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Shenjé delves into the past in this work of historical fiction, posing inquiries about Black people’s lives in the Victorian era.\u003c/p>\n\u003cp>[aside postid='arts_13956715']In this 19th-century English story, Florence, an ambitious bookbinder, is expelled from her family home by her harsh and unforgiving father for being with a young man. Florence, a clever and savvy woman, persuades Lord Francis Belfield to let her stay at Rose Hall manor by promising to restore the priceless books in his library in time for an impending sale, assuring him that she is just as skilled as her father. Among Lord Belfield’s minimal staff, Florence stands out as an educated, liberal woman.\u003c/p>\n\u003cp>But Florence is not as polished as she wants her new acquaintances to believe. Being raised by a single father and not knowing her mother, whom she was told is dead, has fostered an emptiness in Florence she thought she could fill with books. She’s adrift and feels unloved. This fragile foundation is fertile ground for the harrowing experiences Florence faces during her stay at the manor.\u003c/p>\n\u003cp>Florence arrives at Rose Hall to find that Lord Banfeild’s wife has died, and the new widower is beside himself with grief. Immediately, Florence finds herself in the middle of a tightly woven plot of family secrets and lies that conveniently shroud the lives of the upper class. She becomes fixated on Lady Persephone’s death and starts investigating suspicious activities around it. During her investigation, she uncovers some dark Banfield family secrets, which include violence, abuse, and “passing” family members. This journey of discovery forces Florence to confront her own identity and the mysteries surrounding her life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some characters in this novel intentionally or unintentionally pass as white because they find it easier than living as a Black person in Victorian England. While the topic of “passing” is frequently explored in literature set in the 1920s and 30s, Shenjé delves into what it means to be a Black person passing in the 19th century. She explores this theme in multiple ways: One character completely abandons their family to live as a white man, another maintains contact with her family but uses her husband’s wealth and influence to hide in plain sight, and the third, and perhaps most intriguing, character lives as a white person without knowing they were actually Black.\u003c/p>\n\u003cp>Florence is uncertain about her own race, and she passionately advocates for the rights of Black people. She often becomes offended by the viewpoints of her friends, neighbors, and even their pastor towards Black people. Florence grew up in a white community and had limited interactions with Black people, other than through books until she met Lady Persephone’s lady’s maid — a beautiful, charming, and highly educated Black woman. “How could a whole sector of humanity once viewed as animals now be writing books and teaching universities and the like? We had been lied to,” she says after a particularly awful sermon propagating the inferiority of African people.\u003c/p>\n\u003cp>[aside postid='arts_13956128']At times, Shenjé’s use of language attempting at inclusivity fails to achieve what appears to be the intended effect. The discussion of gender roles in a highly complex way seems forced and unrealistic. This is especially so when such language and philosophizing are attributed to certain characters in particular.\u003c/p>\n\u003cp>While \u003cem>The Library Thief\u003c/em> doesn’t exactly break new ground when it comes to exploring issues of race and identity, it does have some entertaining elements. Wesley is a standout character who should have received more attention. If a movie adaptation of the character were ever to happen, Patrick Walshe McBride would be an excellent choice to play the part. Shenjé also did an fantastic job planting hints throughout the story that lead to the main character’s true identity. The best part of the book is the unexpected twist at the end that ties up the murder mystery. Kudos to Shenjé for that surprise ending.\u003c/p>\n\u003cp>\u003cem>Keishel Williams is a Trinidadian American book reviewer, arts & culture writer, and editor.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Library Thief’ by Kuchenga Shenjé (Hanover Square Press) is out now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>In sibling directors Bill and Turner Ross’ latest, \u003cem>Gasoline Rainbow\u003c/em>, five Oregon teens just out of high school make their meandering way some 500 miles to reach the coast for what’s been billed as the “End of the World” party.\u003c/p>\n\u003cp>[aside postid='arts_13957223']They are like countless young protagonists before them: on the road to find out. But while they share much of the same yearnings and anxieties of American road travelers from \u003cem>On the Road\u003c/em> to \u003cem>Easy Rider\u003c/em>, the circumstances of their particular coming of age are uniquely theirs — and what’s on the radio dial is, too. “Dude, I want to listen to some Shakira, bro,” one says from the backseat of their van.\u003c/p>\n\u003cp>This being the Ross brothers — the makers of the Texas-Mexico border portrait \u003cem>Western\u003c/em> and \u003cem>Bloody Nose, Empty Pockets\u003c/em>, in which they brought 22 people to a Las Vegas dive bar and asked them to act as though it was closing the next day — we are in a hybrid film world, part documentary, part fiction. Our characters — Micah, Nathaly, Nichole, Tony, Makai — are nonprofessional actors and their journey is a loosely constructed series of encounters that mostly unfold naturally.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1mJJfAobyd4\u003c/p>\n\u003cp>It’s a filmmaking approach that can, in its weaker moments, result in the worst of both worlds: the rambling narrative of documentary and the manufactured quality of fiction. But on the whole, the Ross brothers’ observational, immersive filmmaking gets close to something bracingly real.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the case of \u003cem>Gasoline Rainbow\u003c/em>, which opens in theaters Friday, much is expressed by the land the teens traverse. Whether by car or on foot, their travels take them under highway overpasses, through sprawling train yards and along long rows of wind turbines. Global warming is mentioned only once, but it hovers over their uncertain future. They make their way across baren, dry lands and industrial blight. The name of that party is no coincidence.\u003c/p>\n\u003cp>[aside postid='arts_13957217']Bleak as that may be, \u003cem>Gasoline Rainbow\u003c/em> — which would fit comfortably alongside films like Alma Har’el’s \u003cem>Bombay Beach\u003c/em> and Andrea Arnold’s \u003cem>American Honey\u003c/em> — is most concerned with the question of: So what now? For these young people, unsure of what to do with their lives, getting out on the road provides plenty of answers. The world they’ve been left by older generations may be damaged. “Do you know what the difference is between kids and adults?” one elder tells them. “Adults aren’t supervised.” But there is beauty to be found, like shimmering pools of gasoline, if you’re willing to hit the road and make some new friends.\u003c/p>\n\u003cp>The answer lies most in community — in daring to leave the house, meet strangers and find like-minded souls. Perhaps more than anything, the Ross brothers — with a keen eye for American eccentrics — are interested in gathering together all the most interesting people they can find. And the spirit of camaraderie that results warms just as much as the bonfires gathered round in \u003cem>Gasoline Rainbow\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Gasoline Rainbow’ is released nationwide on May 10, 2024. It reaches the Bay Area on May 17, \u003ca href=\"https://roxie.com/film/gasoline-rainbow/\">screening at San Francisco’s Roxie Theater\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>They are like countless young protagonists before them: on the road to find out. But while they share much of the same yearnings and anxieties of American road travelers from \u003cem>On the Road\u003c/em> to \u003cem>Easy Rider\u003c/em>, the circumstances of their particular coming of age are uniquely theirs — and what’s on the radio dial is, too. “Dude, I want to listen to some Shakira, bro,” one says from the backseat of their van.\u003c/p>\n\u003cp>This being the Ross brothers — the makers of the Texas-Mexico border portrait \u003cem>Western\u003c/em> and \u003cem>Bloody Nose, Empty Pockets\u003c/em>, in which they brought 22 people to a Las Vegas dive bar and asked them to act as though it was closing the next day — we are in a hybrid film world, part documentary, part fiction. Our characters — Micah, Nathaly, Nichole, Tony, Makai — are nonprofessional actors and their journey is a loosely constructed series of encounters that mostly unfold naturally.\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/1mJJfAobyd4'\n title='//www.youtube.com/embed/1mJJfAobyd4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a filmmaking approach that can, in its weaker moments, result in the worst of both worlds: the rambling narrative of documentary and the manufactured quality of fiction. But on the whole, the Ross brothers’ observational, immersive filmmaking gets close to something bracingly real.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Bleak as that may be, \u003cem>Gasoline Rainbow\u003c/em> — which would fit comfortably alongside films like Alma Har’el’s \u003cem>Bombay Beach\u003c/em> and Andrea Arnold’s \u003cem>American Honey\u003c/em> — is most concerned with the question of: So what now? For these young people, unsure of what to do with their lives, getting out on the road provides plenty of answers. The world they’ve been left by older generations may be damaged. “Do you know what the difference is between kids and adults?” one elder tells them. “Adults aren’t supervised.” But there is beauty to be found, like shimmering pools of gasoline, if you’re willing to hit the road and make some new friends.\u003c/p>\n\u003cp>The answer lies most in community — in daring to leave the house, meet strangers and find like-minded souls. Perhaps more than anything, the Ross brothers — with a keen eye for American eccentrics — are interested in gathering together all the most interesting people they can find. And the spirit of camaraderie that results warms just as much as the bonfires gathered round in \u003cem>Gasoline Rainbow\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Gasoline Rainbow’ is released nationwide on May 10, 2024. It reaches the Bay Area on May 17, \u003ca href=\"https://roxie.com/film/gasoline-rainbow/\">screening at San Francisco’s Roxie Theater\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Beautifully Acted ‘Shardlake’ Brings 500-Year-Old Tudor Intrigue Into the Present Day",
