amok.\u003c/p>\n\u003cfigure id=\"attachment_13958918\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958918\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Howard W. Overshown (Emanuel Lehman), Aaron Krohn (Mayer Lehman), and John Heffernan (Henry Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I repeat: the acting is astonishing. But while the play’s final image on stage is mesmerizing, after three and a half hours of humanizing the Lehman Brothers firm, the play doesn’t present its bankruptcy and collapse as comeuppance so much as a sad loss of one family’s American dream.\u003c/p>\n\u003cp>Thousands of other American families, meanwhile, would like a word.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Lehman Trilogy’ runs through June 23 at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2023-24-season/the-lehman-trilogy/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are moments when the spark of creation suddenly ignites and history stops. Like when the Wright brothers got a plane to fly. Or when Oreo added double filling. Maybe just as resonant was when Jim Henson cut up his mother’s green coat into odd shapes and added ping-pong balls for eyes.\u003c/p>\n\u003cp>At that moment, he birthed Kermit the Frog, who would go on to enchant generations. Kermit’s humble beginnings are part of the engrossing and enlightening documentary \u003cem>Jim Henson Idea Man\u003c/em> and it’s apt to start with the sweetly outgoing Kermit, who is in many ways Henson’s alter ego.\u003c/p>\n\u003cp>[aside postid='arts_13958728']The Ron Howard-directed Disney+ movie is a kinetic mix of show clips, interviews, bloopers, behind-the-scenes workplace videos, home movies and artist sketches — as animated as Henson’s Muppets, who educated millions on \u003cem>Sesame Street\u003c/em> and entertained even more on \u003cem>The Muppet Show\u003c/em>.\u003c/p>\n\u003cp>Viewers are walked chronologically through Henson’s early life in rural Mississippi, his teaming up with his wife, Jane, on early late-night TV appearances, his often oddball sensibility, his self-doubt, embrace of educational TV, his marriage crumbling, the red-hot height of fame and then the fall with \u003cem>Labyrinth\u003c/em>. It’s a definitive as you can get. We even learn why he chose to grow a beard: acne scars.\u003c/p>\n\u003cp>It’s also a portrait of a driven, brilliant creative man who wanted to be taken seriously as an artist and had lifelong ambivalent feelings about becoming America’s favorite preschool entertainer. Writer Mark Monroe makes it seem as if he often felt straightjacketed, like an arm stuck in a puppet’s felt body.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Watchers will walk away with a deeper understanding of a man who had such an outsized presence in their childhoods. Once you realize that Henson was, in his heart of hearts, really a experimental filmmaker, you better understand the whacky, psychedelic videos on \u003cem>Sesame Street\u003c/em> or why The Great Gonzo eats a rubber car tire to “Flight of the Bumblebee.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iyGFV6VIxkI\u003c/p>\n\u003cp>The voices Howard has wrangled are fantastic, from Frank Oz (the Burt to Henson’s Ernie), puppeteer Fran Brill, puppet builder/costume designer Bonnie Erickson and actors Jennifer Connelly and Rita Moreno. Henson’s own short diary entries — “attend seminar in Cambridge re: Children’s TV workshop” — are also put to good use, as is footage from his funeral, a joyous affair.\u003c/p>\n\u003cp>One weird quibble is the decision by Howard — who apparently met Henson once, briefly — to put his interview subjects in a sterile, grey room with brick walls. Why keep going back there to celebrate a figure who opposed formality?\u003c/p>\n\u003cp>Frank Oz, the voice of Miss Piggy and Ernie who was Henson’s puppeteering partner in crime for decades, is wonderfully honest about his yin-and-yang relationship with Henson — “it was both a joy and a grind” — as are Henson’s children about their father, who died in 1990.\u003c/p>\n\u003cp>[aside postid='arts_13958776']“There’s an honesty and an integrity to what he was creating. He was creating it because he needed to create it,” one says. Another concludes: “He showed that creativity, artistry, metaphor can be used as a great power of good.”\u003c/p>\n\u003cp>There are fascinating moments — like when we learn that Kermit wasn’t originally a frog at all — to ones more sublime, like how Miss Piggy made her dramatic entrance as a star in her own right. (A clip of her flirting with Morley Safer is priceless.) Viewers may shake their head when learning that all the networks initially passed on \u003cem>The Muppet Show\u003c/em> and it had to be made in England.\u003c/p>\n\u003cp>It’s a documentary, ultimately, about creativity and a singular mind, one who dreamed up a gaggle of friends for life: Big Bird, Cookie Monster, the Count and, of course, Kermit, stitched from an old coat.