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"content": "\u003cp>We live in discordant times, which may be why the turbulent reign of King Henry VIII has enjoyed a revival over the last few years. We’ve had the gleefully trashy TV series \u003ca href=\"https://www.npr.org/2008/03/28/89182466/the-tudors-battles-with-the-truth\">\u003cem>The Tudors\u003c/em>\u003c/a>, the Tony-winning Broadway musical \u003ca href=\"https://www.npr.org/2022/09/01/1120101041/six-the-musical-tiny-desk-concert\">\u003cem>Six\u003c/em>\u003c/a> and — at the high end of achievement — \u003ca href=\"https://www.npr.org/2022/09/23/1124682328/hilary-mantel-author-wolf-hall-dies\">Hilary Mantel\u003c/a>‘s trilogy about Henry’s right-hand-man Thomas Cromwell.\u003c/p>\n\u003cp>Now comes the new Hulu mystery series \u003cem>Shardlake, \u003c/em>based on C.J. Sansom’s first novel in a series about a crime-solving lawyer in 16th-century England. As a rule, I hate historical mysteries and I feared that \u003cem>Shardlake\u003c/em> would serve up the Tudor era’s usual cavalcade of castles, codpieces, clopping horses and quasi-Shakespearean lingo — “Prithee, stop, sirrah!” But to my surprise this odd, beautifully acted show pulled me in.\u003c/p>\n\u003cp>[aside postid='arts_13956737']Arthur Hughes stars as Matthew Shardlake, a bitingly intense London barrister known for his brains and for the curved spine that leads the world to undervalue him. One who sees his value is the king’s minister Thomas Cromwell — played by a domineering Sean Bean — a dangerous man who’s busy stripping the assets of the Catholic church and claiming them for the Crown.\u003c/p>\n\u003cp>As the action begins, Cromwell has just had his envoy murdered in a coastal monastery. He sends Shardlake to find the killer and, in the process, to find evidence of monkish malfeasance that will justify seizing the monastery’s holdings. To keep Shardlake on his toes, he sends along one of his henchmen, brash, impulsive Jack Barak. That’s Anthony Boyle, who plays John Wilkes Booth in the current series \u003ca href=\"https://www.kqed.org/arts/13954052/abraham-lincoln-assassination-plot-apple-tv-show-review-mary-simms\">\u003cem>Manhunt\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Because the monastery is filled with Catholic monks who hate the Protestant king, things are tricky there from the get-go. Not only do Shardlake and Jack keep being lied to, but the murders are just beginning. As they investigate, they both grow smitten with a servant — played by Ruby Ashbourne Serkis — and they start to develop one of those classic detective story partnerships between a brilliant misfit and an earthier, ordinary guy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bDGNwIM0r9g\u003c/p>\n\u003cp>Now, I don’t want to oversell \u003cem>Shardlake\u003c/em>. As a historical show, it lacks the sweeping grandeur of \u003ca href=\"https://www.npr.org/2024/02/27/1233992898/shogun-review-fx\">\u003cem>Shogun\u003c/em>\u003c/a>, another period drama that reminds us that Protestants and Catholics were once at each other’s throats. Nor does it approach Mantel’s richly vibrant vision of Henry VIII’s England, with its divisions and hatreds and social climbing.\u003c/p>\n\u003cp>Yet it has a strong historical atmosphere, especially in showing how Shardlake and Jack find themselves squeezed by powerful forces around them. Both believe they’re doing the right thing in helping Cromwell seize Catholic wealth, thinking it should go to England’s countless poor people. At the same time, they come to realize that, in Cromwell, they’re working for an utterly ruthless politician, one who may have played a key role in setting up Anne Boleyn, whose beheading figures into the plot here.\u003c/p>\n\u003cp>[aside postid='arts_13956944']The show’s finest moments lie in the byplay between its lead actors, played by two of Britain’s rising stars. As the cocky Jack — a lad risen from the streets and terrified of sinking back — Boyle deftly straddles the line between likable and not. You see why he’s been cast to star as a charismatic IRA leader in the upcoming TV adaptation of \u003ca href=\"https://www.npr.org/2021/04/14/986736258/journalist-investigates-crime-story-of-the-sackler-family-and-the-opioid-crisis\">Patrick Radden Keefe\u003c/a>‘s book \u003ca href=\"https://www.npr.org/2019/02/25/697727036/say-nothing-is-a-timely-warning-that-irelands-old-wounds-are-easily-opened\">\u003cem>Say Nothing\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Jack’s extroversion pairs nicely with the tightly wound Shardlake, whose smile is almost a wince. Hughes was the first actor with a disability to ever play Richard III for the Royal Shakespeare Company — he was born with radial dysplasia affecting his right arm — and he doubtless understands Shardlake’s pride in the face of what some consider his physical imperfection. “I’m known for my gait,” Shardlake says. “It is I, and I embrace it.”\u003c/p>\n\u003cp>Such self-assertion is profoundly modern, and for all its Tudor trappings, \u003cem>Shardlake\u003c/em> is filled with present day resonances — not least in its portrait of Cromwell who claims to speak for the people but actually works on behalf of the elite. “The truth must be what we want it to be,” Cromwell declares, and though Shardlake knows this is \u003cem>un\u003c/em>-true, he also knows that saying so can get a man killed.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Shardlake’ is streaming now on Disney+ and Hulu.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We live in discordant times, which may be why the turbulent reign of King Henry VIII has enjoyed a revival over the last few years. We’ve had the gleefully trashy TV series \u003ca href=\"https://www.npr.org/2008/03/28/89182466/the-tudors-battles-with-the-truth\">\u003cem>The Tudors\u003c/em>\u003c/a>, the Tony-winning Broadway musical \u003ca href=\"https://www.npr.org/2022/09/01/1120101041/six-the-musical-tiny-desk-concert\">\u003cem>Six\u003c/em>\u003c/a> and — at the high end of achievement — \u003ca href=\"https://www.npr.org/2022/09/23/1124682328/hilary-mantel-author-wolf-hall-dies\">Hilary Mantel\u003c/a>‘s trilogy about Henry’s right-hand-man Thomas Cromwell.\u003c/p>\n\u003cp>Now comes the new Hulu mystery series \u003cem>Shardlake, \u003c/em>based on C.J. Sansom’s first novel in a series about a crime-solving lawyer in 16th-century England. As a rule, I hate historical mysteries and I feared that \u003cem>Shardlake\u003c/em> would serve up the Tudor era’s usual cavalcade of castles, codpieces, clopping horses and quasi-Shakespearean lingo — “Prithee, stop, sirrah!” But to my surprise this odd, beautifully acted show pulled me in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Arthur Hughes stars as Matthew Shardlake, a bitingly intense London barrister known for his brains and for the curved spine that leads the world to undervalue him. One who sees his value is the king’s minister Thomas Cromwell — played by a domineering Sean Bean — a dangerous man who’s busy stripping the assets of the Catholic church and claiming them for the Crown.\u003c/p>\n\u003cp>As the action begins, Cromwell has just had his envoy murdered in a coastal monastery. He sends Shardlake to find the killer and, in the process, to find evidence of monkish malfeasance that will justify seizing the monastery’s holdings. To keep Shardlake on his toes, he sends along one of his henchmen, brash, impulsive Jack Barak. That’s Anthony Boyle, who plays John Wilkes Booth in the current series \u003ca href=\"https://www.kqed.org/arts/13954052/abraham-lincoln-assassination-plot-apple-tv-show-review-mary-simms\">\u003cem>Manhunt\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Because the monastery is filled with Catholic monks who hate the Protestant king, things are tricky there from the get-go. Not only do Shardlake and Jack keep being lied to, but the murders are just beginning. As they investigate, they both grow smitten with a servant — played by Ruby Ashbourne Serkis — and they start to develop one of those classic detective story partnerships between a brilliant misfit and an earthier, ordinary guy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Fans of the \u003cem>Planet of the Apes\u003c/em> franchise may still be mourning the 2017 death of Caesar, the first smart chimp and the charismatic ape leader. Not to worry: He haunts the next episode, the thrilling, visually stunning \u003cem>Kingdom of the Planet of the Apes\u003c/em>.\u003c/p>\n\u003cp>We actually start with Caesar’s funeral, his body decorated with flowers and then set alight like a Viking, before fast-forwarding “many generations later.” All apes talk now and most humans don’t, reduced to caveman loin cloths and running wide-eyed and scared, evolution in reverse.\u003c/p>\n\u003cp>[aside postid='arts_13957078']Our new hero is the young ape Noa (Owen Teague ) who is like all young adult chimps — seeking his father’s approval (even chimp dads just don’t understand) and testing his bravery. He is part of a clan that raises pet eagles, smokes fish and lives peacefully.\u003c/p>\n\u003cp>That all changes when his village is attacked not by humans but by fellow apes — masked soldiers from a nasty kingdom led by the crown-wearing Proximus Caesar (Kevin Durand, playing it to the hilt). He has taken Caesar’s name but twisted his words to become a tyrannical strongman — sorry, strongape.\u003c/p>\n\u003cp>Unlike the last movie which dealt with man’s inhumanity to animals — concentration camps included — ape-on-ape violence is in the cards for this one, including capturing an entire clan as prisoners. Proximus Caesar’s goons use makeshift cattle prods on fellow apes and force them to work while declaring “For Caesar!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Kdr5oedn7q8\u003c/p>\n\u003cp>Screenwriter Josh Friedman has cleverly created a movie that examines how ancient stories can be hijacked and manipulated, like how Caesar’s non-violent message gets twisted by bad actors. There’s also a lot of \u003cem>Avatar\u003c/em> primitive naivete, and that makes sense since the reboot was shaped by several of that blue alien movie’s makers.\u003c/p>\n\u003cp>The movie poses some uncomfortable questions about collaborationists. William H. Macy plays a human who has become a sort of teacher-prisoner to Proximus Caesar — reading Kurt Vonnegut to him — and won’t fight back. “It is already their world,” he rationalizes.\u003c/p>\n\u003cp>Along for the heroic ride is a human young woman (Freya Allan, a budding star) who is hiding an agenda but offers Noa help along the way. Peter Macon plays a kindly, book-loving orangutan who adds a jolt of gleeful electricity to the movie and is missed when he goes.\u003c/p>\n\u003cp>[aside postid='arts_13956892']The effects are just jaw-dropping, from the ability to see individual hairs on the back of a monkey to the way leaves fall and the crack of tree limbs echoing in the forest. The sight of apes on horseback, which seemed glitchy just seven years ago, are now seamless. There are also inside jokes, like the use of the name Nova again this time.\u003c/p>\n\u003cp>Director Wes Ball nicely handles all the thrilling sequences — though the two-and-a-half hour runtime is somewhat taxing — and some really cool ones, like the sight of apes on horseback on a beach, a nod to the original 1968 movie. And like when the apes look through some old illustrated kids’ books and see themselves depicted in zoo cages. That makes for some awkward human-ape interaction. “What is next for apes? Should we go back to silence?” our hero asks.\u003c/p>\n\u003cp>The movie races to a complex face-off between good and bad apes and good and bad humans outside a hulking silo that holds promise to each group. Can apes and humans live in peace, as Caesar hoped? \u003cem>Kingdom of the Planet of the Apes\u003c/em> doesn’t answer that but it does open up plenty more to ponder. Starting with the potentially crippling proposition of a key death, this franchise has somehow found new vibrancy.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Kingdom of the Planet of the Apes’ is released nationwide on May 10, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The effects are just jaw-dropping, from the ability to see individual hairs on the back of a monkey to the way leaves fall and the crack of tree limbs echoing in the forest. The sight of apes on horseback, which seemed glitchy just seven years ago, are now seamless. There are also inside jokes, like the use of the name Nova again this time.\u003c/p>\n\u003cp>Director Wes Ball nicely handles all the thrilling sequences — though the two-and-a-half hour runtime is somewhat taxing — and some really cool ones, like the sight of apes on horseback on a beach, a nod to the original 1968 movie. And like when the apes look through some old illustrated kids’ books and see themselves depicted in zoo cages. That makes for some awkward human-ape interaction. “What is next for apes? Should we go back to silence?” our hero asks.\u003c/p>\n\u003cp>The movie races to a complex face-off between good and bad apes and good and bad humans outside a hulking silo that holds promise to each group. Can apes and humans live in peace, as Caesar hoped? \u003cem>Kingdom of the Planet of the Apes\u003c/em> doesn’t answer that but it does open up plenty more to ponder. Starting with the potentially crippling proposition of a key death, this franchise has somehow found new vibrancy.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Kingdom of the Planet of the Apes’ is released nationwide on May 10, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the last essay, “On Murder Memoirs,” Dancyger considers the runaway popularity of true crime stories as she tries to explain her decision not to attend the trial of the man charged with killing her cousin — even though she was trained as a journalist and wrote a well-regarded book about her late father that relied on investigative reporting. “When I finally sat down to write about Sabina, the story that came out was not about murder at all,” she says. “It was a love story.”\u003c/p>\n\u003cp>Readers can be thankful that it did.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.penguinrandomhouse.com/books/714347/first-love-by-lilly-dancyger/\">First Love: Essays on Friendship\u003c/a>’ by Lilly Dancyger is released on May 7, 2024 via The Dial Press.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The films of Ryusuke Hamaguchi unspool with elegant everyday ease and yet anything can happen.\u003c/p>\n\u003cp>Lives take sudden detours. Seemingly minor characters become primary ones. People are brought together by mysterious connections. There are even, as in the case of his \u003cem>Asako I & II\u003c/em>, doppelgangers. Soberly naturalistic as Hamaguchi’s movies are, they’re among the most beguilingly unpredictable.\u003c/p>\n\u003cp>That was true of his Oscar-nominated \u003cem>Drive My Car\u003c/em>, which over the course of three hours took winding narrative turns in route to its moving terminus. But it’s doubly so in Hamaguchi’s \u003cem>Evil Does Not Exist\u003c/em>, a shorter and more enigmatic drama but a no less enchanting one.\u003c/p>\n\u003cp>[aside postid='arts_13957217']The first images of \u003cem>Evil Does Not Exist\u003c/em> are looking upward at tree branches against the sky while we move slowly through the forest. It’s a sign of what’s to come in a movie that asks plenty of questions about how we interact with nature, and Hamaguchi holds the shot several times longer than most filmmakers would.\u003c/p>\n\u003cp>The gaze, if it’s anyone’s, is of Hana (Ryo Nishikawa), the 8-year-old daughter of Takumi (Hitoshi Omika), a self-described jack-of-all-trades (though he does little self-describing) who lives with Hana in a rustic cabin in rural Japan. The area is pristine, with fresh spring water running down mountain streams. And Takumi, like most of the local residents, is alert to its splendor. While he and Hana walk through lightly snow-covered woods, he quizzes her on the plant life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But something ominous is tugging at \u003cem>Evil Does Not Exist\u003c/em> despite the assertive certainty of that title. The score, by Eiko Ishibashi, is mournful. The father and daughter come across a dead fawn in the forest. A gunshot is heard from nearby hunters. Later, blood drips from a small branch. It’s maybe not a coincidence that the film’s opening images of trees are followed by a lengthy scene of wood chopping.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zVY4lWfrbME\u003c/p>\n\u003cp>Just what is fragile and wounded in \u003cem>Evil Does Not Exist\u003c/em>, though, isn’t always clear. The serenity is snapped when a company named Playmode comes to town to open a glamping camp for tourists. In a town gathering, a pair of company representatives from Tokyo pitch their plans. During the scene, easily the longest in the film, our attention is mainly on Takumi and other townspeople who quickly and perceptively poke holes in the designs and the ecological impact it will have. “Water always flows downhill,” the village chief says.\u003c/p>\n\u003cp>[aside postid='arts_13957183']From here, \u003cem>Evil Does Not Exist\u003c/em> sticks closer to those two representatives: Takahashi (Ryuji Kosaka) and Mayuzumi (Ayaka Shibutani). In another film, they might be extras or villains, but for Hamaguchi, they’re people, like any others, with their own hopes and regrets. When they, after being pressured by their boss in a meeting over Zoom, return to spend time with Takumi and convince him to be the camp’s caretaker, it’s not clear until the film’s last bewildering and unforgettable moments if they’re becoming friends or if one side will dominate the other.\u003c/p>\n\u003cp>“Balance is key,” one character says of nature in the film. \u003cem>Evil Does Not Exist\u003c/em>, though, is boldly uneven. Its final, harrowing scenes, bathed in an intoxicating mist, pass in a comparative rush. In interviews, Hamaguchi has suggested his movie remains mysterious even to him. It’s a jarring finale but also a devastatingly haunting one that blends a child’s fate with a fawn’s — another doppelganger, maybe — leaving us to ponder an earlier exchange between Takumi and Takahashi about deer the glamping site would displace.\u003c/p>\n\u003cp>“Where would they go?” Takumi asks. “Somewhere else, I guess,” Takashi shrugs.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Evil Does Not Exist’ is released nationwide on May 3, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But something ominous is tugging at \u003cem>Evil Does Not Exist\u003c/em> despite the assertive certainty of that title. The score, by Eiko Ishibashi, is mournful. The father and daughter come across a dead fawn in the forest. A gunshot is heard from nearby hunters. Later, blood drips from a small branch. It’s maybe not a coincidence that the film’s opening images of trees are followed by a lengthy scene of wood chopping.\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/zVY4lWfrbME'\n title='//www.youtube.com/embed/zVY4lWfrbME'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Just what is fragile and wounded in \u003cem>Evil Does Not Exist\u003c/em>, though, isn’t always clear. The serenity is snapped when a company named Playmode comes to town to open a glamping camp for tourists. In a town gathering, a pair of company representatives from Tokyo pitch their plans. During the scene, easily the longest in the film, our attention is mainly on Takumi and other townspeople who quickly and perceptively poke holes in the designs and the ecological impact it will have. “Water always flows downhill,” the village chief says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>From here, \u003cem>Evil Does Not Exist\u003c/em> sticks closer to those two representatives: Takahashi (Ryuji Kosaka) and Mayuzumi (Ayaka Shibutani). In another film, they might be extras or villains, but for Hamaguchi, they’re people, like any others, with their own hopes and regrets. When they, after being pressured by their boss in a meeting over Zoom, return to spend time with Takumi and convince him to be the camp’s caretaker, it’s not clear until the film’s last bewildering and unforgettable moments if they’re becoming friends or if one side will dominate the other.\u003c/p>\n\u003cp>“Balance is key,” one character says of nature in the film. \u003cem>Evil Does Not Exist\u003c/em>, though, is boldly uneven. Its final, harrowing scenes, bathed in an intoxicating mist, pass in a comparative rush. In interviews, Hamaguchi has suggested his movie remains mysterious even to him. It’s a jarring finale but also a devastatingly haunting one that blends a child’s fate with a fawn’s — another doppelganger, maybe — leaving us to ponder an earlier exchange between Takumi and Takahashi about deer the glamping site would displace.\u003c/p>\n\u003cp>“Where would they go?” Takumi asks. “Somewhere else, I guess,” Takashi shrugs.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Evil Does Not Exist’ is released nationwide on May 3, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The school gym. The football field bleachers. The multiplex, the fast food drive-thru, the quiet leaf-covered street where your friend lives.\u003c/p>\n\u003cp>Something about the detail and clarity with which Jane Schoenbrun evokes ’90s suburbia in \u003cem>I Saw the TV Glow\u003c/em> makes you remember growing up there — even if you didn’t.\u003c/p>\n\u003cp>But that’s the thing about memory, isn’t it? It can be distorting.\u003c/p>\n\u003cp>[aside postid='arts_13956892']And that’s what Schoenbrun, an exciting filmmaker on only their second project, is driving home in this tale centered on those angsty school years when you’re trying to fit in, or merely realizing you don’t — particularly, and more intensely, if you are queer or trans and don’t quite know it yet.\u003c/p>\n\u003cp>Schoenbrun has spoken about their own suburban youth in the ‘90s, feeling different but not fully understanding why until years later when they began their own transition. The backstory of Schoenbrun’s own experience is not essential to appreciating their movie, but certainly adds poignancy to some scenes — especially one in which the main character, Owen (Justice Smith, superb), describes the confusion he’s been feeling about himself. Something is wrong with him, he knows, even though his parents won’t say it. He feels like someone has dug out his insides.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Similarly, one need not be an aficionado of ’90s cable TV — particularly \u003cem>Buffy the Vampire Slayer\u003c/em>, which Schoenbrun grew up loving — to understand the huge role that fandom plays in the emotional life of Owen and his new friend, Maddy (Brigette Lundy-Paine). If you were a big fan of any show that aired before the streaming era, you’ll understand instinctively how that intense connection can lead to distorted memories: Watch it today, and what felt scary is now silly. What seemed like art is a cheesy mess.\u003c/p>\n\u003cp>But we remember what we remember for a reason, Schoenbrun is saying, in a film that succeeds most clearly on an emotional level, if the plot eventually feels a bit muddled. (But is that purposeful, another meditation on the selectiveness of memory, or a reflection of the jumbled way we think in youth? Yes, in all likelihood.