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Jim Henson Idea Man’ premieres on Disney+ on May 31, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Watchers will walk away with a deeper understanding of a man who had such an outsized presence in their childhoods. Once you realize that Henson was, in his heart of hearts, really a experimental filmmaker, you better understand the whacky, psychedelic videos on \u003cem>Sesame Street\u003c/em> or why The Great Gonzo eats a rubber car tire to “Flight of the Bumblebee.”\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/iyGFV6VIxkI'\n title='//www.youtube.com/embed/iyGFV6VIxkI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The voices Howard has wrangled are fantastic, from Frank Oz (the Burt to Henson’s Ernie), puppeteer Fran Brill, puppet builder/costume designer Bonnie Erickson and actors Jennifer Connelly and Rita Moreno. Henson’s own short diary entries — “attend seminar in Cambridge re: Children’s TV workshop” — are also put to good use, as is footage from his funeral, a joyous affair.\u003c/p>\n\u003cp>One weird quibble is the decision by Howard — who apparently met Henson once, briefly — to put his interview subjects in a sterile, grey room with brick walls. Why keep going back there to celebrate a figure who opposed formality?\u003c/p>\n\u003cp>Frank Oz, the voice of Miss Piggy and Ernie who was Henson’s puppeteering partner in crime for decades, is wonderfully honest about his yin-and-yang relationship with Henson — “it was both a joy and a grind” — as are Henson’s children about their father, who died in 1990.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In August 1926, a 19-year-old New Yorker named Trudy Ederle became the first woman to swim the English Channel. Only five men had finished the 21-mile trek from Cape Gris-Nez in France to Kingsdown Beach in England before — a harrowing journey through frigid waters, unpredictable tides, currents and swarms of jellyfish. Ederle swam 35 miles that day and still beat their times by about two hours.\u003c/p>\n\u003cp>[aside postid='arts_13958735']Don’t worry if this doesn’t sound familiar. Ederle is not what you might call a household name, but she soon could be thanks to Daisy Ridley, who portrays the competitive swimmer in the inspirational new film\u003cem> Young Woman and the Sea\u003c/em>. It is a classically made and effectively stirring sports drama for everyone that feels right on the big screen. Families with young daughters should make this a special priority — this is one of those empowering stories that (mostly) avoids cloying cliches.\u003c/p>\n\u003cp>Just don’t try to write a school paper off of the movie or regale pals with your newfound knowledge of Ederle at a summer Olympics party. Written by Jeff Nathanson and directed by Joachim Rønning, the movie takes extensive liberties with some significant details surrounding her history-making swim. It even glosses over the fact that she won a gold medal at the 1924 Olympics in Paris in the 400-meter freestyle relay. \u003cem>Young Woman and the Sea\u003c/em> dwells on the high hopes for Ederle, who had set over a dozen records in women’s swimming, but only won bronze medals by herself.\u003c/p>\n\u003cp>They weren’t going to let facts get in the way of the truth — or, more accurately, a tidy story with symmetry and emotional payoff. If the whole story is what you’re looking for, the film was adapted from Glenn Stout’s exhaustively researched and widely available book \u003cem>Young Woman and the Sea: How Trudy Ederle Conquered the English Channel and Inspired the World\u003c/em>. But we don’t go the movies for a history lesson: We go to be entertained.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7tNvrYzPUrk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This story paints Ederle as a survivor, a child of German immigrants who defeated measles and then rose to defy expectations as an exceptional athlete. By 1920, white women were beginning to make headway in sports like tennis and swimming but still beholden to strict standards of “femininity.” Remember those etiquette classes in \u003cem>A League of Their Own\u003c/em>? In this film, Trudy is assigned a misogynist coach who is more concerned with keeping her separated from the men and on a dainty diet of fruit than actually helping her to succeed with proper nourishment and advice.\u003c/p>\n\u003cp>Nathanson’s script puts a special emphasis on Trudy’s relationship with her sister Meg (Tilda Cobham-Hervey), also a swimmer, and her mother (Jeanette Hain) who pushes for the girls to learn and helps keep them in lessons with a determined instructor, Lottie Epstein (Sian Clifford).\u003c/p>\n\u003cp>[aside postid='arts_13958728']Epstein’s positive influence on Trudy is spotlighted, but the fact of her management of the women’s swimming teams during three Olympic Games in the 1920s is brushed aside in service of creating a male antagonist. Charitably, it is a shorthand way to illuminate the very real sexism they all faced. It also erases Epstein’s real accomplishments in order to do so. This is a film that’s also very, very white, though they do include one Black swimmer who bonds with Ederle as they both train for the Channel.\u003c/p>\n\u003cp>But again, the broader history is there for those who are curious and on its own terms this is a story that will keep you engaged. Much of that has to do with Ridley, who aside from \u003cem>Star Wars\u003c/em> has not been blessed with the most memorable roles. As an executive producer on \u003cem>Young Woman and the Sea\u003c/em>, she is perhaps signaling a new phase in her career in which she has more control over things. Trudy Ederle was a great choice, a perfect melding of actor and character that also shows dimensions we didn’t get to see from Rey.\u003c/p>\n\u003cp>A successful film like this is also a stark reminder that movies have only scratched the surface of the fascinating history of women in competitive sports. It doesn’t seem like a coincidence that more than a few of them have gone on to be classics. But maybe after this and \u003cem>Nyad\u003c/em>, open water swimming can take a bit of a breather.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Young Woman and the Sea’ is released nationwide on May 31, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Epstein’s positive influence on Trudy is spotlighted, but the fact of her management of the women’s swimming teams during three Olympic Games in the 1920s is brushed aside in service of creating a male antagonist. Charitably, it is a shorthand way to illuminate the very real sexism they all faced. It also erases Epstein’s real accomplishments in order to do so. This is a film that’s also very, very white, though they do include one Black swimmer who bonds with Ederle as they both train for the Channel.\u003c/p>\n\u003cp>But again, the broader history is there for those who are curious and on its own terms this is a story that will keep you engaged. Much of that has to do with Ridley, who aside from \u003cem>Star Wars\u003c/em> has not been blessed with the most memorable roles. As an executive producer on \u003cem>Young Woman and the Sea\u003c/em>, she is perhaps signaling a new phase in her career in which she has more control over things. Trudy Ederle was a great choice, a perfect melding of actor and character that also shows dimensions we didn’t get to see from Rey.\u003c/p>\n\u003cp>A successful film like this is also a stark reminder that movies have only scratched the surface of the fascinating history of women in competitive sports. It doesn’t seem like a coincidence that more than a few of them have gone on to be classics. But maybe after this and \u003cem>Nyad\u003c/em>, open water swimming can take a bit of a breather.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Young Woman and the Sea’ is released nationwide on May 31, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Walt Longmire and his deputy are poking around in his basement when she spots a relic of his youth, a hundred-pound Bob Simmons-model surfboard.\u003c/p>\n\u003cp>“You’re too big to surf,” she says.\u003c/p>\n\u003cp>“I didn’t used to be,” he says.\u003c/p>\n\u003cp>She notices that the front of the board is heavily dented.\u003c/p>\n\u003cp>“Tell me about that,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a long story, he replies. In fact, it’s long enough to form the heart of \u003cem>First Frost\u003c/em>, Craig Johnson’s 20th crime novel featuring Longmire, the sheriff of fictional Absaroka County, Wyoming.\u003c/p>\n\u003cp>[aside postid='arts_13958759']Flash back to the summer of 1964. Walt and his pal Henry Standing Bear, whose football careers at the University of Southern California recently came to an end, have enlisted in the military with the expectation that they will be sent to Vietnam. Their plan is to drive cross country to their assigned training facilities, but they have barely made it to Arizona when Walt’s truck runs off the road, stranding them in the small desert town of Bone Valley.\u003c/p>\n\u003cp>The town, they soon find, is as unwelcoming as its name. Get out as soon as you can, they are repeatedly told. Sometimes it’s a warning, sometimes a threat. Clearly something is wrong here, and Walt, already demonstrating the courage and persistence of a future sheriff, can’t let go of the mystery.\u003c/p>\n\u003cp>Meanwhile, back in the present, Longmire is under investigation for a fatal shooting recounted in \u003cem>The Longmire Defense\u003c/em>, last year’s installment of the series. The victim was a member of a wealthy and politically powerful family, which is now out for vengeance.\u003c/p>\n\u003cp>The author moves smoothly between the two time periods, keeping both stories moving at a crisp pace. The old story is the more suspenseful one involving, among other things, murderous drug smugglers, a former judge who runs Bone Valley like a dictator, and a dark secret about the incarceration camps of Japanese Americans during World War II that had once operated nearby.\u003c/p>\n\u003cp>[aside postid='arts_13958760']Johnson’s vivid, tightly written novel may remind readers of \u003cem>Bad Day at Black Rock\u003c/em>, a 1955 film in which an Army veteran played by Spencer Tracy arrives in a western town to deliver a medal and discovers the populace is harboring a dark secret.