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kymDzCgPwj0&t=11s\u003c/p>\n\u003cp>We first meet middle-school aged Owen (a wonderfully empathetic Ian Foreman plays this younger version) on Election Day 1996. Owen’s mom (Danielle Deadwyler) takes him into the voting booth at the high school. But Owen’s interested in something else: older student Maddy, who exudes a Goth toughness, reading a book of episodes of \u003cem>The Pink Opaque\u003c/em>, a horror-esque series on cable. Owen has seen the ads, but the show airs past his bedtime: at 10:30 on Saturday nights, just before the Young Adult Network switches to reruns.\u003c/p>\n\u003cp>[aside postid='arts_13957078']Maddy’s in 9th grade; the two-year gap feels enormous. But she is eager to bond over the show. The next Saturday Owen asks his mother if he can sleep at a male friend’s house, but makes his way instead to Maddy’s basement. Thus begins a deep connection to the show which follows two girls who meet at sleepaway camp and learn they connect on an ancient psychic plane. They unite to destroy a new monster each week, monsters ruled by an evil Man in the Moon named Mr. Melancholy.\u003c/p>\n\u003cp>Mr. Melancholy wants to trap Isabel (Helena Howard) and Tara (Lindsey Jordan, aka the musician Snail Mail) in the Midnight Realm, and that one factoid leads to some comic relief: “This isn’t the Midnight Realm,” Owen exclaims to Maddy at one point. “It’s just the suburbs!”\u003c/p>\n\u003cp>But we’re getting ahead of ourselves. Two years go by and Maddy has been leaving Owen VHS tapes of \u003cem>The Pink Opaque\u003c/em> in the school darkroom, annotated with observations. But he still hasn’t been able to see it at 10:30 on a Saturday. Asks his stern father: “Isn’t that a show for girls?” His parents decline his request to stay up late. (Dad, by the way, is played by Fred Durst of Limp Bizkit; also appearing in a cameo is Phoebe Bridgers.)\u003c/p>\n\u003cp>So Owen (Smith, in a lovely and nuanced performance) plans another stealth sleepover. They watch together, and Maddy weeps. She then tells Owen she is leaving town. He is torn about whether to join her. Years go by, and eventually \u003cem>The Pink Opaque\u003c/em> is canceled.\u003c/p>\n\u003cp>Remember when you could touch and collect tapes, albums, that sort of thing? Somehow that seemed more of a concrete relationship with the culture we consume than the equivalent today. You don’t have to worry nowadays about remembering a show wrong: you can always find it somewhere. But you don’t feel you “own” it anymore than you “own” a song on Spotify.\u003c/p>\n\u003cp>Schoenbrun acknowledges this when they show an adult Owen later re-watching his beloved show on streaming and realizing, with sadness and even embarrassment, that nothing’s what it seemed.\u003c/p>\n\u003cp>[aside postid='arts_13955781']But the show’s significance has much deeper meaning. We all love a good escape-to-another-world tale — it’s something we treasure from childhood. But here, in ’90s suburbia, the TV screen becomes a portal not only into an escapist world but also, on another level, to the opposite: a new reality that is not fake at all, a world in which Owen can be himself. The self he may not yet really know.\u003c/p>\n\u003cp>Schoenbrun made their first film, \u003cem>We’re All Going to the World’s Fair\u003c/em>, with, in their own words, “12 people in the woods.” Now, their film is being produced by Emma Stone and released by boutique indie studio A24. It’s a whole different world for them — and a vital new filmmaking voice for us all to follow.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘I Saw the TV Glow’ begins showing in the Bay Area on May 8, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Similarly, one need not be an aficionado of ’90s cable TV — particularly \u003cem>Buffy the Vampire Slayer\u003c/em>, which Schoenbrun grew up loving — to understand the huge role that fandom plays in the emotional life of Owen and his new friend, Maddy (Brigette Lundy-Paine). If you were a big fan of any show that aired before the streaming era, you’ll understand instinctively how that intense connection can lead to distorted memories: Watch it today, and what felt scary is now silly. What seemed like art is a cheesy mess.\u003c/p>\n\u003cp>But we remember what we remember for a reason, Schoenbrun is saying, in a film that succeeds most clearly on an emotional level, if the plot eventually feels a bit muddled. (But is that purposeful, another meditation on the selectiveness of memory, or a reflection of the jumbled way we think in youth? Yes, in all likelihood.)\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/kymDzCgPwj0'\n title='//www.youtube.com/embed/kymDzCgPwj0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We first meet middle-school aged Owen (a wonderfully empathetic Ian Foreman plays this younger version) on Election Day 1996. Owen’s mom (Danielle Deadwyler) takes him into the voting booth at the high school. But Owen’s interested in something else: older student Maddy, who exudes a Goth toughness, reading a book of episodes of \u003cem>The Pink Opaque\u003c/em>, a horror-esque series on cable. Owen has seen the ads, but the show airs past his bedtime: at 10:30 on Saturday nights, just before the Young Adult Network switches to reruns.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Maddy’s in 9th grade; the two-year gap feels enormous. But she is eager to bond over the show. The next Saturday Owen asks his mother if he can sleep at a male friend’s house, but makes his way instead to Maddy’s basement. Thus begins a deep connection to the show which follows two girls who meet at sleepaway camp and learn they connect on an ancient psychic plane. They unite to destroy a new monster each week, monsters ruled by an evil Man in the Moon named Mr. Melancholy.\u003c/p>\n\u003cp>Mr. Melancholy wants to trap Isabel (Helena Howard) and Tara (Lindsey Jordan, aka the musician Snail Mail) in the Midnight Realm, and that one factoid leads to some comic relief: “This isn’t the Midnight Realm,” Owen exclaims to Maddy at one point. “It’s just the suburbs!”\u003c/p>\n\u003cp>But we’re getting ahead of ourselves. Two years go by and Maddy has been leaving Owen VHS tapes of \u003cem>The Pink Opaque\u003c/em> in the school darkroom, annotated with observations. But he still hasn’t been able to see it at 10:30 on a Saturday. Asks his stern father: “Isn’t that a show for girls?” His parents decline his request to stay up late. (Dad, by the way, is played by Fred Durst of Limp Bizkit; also appearing in a cameo is Phoebe Bridgers.)\u003c/p>\n\u003cp>So Owen (Smith, in a lovely and nuanced performance) plans another stealth sleepover. They watch together, and Maddy weeps. She then tells Owen she is leaving town. He is torn about whether to join her. Years go by, and eventually \u003cem>The Pink Opaque\u003c/em> is canceled.\u003c/p>\n\u003cp>Remember when you could touch and collect tapes, albums, that sort of thing? Somehow that seemed more of a concrete relationship with the culture we consume than the equivalent today. You don’t have to worry nowadays about remembering a show wrong: you can always find it somewhere. But you don’t feel you “own” it anymore than you “own” a song on Spotify.\u003c/p>\n\u003cp>Schoenbrun acknowledges this when they show an adult Owen later re-watching his beloved show on streaming and realizing, with sadness and even embarrassment, that nothing’s what it seemed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the show’s significance has much deeper meaning. We all love a good escape-to-another-world tale — it’s something we treasure from childhood. But here, in ’90s suburbia, the TV screen becomes a portal not only into an escapist world but also, on another level, to the opposite: a new reality that is not fake at all, a world in which Owen can be himself. The self he may not yet really know.\u003c/p>\n\u003cp>Schoenbrun made their first film, \u003cem>We’re All Going to the World’s Fair\u003c/em>, with, in their own words, “12 people in the woods.” Now, their film is being produced by Emma Stone and released by boutique indie studio A24. It’s a whole different world for them — and a vital new filmmaking voice for us all to follow.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘I Saw the TV Glow’ begins showing in the Bay Area on May 8, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Make a Circle’ Places Child Care Providers at the Head of the Class",
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"content": "\u003cp>Documentary filmmakers get ideas from \u003cem>New York Times\u003c/em> headlines, naturally, but also from their daily lives. Jen Bradwell and Todd Boekelheide’s \u003cem>Make a Circle\u003c/em> had its genesis in their children.\u003c/p>\n\u003cp>“In about 2019,” Bradwell recalls, “we had a group of preschool teachers come to us and say, ‘We have watched every documentary we can get our hands on about early childhood education, and there’s great stuff about brain development and policy issues, but there’s no actual teachers, or teaching, in any of these films. Can we do some kind of media project that would raise the visibility of our work?’”\u003c/p>\n\u003cp>[aside postID='arts_13956733']The Berkeley filmmakers saw these teachers every day at their three-and-a-half-year-old-daughter’s preschool, which their older daughter had also attended. Yet Boekelheide and Bradwell didn’t fully grasp what the teaching day consisted of, or the ongoing crisis for underpaid professionals often seen as babysitters. They were both shocked and inspired by what they discovered, and crafted a film intended to provoke the same response from audiences.\u003c/p>\n\u003cp>\u003cem>Make A Circle\u003c/em>, Boekelheide and Bradwell’s ambitious nonfiction directing debut after years of composing music for films and editing, respectively, has its world premiere Sunday, May 5 in the California Film Institute’s \u003ca href=\"https://www.doclands.com/\">DocLands Documentary Film Festival\u003c/a> (May 2-5) at the Smith Rafael Film Center in San Rafael.\u003c/p>\n\u003cp>The husband-and-wife team filmed at three Bay Area child care centers: All People’s School in West Berkeley, led by Susan Stevenson and Anne Bauer; Rose’s Daycare in downtown Oakland, led by Charlotte Guinn; and Creative Learning Center in San José, led by Patricia Moran. Guinn and Moran took on roles in Child Care Providers United, a comparatively new movement that’s already made waves in Sacramento.\u003c/p>\n\u003cfigure id=\"attachment_13957156\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000.jpg\" alt=\"Woman in yellow logo shirt raises arm in a crowd other protesters\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13957156\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Patricia Moran at a protest, a scene from ‘Make a Circle.’ \u003ccite>(Courtesy DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We knew we wanted to have a bigger policy lens,” Bradwell says, “so the question became who can we talk to who’s both doing the work and doing advocacy around it? We follow educators that have one foot in the teaching world and – in all their spare time after their 60-to-80-hour workweeks — are trying to do something to make the work better for the people who do it and the parents who need it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The husband-and-wife team started filming a month before COVID, and had a front-row seat for the pandemic’s impact on the fragile child care system. Plenty of parents, caring for and teaching their young children while working full time from home, had a new appreciation for their child care providers. More respect is terrific, of course, but wasn’t a substitute for the lost revenue.