\u003c/p>\n\u003cp>Readers new to the series won’t have difficulty following the action, and longtime Longmire fans are likely to appreciate how the author fleshes out the main character’s backstory.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘First Frost’ is out now, via Viking.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cfigure id=\"attachment_13958771\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958771\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-29-at-9.55.15-AM.png\" alt=\"A book cover featuring a scalpel on a black background.\" width=\"848\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-29-at-9.55.15-AM.png 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-29-at-9.55.15-AM-800x1145.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-29-at-9.55.15-AM-160x229.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-29-at-9.55.15-AM-768x1099.png 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">‘Butcher’ by Joyce Carol Oates. \u003ccite>(Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now well into her 80s, prolific American author Joyce Carol Oates keeps cranking out the books, most recently the disturbing novel \u003cem>Butcher\u003c/em>.\u003c/p>\n\u003cp>The author of more than 50 novels, including \u003cem>Blonde\u003c/em>, a fictional account of the life of Marilyn Monroe, Oates has often drawn from historical people and events. In \u003cem>Butcher\u003c/em>, she pulls from the authentic documents of 19th century doctors to describe the horrific medical experiments of that time.\u003c/p>\n\u003cp>[aside postid='arts_13958512']The novel tells the story of Dr. Silas Aloysius Weir, through his eldest son and the doctor’s own medical journals during his 35 years as director of New Jersey State Asylum for Female Lunatics in the mid- to late-1880s.\u003c/p>\n\u003cp>Weir, who comes to be known as the “Father of Gyno-Psychiatry,” practices grotesque experiments on women who have been marginalized by society at the asylum in Trenton, where he is banished as a beginning doctor who failed at his first experimental surgery to correct an infant’s misshapen skull. Most of his subjects are women who have been declared insane and locked away at the asylum.\u003c/p>\n\u003cp>Weir gets a job at the institution because it is run by a cousin, then rises to become asylum director when his kinsman dies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At a time when it was believed that a woman’s emotions came from her female organs and a man’s emotions came from his brain, Weir performs a female circumcision on a teen who goes on to kill herself and sterilizes women from races or families he considers to be prone to “immoral & criminal behavior.”\u003c/p>\n\u003cp>He also performs surgeries to correct a fistula, a perforation in the urinary tract usually caused by a difficult pregnancy, on a teenaged indentured servant he becomes obsessed with.\u003c/p>\n\u003cp>Weir’s opinions about women, and mentally ill women in particular, are rife with misogyny and tied largely to their looks.\u003c/p>\n\u003cp>[aside postid='arts_13958255']“In the female in particular, a disheveled appearance, untidy hair & broken fingernails, a strong body odor, above all a failure to dress suitably, including corsetry, were certain symptoms of madness, which the least trained of physicians could identify,” he writes in his journals.\u003c/p>\n\u003cp>Drawing on some themes common in her past books, like sexual abuse and hunger for power, \u003cem>Butcher\u003c/em> also examines the agency girls and women have — or don’t have — over their own bodies amid the current political debates around reproductive rights in a post-Roe v. Wade world.\u003c/p>\n\u003cp>Brigit, the indentured adolescent from Ireland who Weir experiments with, is deaf and mute. That makes her an especially attractive victim without control over her situation in life and unable to communicate.\u003c/p>\n\u003cp>The teenager’s experiences show us not only the lack of agency girls and women had in the 19th century, but serves as a reminder of the battles still fought for female autonomy today.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Butcher’ by Joyce Carol Oates is available now, via Knopf.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“In the female in particular, a disheveled appearance, untidy hair & broken fingernails, a strong body odor, above all a failure to dress suitably, including corsetry, were certain symptoms of madness, which the least trained of physicians could identify,” he writes in his journals.\u003c/p>\n\u003cp>Drawing on some themes common in her past books, like sexual abuse and hunger for power, \u003cem>Butcher\u003c/em> also examines the agency girls and women have — or don’t have — over their own bodies amid the current political debates around reproductive rights in a post-Roe v. Wade world.\u003c/p>\n\u003cp>Brigit, the indentured adolescent from Ireland who Weir experiments with, is deaf and mute. That makes her an especially attractive victim without control over her situation in life and unable to communicate.