\u003c/p>\n\u003cp>“Any place that shut down for a month or two, or a couple families pulled out because they were worried about exposure, there goes the whole business model,” Bradwell explains. “Ninety percent is private payment, so it’s on parents trying to make it work. Most parents are paying college-tuition-level rates for child care and they feel lucky to get it if they do, [although] some people are lucky enough to qualify for a subsidy. Two hundred thousand educators left the field, though that number is [getting better]. Without serious public investment it’s always going to be a house of cards.”\u003c/p>\n\u003cfigure id=\"attachment_13957155\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000.jpg\" alt=\"Two headshots of a woman and man\" width=\"2000\" height=\"985\" class=\"size-full wp-image-13957155\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000-800x394.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000-1020x502.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000-768x378.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000-1536x756.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000-1920x946.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Make a Circle’ co-directors Jen Bradwell and Todd Boekelheide. \u003ccite>(Courtesy DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Make a Circle\u003c/em> includes enough of the COVID period to convey the providers’ skinny tightrope while reminding us of the essential workers whose jobs outside the house made child care providers essential as well. Its steady forward momentum, though, swiftly leaves the pandemic in its wake. “We didn’t want to sit in that eddy,” Boekelheide says, “we wanted to go down the river.”\u003c/p>\n\u003cp>After all, the conditions and challenges that plague child care providers and early educators — low hourly wages, no health or retirements benefits — still exist.\u003c/p>\n\u003cp>“There is a myth about this work that women are naturally more suited to this work, and it is unskilled work, and therefore it should more fall on women of color to do it and we don’t have to pay them accordingly,” Bradwell says. “The lack of regard and support for the work, all those roads lead back to racism and misogyny. And how do you disrupt that stuff? It’s through storytelling.”\u003c/p>\n\u003cp>\u003cem>Make a Circle\u003c/em>, which marks Boekelheide’s first film as a cinematographer after decades of music composing and mixing, tells that narrative through a multitude of sequences in the child care centers themselves.\u003c/p>\n\u003cp>“One of our goals,” Bradwell says, “was to take seriously the experience of young kids and to not infantilize and distance them and treat them as cute or annoying, but try to get into their experience. What are they learning, even in their earliest days, how are they making sense of the world and relationships and all that.”\u003c/p>\n\u003cp>“Every time I went into a classroom to film,” Boekelheide says, “my life became beautiful. The learning is constant; they’re learning all the time.”\u003c/p>\n\u003cfigure id=\"attachment_13957163\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000.jpg\" alt=\"\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13957163\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Children play with a toy colander in a scene from ‘Make a Circle.’ \u003ccite>(Courtesy DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Todd spent a lot of very patient time literally down on their level, just watching stuff unfold,” Bradwell adds. “Kids this age don’t see the camera within a minute of you being there, and they go through a rainbow of cinematic emotions every 10 minutes.”\u003c/p>\n\u003cp>“The kids have incredible BS detectors,” Boekelheide says. “If you’re lying to them, if you’re not fully present, they dismiss you or they destroy you. So these teachers are really present. What is cinema but being present?”\u003c/p>\n\u003cp>Ultimately, \u003cem>Make a Circle\u003c/em> successfully juggles an inside-outside perspective. It showcases the skills and struggles of providers and educators, from one-on-ones in a center to demonstrations at the state capitol. However, the audience that will have the most visceral reaction to the film, in-state and nationally, is parents. \u003c/p>\n\u003cp>“There are 25 million parents in the country who are lucky enough to have access to child care,” Bradwell notes. “That’s a pretty big demographic, and it’s not really a voting issue for people. It’s a private struggle. The film is meant to be an education for parents and hopefully activate them as to what structurally can be done to improve this broken system.”\u003c/p>\n\u003cp>The filmmakers have a strategy to maximize the reach and influence of \u003cem>Make a Circle\u003c/em> during this election year, with a festival run as well as impact screenings at conferences and on Capitol Hill.\u003c/p>\n\u003cp>As for the grand experimenting of co-directing a documentary after numerous jobs working for and with other filmmakers, Boekelheide and Bradwell say they would definitely make another film together.\u003c/p>\n\u003cp>“In some ways,” Bradwell offers, “I would say it’s easier making a film together than parenting together.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Make a Circle’ screens May 5, 2024 at 3:30 p.m. at the Smith Rafael Film Center (1118 4th St., San Rafael) as part of DocLands. \u003ca href=\"https://www.doclands.com/make-a-circle/\">Find tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Berkeley filmmakers saw these teachers every day at their three-and-a-half-year-old-daughter’s preschool, which their older daughter had also attended. Yet Boekelheide and Bradwell didn’t fully grasp what the teaching day consisted of, or the ongoing crisis for underpaid professionals often seen as babysitters. They were both shocked and inspired by what they discovered, and crafted a film intended to provoke the same response from audiences.\u003c/p>\n\u003cp>\u003cem>Make A Circle\u003c/em>, Boekelheide and Bradwell’s ambitious nonfiction directing debut after years of composing music for films and editing, respectively, has its world premiere Sunday, May 5 in the California Film Institute’s \u003ca href=\"https://www.doclands.com/\">DocLands Documentary Film Festival\u003c/a> (May 2-5) at the Smith Rafael Film Center in San Rafael.\u003c/p>\n\u003cp>The husband-and-wife team filmed at three Bay Area child care centers: All People’s School in West Berkeley, led by Susan Stevenson and Anne Bauer; Rose’s Daycare in downtown Oakland, led by Charlotte Guinn; and Creative Learning Center in San José, led by Patricia Moran. Guinn and Moran took on roles in Child Care Providers United, a comparatively new movement that’s already made waves in Sacramento.\u003c/p>\n\u003cfigure id=\"attachment_13957156\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000.jpg\" alt=\"Woman in yellow logo shirt raises arm in a crowd other protesters\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13957156\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Patricia Moran at a protest, a scene from ‘Make a Circle.’ \u003ccite>(Courtesy DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We knew we wanted to have a bigger policy lens,” Bradwell says, “so the question became who can we talk to who’s both doing the work and doing advocacy around it? We follow educators that have one foot in the teaching world and – in all their spare time after their 60-to-80-hour workweeks — are trying to do something to make the work better for the people who do it and the parents who need it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The husband-and-wife team started filming a month before COVID, and had a front-row seat for the pandemic’s impact on the fragile child care system. Plenty of parents, caring for and teaching their young children while working full time from home, had a new appreciation for their child care providers. More respect is terrific, of course, but wasn’t a substitute for the lost revenue.\u003c/p>\n\u003cp>“Any place that shut down for a month or two, or a couple families pulled out because they were worried about exposure, there goes the whole business model,” Bradwell explains. “Ninety percent is private payment, so it’s on parents trying to make it work. Most parents are paying college-tuition-level rates for child care and they feel lucky to get it if they do, [although] some people are lucky enough to qualify for a subsidy. Two hundred thousand educators left the field, though that number is [getting better]. Without serious public investment it’s always going to be a house of cards.”\u003c/p>\n\u003cfigure id=\"attachment_13957155\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000.jpg\" alt=\"Two headshots of a woman and man\" width=\"2000\" height=\"985\" class=\"size-full wp-image-13957155\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000-800x394.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000-1020x502.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000-768x378.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000-1536x756.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000-1920x946.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Make a Circle’ co-directors Jen Bradwell and Todd Boekelheide. \u003ccite>(Courtesy DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Make a Circle\u003c/em> includes enough of the COVID period to convey the providers’ skinny tightrope while reminding us of the essential workers whose jobs outside the house made child care providers essential as well. Its steady forward momentum, though, swiftly leaves the pandemic in its wake. “We didn’t want to sit in that eddy,” Boekelheide says, “we wanted to go down the river.”\u003c/p>\n\u003cp>After all, the conditions and challenges that plague child care providers and early educators — low hourly wages, no health or retirements benefits — still exist.\u003c/p>\n\u003cp>“There is a myth about this work that women are naturally more suited to this work, and it is unskilled work, and therefore it should more fall on women of color to do it and we don’t have to pay them accordingly,” Bradwell says. “The lack of regard and support for the work, all those roads lead back to racism and misogyny. And how do you disrupt that stuff? It’s through storytelling.”\u003c/p>\n\u003cp>\u003cem>Make a Circle\u003c/em>, which marks Boekelheide’s first film as a cinematographer after decades of music composing and mixing, tells that narrative through a multitude of sequences in the child care centers themselves.\u003c/p>\n\u003cp>“One of our goals,” Bradwell says, “was to take seriously the experience of young kids and to not infantilize and distance them and treat them as cute or annoying, but try to get into their experience. What are they learning, even in their earliest days, how are they making sense of the world and relationships and all that.”\u003c/p>\n\u003cp>“Every time I went into a classroom to film,” Boekelheide says, “my life became beautiful. The learning is constant; they’re learning all the time.”\u003c/p>\n\u003cfigure id=\"attachment_13957163\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000.jpg\" alt=\"\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13957163\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Children play with a toy colander in a scene from ‘Make a Circle.’ \u003ccite>(Courtesy DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Todd spent a lot of very patient time literally down on their level, just watching stuff unfold,” Bradwell adds. “Kids this age don’t see the camera within a minute of you being there, and they go through a rainbow of cinematic emotions every 10 minutes.”\u003c/p>\n\u003cp>“The kids have incredible BS detectors,” Boekelheide says. “If you’re lying to them, if you’re not fully present, they dismiss you or they destroy you. So these teachers are really present. What is cinema but being present?”\u003c/p>\n\u003cp>Ultimately, \u003cem>Make a Circle\u003c/em> successfully juggles an inside-outside perspective. It showcases the skills and struggles of providers and educators, from one-on-ones in a center to demonstrations at the state capitol. However, the audience that will have the most visceral reaction to the film, in-state and nationally, is parents. \u003c/p>\n\u003cp>“There are 25 million parents in the country who are lucky enough to have access to child care,” Bradwell notes. “That’s a pretty big demographic, and it’s not really a voting issue for people. It’s a private struggle. The film is meant to be an education for parents and hopefully activate them as to what structurally can be done to improve this broken system.”\u003c/p>\n\u003cp>The filmmakers have a strategy to maximize the reach and influence of \u003cem>Make a Circle\u003c/em> during this election year, with a festival run as well as impact screenings at conferences and on Capitol Hill.\u003c/p>\n\u003cp>As for the grand experimenting of co-directing a documentary after numerous jobs working for and with other filmmakers, Boekelheide and Bradwell say they would definitely make another film together.\u003c/p>\n\u003cp>“In some ways,” Bradwell offers, “I would say it’s easier making a film together than parenting together.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Make a Circle’ screens May 5, 2024 at 3:30 p.m. at the Smith Rafael Film Center (1118 4th St., San Rafael) as part of DocLands. \u003ca href=\"https://www.doclands.com/make-a-circle/\">Find tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Clare Rojas’ New Paintings Depict the Rich Inner Lives of Women",
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"content": "\u003cp>A single painting greets visitors in the entryway of \u003ca href=\"https://jessicasilvermangallery.com/online-shows/clare-rojas-clares-balls/\">Clare Rojas’ latest exhibition\u003c/a> at Jessica Silverman.\u003c/p>\n\u003cp>In it, a man sits in the corner booth of a diner with his legs spread wide and his elbows splayed wider. One protruding arm crumples the flowers in a nearby vase. A woman stares past him down the length of the table looking dejected, maybe a little bored. Her shoulders are hunched and her hands are in her lap. A painting on the wall above depicts a bird, contorted awkwardly, as if pressed against the glass of the frame. It seems stuck. So does she.\u003c/p>\n\u003cp>If something feels a little hackneyed about this piece, titled \u003cem>The Stallion\u003c/em> (the “manspreader” is a well-known trope at this point), head on into the gallery. You’ll find that the painting is better read as a preamble than an opening jab.\u003c/p>\n\u003cfigure id=\"attachment_13957081\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000.jpg\" alt=\"painting of woman and man seated at diner booth\" width=\"2000\" height=\"1464\" class=\"size-full wp-image-13957081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000-1020x747.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000-1536x1124.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000-1920x1405.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Clare Rojas, ‘The Stallion,’ 2024; oil on linen. \u003ccite>(Courtesy of the artist and Jessica Silverman, San Francisco; Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The rest of the show — 22 works in Rojas’ distinctive abstract figurative style, full of sharp lines and flat planes of color — plumbs the psyche of that woman bottled up at the diner. Rojas is interested in her alienation, her relationship to her body, how she must ache to breathe something fresher than the fumes wafting from her companion’s comically large coffee mug. \u003c/p>\n\u003cp>Rojas was born in Columbus, Ohio, but moved to San Francisco in the early aughts, where she became part of the \u003ca href=\"https://en.wikipedia.org/wiki/Mission_School\">Mission School\u003c/a>, a group of artists working in and around the city’s Mission District. The movement engaged in a kind of renegade street art, employing non-traditional materials like spray paint, correction fluid and found objects to make folk-art inspired compositions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13956493']Rojas spent much of this time painting playful, stylized animals amid folksy quilt patterns, often with a feminist bent. Around 2011 she abruptly overhauled her practice, swapping the fairytale figurativism of her early work for straight abstraction. Lately, the two styles have begun to merge. \u003c/p>\n\u003cp>Several of the paintings in the present exhibition feature characters whose bodies have been partially replaced with geometric abstractions: black circles floating on alabaster backgrounds over disembodied legs, or piles of brightly colored shapes arranged to suggest supine women. Rendered with graphic precision and not a small amount of whimsy, they evoke a kind of \u003cem>Alice in Wonderland\u003c/em> discombobulation. \u003c/p>\n\u003cfigure id=\"attachment_13957120\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel.jpg\" alt=\"painting of figure balancing on three spheres at edge of sea cliff\" width=\"2000\" height=\"1796\" class=\"size-full wp-image-13957120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel-800x718.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel-1020x916.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel-768x690.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel-1536x1379.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel-1920x1724.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Clare Rojas, ‘Night Rocks,’ 2024; oil on linen. \u003ccite>(Courtesy of the artist and Jessica Silverman, San Francisco; Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other paintings depict women alone in sprawling picturesque landscapes. In \u003cem>Night Rocks\u003c/em>, a woman wanders a cliffside plateau overlooking a swirling black-blue ocean. In \u003cem>Ducks in a Row\u003c/em>, a lone figure sits along the bank of a pale blue lake, nestled between two majestic trees — one bare down to its capillary branches, the other just beginning to shed. The women are painted with their backs to us and at a distance, giving the compositions a protective quality, as if to say: \u003cem>let them not be disturbed\u003c/em>.\u003c/p>\n\u003cp>Somewhat perplexingly, Rojas has titled the exhibition \u003cem>Clare’s Balls\u003c/em>. This literally refers to a recurring motif in the show of solid-colored circles and spheres, which substitute for eyes, moons, heads, bodies and voids. But the name promises an irreverence better suited to the artist’s earlier work — and her penchant for tongue-in-cheek male nudes — than to the actual paintings on display. \u003c/p>\n\u003cp>Rather than irreverence, Rojas’ show evinces an almost tragic yearning. It is full of women anxious to locate themselves within that diner booth, seeking or savoring respite from \u003cem>The Stallion\u003c/em>’s suffocating encroachment. \u003c/p>\n\u003cfigure id=\"attachment_13957119\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel.jpg\" alt=\"White-walled gallery with one large and three smaller paintings hanging\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13957119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Clare’s Balls’ at Jessica Silverman. \u003ccite>(Courtesy of the artist and Jessica Silverman, San Francisco; Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their malaise produces fantasies, like the red-faced, seafoam-haired woman who roams an otherworldly wild in \u003cem>Blue Boot Bonnie\u003c/em>. And it produces horrors, like the pair of disembodied arms raising eyeballs to a nonexistent head in \u003cem>I Can’t Believe My Eyes\u003c/em>. Birds, those symbols of flight, abound. The longing is palpable even in Rojas’ technique, like how she layers a milky autumnal red over a patchwork of cornflower and lime green in the one lush tree from \u003cem>Ducks in a Row\u003c/em>. The undertones peek out from between brushstrokes, giving the mixture a dazzling richness. You want to submerge yourself in its blaze. You should.\u003c/p>\n\u003cp>This is the real achievement of Rojas’ show: not its balls, but its empathy. Her paintings reflect an insistence on considering the interior life of that woman in the diner — a richer and more interesting project than simply condemning the treatment she endures. The show reminds us that it is possible, when making political art, to make our discontent a means, not an end. In Rojas’ case, it becomes a prism through which to refract herself, 20 times over.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://jessicasilvermangallery.com/online-shows/clare-rojas-clares-balls/\">Clare’s Balls\u003c/a>’ is on view at Jessica Silverman (621 Grant Ave., San Francisco) through June 1, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A single painting greets visitors in the entryway of \u003ca href=\"https://jessicasilvermangallery.com/online-shows/clare-rojas-clares-balls/\">Clare Rojas’ latest exhibition\u003c/a> at Jessica Silverman.\u003c/p>\n\u003cp>In it, a man sits in the corner booth of a diner with his legs spread wide and his elbows splayed wider. One protruding arm crumples the flowers in a nearby vase. A woman stares past him down the length of the table looking dejected, maybe a little bored. Her shoulders are hunched and her hands are in her lap. A painting on the wall above depicts a bird, contorted awkwardly, as if pressed against the glass of the frame. It seems stuck. So does she.\u003c/p>\n\u003cp>If something feels a little hackneyed about this piece, titled \u003cem>The Stallion\u003c/em> (the “manspreader” is a well-known trope at this point), head on into the gallery. You’ll find that the painting is better read as a preamble than an opening jab.\u003c/p>\n\u003cfigure id=\"attachment_13957081\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000.jpg\" alt=\"painting of woman and man seated at diner booth\" width=\"2000\" height=\"1464\" class=\"size-full wp-image-13957081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000-1020x747.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000-1536x1124.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_The-Stallion-2024_CR00385PNT_Phillip-Maisel_2000-1920x1405.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Clare Rojas, ‘The Stallion,’ 2024; oil on linen. \u003ccite>(Courtesy of the artist and Jessica Silverman, San Francisco; Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The rest of the show — 22 works in Rojas’ distinctive abstract figurative style, full of sharp lines and flat planes of color — plumbs the psyche of that woman bottled up at the diner. Rojas is interested in her alienation, her relationship to her body, how she must ache to breathe something fresher than the fumes wafting from her companion’s comically large coffee mug. \u003c/p>\n\u003cp>Rojas was born in Columbus, Ohio, but moved to San Francisco in the early aughts, where she became part of the \u003ca href=\"https://en.wikipedia.org/wiki/Mission_School\">Mission School\u003c/a>, a group of artists working in and around the city’s Mission District. The movement engaged in a kind of renegade street art, employing non-traditional materials like spray paint, correction fluid and found objects to make folk-art inspired compositions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Rojas spent much of this time painting playful, stylized animals amid folksy quilt patterns, often with a feminist bent. Around 2011 she abruptly overhauled her practice, swapping the fairytale figurativism of her early work for straight abstraction. Lately, the two styles have begun to merge. \u003c/p>\n\u003cp>Several of the paintings in the present exhibition feature characters whose bodies have been partially replaced with geometric abstractions: black circles floating on alabaster backgrounds over disembodied legs, or piles of brightly colored shapes arranged to suggest supine women. Rendered with graphic precision and not a small amount of whimsy, they evoke a kind of \u003cem>Alice in Wonderland\u003c/em> discombobulation. \u003c/p>\n\u003cfigure id=\"attachment_13957120\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel.jpg\" alt=\"painting of figure balancing on three spheres at edge of sea cliff\" width=\"2000\" height=\"1796\" class=\"size-full wp-image-13957120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel-800x718.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel-1020x916.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel-768x690.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel-1536x1379.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Night-Rocks-2024_CR00403PNT_Phillip-Maisel-1920x1724.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Clare Rojas, ‘Night Rocks,’ 2024; oil on linen. \u003ccite>(Courtesy of the artist and Jessica Silverman, San Francisco; Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other paintings depict women alone in sprawling picturesque landscapes. In \u003cem>Night Rocks\u003c/em>, a woman wanders a cliffside plateau overlooking a swirling black-blue ocean. In \u003cem>Ducks in a Row\u003c/em>, a lone figure sits along the bank of a pale blue lake, nestled between two majestic trees — one bare down to its capillary branches, the other just beginning to shed. The women are painted with their backs to us and at a distance, giving the compositions a protective quality, as if to say: \u003cem>let them not be disturbed\u003c/em>.\u003c/p>\n\u003cp>Somewhat perplexingly, Rojas has titled the exhibition \u003cem>Clare’s Balls\u003c/em>. This literally refers to a recurring motif in the show of solid-colored circles and spheres, which substitute for eyes, moons, heads, bodies and voids. But the name promises an irreverence better suited to the artist’s earlier work — and her penchant for tongue-in-cheek male nudes — than to the actual paintings on display. \u003c/p>\n\u003cp>Rather than irreverence, Rojas’ show evinces an almost tragic yearning. It is full of women anxious to locate themselves within that diner booth, seeking or savoring respite from \u003cem>The Stallion\u003c/em>’s suffocating encroachment. \u003c/p>\n\u003cfigure id=\"attachment_13957119\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel.jpg\" alt=\"White-walled gallery with one large and three smaller paintings hanging\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13957119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Rojas_Clare-Rojas-Clares-Balls-2024_Jessica-Silverman-Gallery-San-Francisco-California_Installation-view-03_Phillip-Maisel-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Clare’s Balls’ at Jessica Silverman. \u003ccite>(Courtesy of the artist and Jessica Silverman, San Francisco; Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their malaise produces fantasies, like the red-faced, seafoam-haired woman who roams an otherworldly wild in \u003cem>Blue Boot Bonnie\u003c/em>. And it produces horrors, like the pair of disembodied arms raising eyeballs to a nonexistent head in \u003cem>I Can’t Believe My Eyes\u003c/em>. Birds, those symbols of flight, abound. The longing is palpable even in Rojas’ technique, like how she layers a milky autumnal red over a patchwork of cornflower and lime green in the one lush tree from \u003cem>Ducks in a Row\u003c/em>. The undertones peek out from between brushstrokes, giving the mixture a dazzling richness. You want to submerge yourself in its blaze. You should.\u003c/p>\n\u003cp>This is the real achievement of Rojas’ show: not its balls, but its empathy. Her paintings reflect an insistence on considering the interior life of that woman in the diner — a richer and more interesting project than simply condemning the treatment she endures. The show reminds us that it is possible, when making political art, to make our discontent a means, not an end. In Rojas’ case, it becomes a prism through which to refract herself, 20 times over.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://jessicasilvermangallery.com/online-shows/clare-rojas-clares-balls/\">Clare’s Balls\u003c/a>’ is on view at Jessica Silverman (621 Grant Ave., San Francisco) through June 1, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘The Idea of You,’ a Boy Band Is Center Stage but Anne Hathaway Steals the Show",
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"content": "\u003cp>In the warmly charming rom-com \u003cem>The Idea of You\u003c/em>, Anne Hathaway plays a 40-year-old divorcee and Silver Lake art gallery owner who, after taking her teenage daughter to Coachella, becomes romantically involved with a 24-year-old heartthrob in the boy band August Moon. They first meet after she mistakes his trailer for the bathroom.\u003c/p>\n\u003cp>There are a few hundred things about this premise that might be farfetched, including the odds of finding love anywhere near the porta johns of a music festival. But one of them is not that a young star like Hayes Campbell (Nicholas Galitzine) would fall for a single mom like Solène (Hathaway).\u003c/p>\n\u003cp>[aside postid='arts_13956724']Solène is stylish, unimpressed by Hayes’ celebrity and has bangs so perfect they look genetically modified. And, most importantly, she’s Anne Hathaway. In the power dynamics of \u003cem>The Idea of You\u003c/em>, Hayes may be a fictional pop star but Hathaway is a very real movie star. And you don’t forget it for a moment in Michael Showalter’s lightly appealing showcase of the actor at her resplendent best.\u003c/p>\n\u003cp>\u003cem>The Idea of You\u003c/em>, which debuts Thursday on Prime Video, is full of all the kinds of contradictions that can make a rom-com work. The highly glamorous, megawatt-smiling Hathaway is playing a down-to-earth nobody. The showbiz veteran in the movie is played by Galitzine, a less well-known but up-and-coming British actor whose performance in the movie is quite authentic. And even though the whole scenario is undeniably a glossy high-concept Hollywood fairy tale, Showalter gives it enough texture that \u003cem>The Idea of You\u003c/em> comes off more natural and sincere than you’d expect.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=V8i6PB0gGOA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The only thing that really needs to make perfect sense in a movie like \u003cem>The Idea of You\u003c/em> is the chemistry. The film, penned by Showalter and Jennifer Westfeldt from Robinne Lee’s bestseller, takes its time in the early scenes between Solène and Hayes — first at Coachella, then when he stops by her gallery — allowing their rapport to build convincingly, and giving each actor plenty of time to smolder.\u003c/p>\n\u003cp>[aside postid='arts_13956512']Once the steamy hotel-room encounters come in \u003cem>The Idea of You\u003c/em>, the movie has, if not swept you away, then at least ushered you along on a European trip of sex and room service. At the same time, it stays faithful to its central mission of celebrating middle-aged womanhood. The relationship will eventually cause a social media firestorm, but its main pressure point is whether Solène can stick with Hayes after her ex-husband (Reid Scott) cheated on her. This is a fairy tale she deserves.\u003c/p>\n\u003cp>While Showalter (\u003cem>The Big Sick\u003c/em>) has long showed a great gift for juggling comedy and drama at once, \u003cem>The Idea of You\u003c/em> leans more fully into wish-fulfillment romance. That can leave less to sustain the film, which has notably neutered some of the things that distinguished the book.\u003c/p>\n\u003cp>The May-December romance has been shrunk a little. In the book, the singer is 20. Given that Galitzine is 29 and the 41-year-old Hathaway is no one’s idea of old, this is more like a July-September relationship. In the book, the daughter (Ella Rubin) is a huge admirer of the pop singer, adding to the awkwardness, but in the movie, August Moon is “so 7th grade” to her.\u003c/p>\n\u003cp>There are surely more interesting and funnier places \u003cem>The Idea of You\u003c/em> could have gone. But Hathaway and Galitzine are a good enough match that, for a couple hours, it’s easy to forget.\u003c/p>\n\u003cp>[aside postid='arts_13956892']But the most convincing thing about\u003cem> The Idea of You\u003c/em>? August Moon. The movie nails the look and sound of boy bands so well because it went straight to the source. The original songs in the film are by Savan Kotecha and Carl Falk, the producer-songwriters of, among other pop hits, “What Makes You Beautiful,” One Direction’s debut single.\u003c/p>\n\u003cp>That connection will probably only further the sense that \u003cem>The Idea of You\u003c/em> is very nearly \u003cem>The Idea of Harry Styles\u003c/em>. The filmmakers have distanced the movie from any real-life resemblances. But one thing is for sure: With August Moon following 4(asterisk)Town of \u003cem>Turning Red\u003c/em> (whose songs were penned by Billie Eilish and Finneas O’Connell), we are living in the golden age of the fictional boy band.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Idea of You’ begins streaming on Prime Video on May 2, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the warmly charming rom-com \u003cem>The Idea of You\u003c/em>, Anne Hathaway plays a 40-year-old divorcee and Silver Lake art gallery owner who, after taking her teenage daughter to Coachella, becomes romantically involved with a 24-year-old heartthrob in the boy band August Moon. They first meet after she mistakes his trailer for the bathroom.\u003c/p>\n\u003cp>There are a few hundred things about this premise that might be farfetched, including the odds of finding love anywhere near the porta johns of a music festival. But one of them is not that a young star like Hayes Campbell (Nicholas Galitzine) would fall for a single mom like Solène (Hathaway).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Once the steamy hotel-room encounters come in \u003cem>The Idea of You\u003c/em>, the movie has, if not swept you away, then at least ushered you along on a European trip of sex and room service. At the same time, it stays faithful to its central mission of celebrating middle-aged womanhood. The relationship will eventually cause a social media firestorm, but its main pressure point is whether Solène can stick with Hayes after her ex-husband (Reid Scott) cheated on her. This is a fairy tale she deserves.