\u003c/p>\n\u003cp>The teenager’s experiences show us not only the lack of agency girls and women had in the 19th century, but serves as a reminder of the battles still fought for female autonomy today.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Butcher’ by Joyce Carol Oates is available now, via Knopf.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s one of those strange but immutable truths of the movies that a song like Earth, Wind & Fire’s “September” can play in roughly a thousand films before a movie about a dog and a robot comes along and blows them all out of the water.\u003c/p>\n\u003cp>The animated \u003cem>Robot Dreams\u003c/em> is wordless, so the songs play an outsized influence in conjuring its whimsical and gently existential tone. But Pablo Berger’s \u003cem>Robot Dreams\u003c/em>, a 1980s New York-set fable about loved ones who come and go, doesn’t just use “September” for a scene or even two. It’s the soundtrack to the friendship between Dog and Robot (yes, those are the protagonists’ names in this disarmingly simple film), and its melody returns in various forms whenever they’re reminded of each other.\u003c/p>\n\u003cp>[aside postid='arts_13957803']To a remarkable degree, \u003cem>Robot Dreams\u003c/em> has fully imbibed all the melancholy and joy of Earth, Wind & Fire’s disco classic. Just as the song asks “Do you remember?” so too does \u003cem>Robot Dreams\u003c/em>, a sweetly wistful little movie that, like a good pop song, expresses something profound without wasting a word.\u003c/p>\n\u003cp>Remembering is also helpful when it comes to the film, itself. I first saw \u003cem>Robot Dreams\u003c/em> over a year ago at the Cannes Film Festival. Its release comes months after \u003cem>Robot Dreams\u003c/em> was Oscar nominated for best animated film. But for whatever reason, the film is only arriving in North American theaters this Friday.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0CHV_ZDlhrA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s an unconventional release pattern for an unconventional film. \u003cem>Robot Dreams\u003c/em>, adapted from Sara Varon’s 2007 graphic novel, is likewise an all-ages movie in a curious way. It’s very much for kids, but it’s also so mature in its depictions of relationships that older generations may swoon hardest for it.\u003c/p>\n\u003cp>\u003cem>Robot Dreams\u003c/em> begins in the East Village where Dog lives a rather lonely life. Before he sits down to eat a microwave dinner, he notices his solitary reflection in the TV screen. An ad, though, sparks Dog to order the Amica 2000. A few days later, a box arrives, Dog assembles its contents and soon a friendly robot is smiling back at him.\u003c/p>\n\u003cp>[aside postid='arts_13958101']Together, they have a grand old time around a New York colorfully rendered with pointillist detail. They jump the subway turnstiles, visit Woolworths and rollerblade in Central Park (with “September” playing on the boombox). But after an outing to Playland (which looks much more like Coney Island), Robot’s enthusiasm gets him into some trouble. After frolicking in the water, he lies down on the beach and later finds he can’t move. This may be a movie about a Dog who rollerblades and a Robot who eats hot dogs, but the scientific reality of rust is one suspense of disbelief too far for \u003cem>Robot Dreams\u003c/em>.\u003c/p>\n\u003cp>Despite all of Dog’s efforts, Robot is stuck, and, this being September, the beach is soon closed for the off-season. Much of \u003cem>Robot Dreams\u003c/em> passes through the seasons while Robot dreamily sleeps through the winter and Dog is forced to go on with his life, and maybe try to meet someone new.\u003c/p>\n\u003cp>The dreams of each can be surreal; Dog has a bowling alley visit with a snowman who bowls his own head, while Robot imagines a \u003cem>Wizard of Oz\u003c/em>-like fantasy. But both are consumed by fears of their friend’s abandonment while progressively finding new experiences and friends. 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There, too, is a poignant symbol of companions, friends and family members who vanished, but whose memories still stir within us.\u003c/p>\n\u003cp>This is, you might be thinking, a lot for a cartoon about a dog and a robot to evoke. And yet \u003cem>Robot Dreams\u003c/em> does so, beautifully. And it will leave you curiously lifted by the spirit and lyrics of one of the most-played wedding songs of all time: “Only blue talk and love, remember/ The true love we share today.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Robot Dreams’ is released nationwide on May 31, 2024.\u003c/em>\u003c/p>\n\n",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
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"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"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.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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