\u003c/p>\n\u003cp>While Showalter (\u003cem>The Big Sick\u003c/em>) has long showed a great gift for juggling comedy and drama at once, \u003cem>The Idea of You\u003c/em> leans more fully into wish-fulfillment romance. That can leave less to sustain the film, which has notably neutered some of the things that distinguished the book.\u003c/p>\n\u003cp>The May-December romance has been shrunk a little. In the book, the singer is 20. Given that Galitzine is 29 and the 41-year-old Hathaway is no one’s idea of old, this is more like a July-September relationship. In the book, the daughter (Ella Rubin) is a huge admirer of the pop singer, adding to the awkwardness, but in the movie, August Moon is “so 7th grade” to her.\u003c/p>\n\u003cp>There are surely more interesting and funnier places \u003cem>The Idea of You\u003c/em> could have gone. But Hathaway and Galitzine are a good enough match that, for a couple hours, it’s easy to forget.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the most convincing thing about\u003cem> The Idea of You\u003c/em>? August Moon. The movie nails the look and sound of boy bands so well because it went straight to the source. The original songs in the film are by Savan Kotecha and Carl Falk, the producer-songwriters of, among other pop hits, “What Makes You Beautiful,” One Direction’s debut single.\u003c/p>\n\u003cp>That connection will probably only further the sense that \u003cem>The Idea of You\u003c/em> is very nearly \u003cem>The Idea of Harry Styles\u003c/em>. The filmmakers have distanced the movie from any real-life resemblances. But one thing is for sure: With August Moon following 4(asterisk)Town of \u003cem>Turning Red\u003c/em> (whose songs were penned by Billie Eilish and Finneas O’Connell), we are living in the golden age of the fictional boy band.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Idea of You’ begins streaming on Prime Video on May 2, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music",
"headTitle": "‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music | KQED",
"content": "\u003cp>For what’s essentially \u003ca href=\"https://www.reddit.com/media?url=https%3A%2F%2Fi.redd.it%2Fuloa32ec6ej11.jpg\">a bunch of wiggly air\u003c/a>, music plays a fascinating and outsized role in civilization. The methods humans have devised to deliver sound waves to our ears are as varied as they are ubiquitous, from \u003ca href=\"https://www.youtube.com/watch?v=Rfsmj_OzdO8\">AirPods vibrating to Tommy Richman\u003c/a> to that tinny P.A. speaker at the DMV bleating out “A43, Window 8.”\u003c/p>\n\u003cp>Some of these innovations, like the Sony Walkman, changed the world. Many more were flops. Still others benefitted from being conceived as works of art.\u003c/p>\n\u003cp>The more fascinating of these wiggly-air delivery systems (or “weird stereos,” as one overheard visitor put it) make up the most compelling portion of \u003cem>Art of Noise\u003c/em>, on view at the San Francisco Museum of Modern Art, May 4–Aug. 16. The show, taking up the entire seventh floor of the museum, also includes two listening rooms, interactive displays, and collections of the artistic two-dimensional ways that music has been marketed and sold over the past 75 years.\u003c/p>\n\u003cfigure id=\"attachment_13957025\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957025\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg\" alt=\"\" width=\"1440\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Mathieu Lehanneur, ‘Power of Love,’ 2009. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s main flaw is also its saving grace. \u003cem>Art of Noise\u003c/em> is a hodgepodge collection of stuff related to music, with no connecting thread or narrative, and little context. And yet, because it contains over 800 pieces on display, the visitor is sure to stumble on something interesting, nostalgic or even profound.\u003c/p>\n\u003cp>[aside postID='arts_13414955']The bulk of those pieces are Fillmore-style posters, which greet visitors at the show’s entrance: colorful 11-by-17-inch posters for the Fillmore Ballroom, the Avalon Ballroom, the Matrix, the Scottish Rite Temple and other late-1960s venues that hosted bands such as Jefferson Airplane, Big Brother and the Holding Company and the Grateful Dead.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For those who grew up in the the shadow of the Bay Area’s hippie generation and its adroit marketing of its own importance, this might warrant a shrug. But the design has obviously captured the contemporary imagination, as evidenced by an opposing corner of the exhibition with similar-looking posters, bubbly writing and all, for more recent bands like Comets on Fire, the Coachwhips and Panty Raid.\u003c/p>\n\u003cfigure id=\"attachment_13957023\" class=\"wp-caption aligncenter\" style=\"max-width: 1258px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg\" alt=\"\" width=\"1258\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg 1258w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-800x1221.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1020x1557.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-768x1172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1006x1536.jpg 1006w\" sizes=\"(max-width: 1258px) 100vw, 1258px\">\u003cfigcaption class=\"wp-caption-text\">Bonnie MacLean, The Yardbirds and The Doors at the Fillmore Auditorium, San Francisco, July 25–30, 1967.\u003c/figcaption>\u003c/figure>\n\u003cp>The posters come from a large collection donated to SFMOMA in the 1990s, and curators Joseph Becker with Divya Saraf seem to have thought it best to display as many as possible — satisfying for the completist, but to the detriment of context or visibility. Hung in a static grid, floor to tall ceiling, they simultaneously overwhelm and bleed together.\u003c/p>\n\u003cp>(Side note: the sanctioned \u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">decimation of the Fillmore’s Black community\u003c/a> is well-known, and it would be nice to see posters from \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\">the earlier years of the Fillmore Auditorium\u003c/a> — which hosted artists like Duke Ellington, Ike & Tina Turner and the Temptations — before Bill Graham took over the venue’s dance permit.)\u003c/p>\n\u003cfigure id=\"attachment_13957022\" class=\"wp-caption aligncenter\" style=\"max-width: 1454px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg\" alt=\"\" width=\"1454\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg 1454w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-800x1056.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1020x1347.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-768x1014.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1163x1536.jpg 1163w\" sizes=\"(max-width: 1454px) 100vw, 1454px\">\u003cfigcaption class=\"wp-caption-text\">Joy Division, ‘Unknown Pleasures.’ Poster. 1979. Designed by Factory Records after Peter Saville. \u003ccite>(Tenari Tuatagaloa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On another wall, various posters and flyers run chronologically from 1955 to 2015, with a number of dorm room standbys: posters for Woodstock, Bob Dylan as imagined by Milton Glaser, Joy Division’s \u003cem>Unknown Pleasures\u003c/em>. Early computer-designed rave flyers and photocopied punk flyers, plus block-lettered cardstock posters for ’80s and ’90s hip-hop shows, are a welcome addition.\u003c/p>\n\u003cp>Meanwhile, posters of Apple’s silhouette and neon 2003 iPod campaign feel off somehow; not that they’re too recent, but perhaps too tied to a \u003cem>product\u003c/em> instead of more directly to music. For that, you can pivot to a nearby wall of aesthetically designed LP covers — some original issues, some modern reprints — from labels like Blue Note, Verve and Columbia.\u003c/p>\n\u003cfigure id=\"attachment_13957056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Devon Turnbull, ‘HiFi Pursuit Listening Room Dream No. 1,’ 2022. \u003ccite>(Michael Lavorgna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A small listening room offers the strange experience of hearing eight wooden sculptures sing songs like “Sweet Adeline” and “The Darktown Strutter’s Ball” in oddly disembodied voices reminiscent of \u003ca href=\"https://www.youtube.com/watch?v=41U78QP8nBk\">the IBM 7094 singing “Daisy Bell” in 1961\u003c/a>. Another side room contains a sound system designed by \u003ca href=\"https://www.nytimes.com/2022/07/25/style/devon-turnbull-ojas-speakers.html\">Devon Turnbull\u003c/a>, programmed live throughout the exhibition by Turnbull himself and a \u003ca href=\"https://www.sfmoma.org/devon-turnbull-listening-room-schedule/\">rotating schedule\u003c/a> of guest DJs.\u003c/p>\n\u003cp>On to the large room of weird stereos, where the music of New Order, Kraftwerk, Santana, Miles Davis and Grandmaster Flash softly emanates in an ambient din. Here’s where my imagination ran free, thinking of the vision necessary to design a turntable that looks like it was salvaged from the Starship Enterprise, or embedded in demolished concrete rubble, or meant to double as a waffle maker.\u003c/p>\n\u003cfigure id=\"attachment_13957024\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmo%CC%88bel-Rosita-Vision-2000.jpg\" alt=\"\" width=\"1920\" height=\"1588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-800x662.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1020x844.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-768x635.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1536x1270.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thilo Oerke and Rosita Tonmöbel, ‘Rosita Vision 2000,’ 1971. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The big hits are here: Bang & Olufsen’s sleek stereo components, Dieter Ram’s marvelous midcentury designs for Braun. An early Edison wax cylinder player sits near one of the first-ever widely marketed Rock-ola jukeboxes. 1980s boomboxes, 1990s CD players and various MP3 gizmos trip through time; there’s even a \u003ca href=\"https://www.youtube.com/watch?v=OvliFN893GA\">My First Sony\u003c/a>.\u003c/p>\n\u003cp>But the really marvelous additions are aggressively unfamiliar, such as Mathieu Lehanneur’s \u003cem>Power of Love music player\u003c/em>, or Hugh Spencer’s \u003cem>Project G\u003c/em>. In a utilitarian world, these reimagine everyday objects as transporters for the divine.\u003c/p>\n\u003cp>Why do we want to make a music player that looks like gilded flame? Or that resembles a space helmet? Perhaps, in designing its vessel, we want to create something as beautiful as music itself.\u003c/p>\n\u003cp>Not too shabby for a bunch of wiggly air.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfmoma.org/exhibition/art-of-noise/\">Art of Noise\u003c/a>’ is on view at the San Francisco Museum of Modern Art, May 4–Aug. 16, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For what’s essentially \u003ca href=\"https://www.reddit.com/media?url=https%3A%2F%2Fi.redd.it%2Fuloa32ec6ej11.jpg\">a bunch of wiggly air\u003c/a>, music plays a fascinating and outsized role in civilization. The methods humans have devised to deliver sound waves to our ears are as varied as they are ubiquitous, from \u003ca href=\"https://www.youtube.com/watch?v=Rfsmj_OzdO8\">AirPods vibrating to Tommy Richman\u003c/a> to that tinny P.A. speaker at the DMV bleating out “A43, Window 8.”\u003c/p>\n\u003cp>Some of these innovations, like the Sony Walkman, changed the world. Many more were flops. Still others benefitted from being conceived as works of art.\u003c/p>\n\u003cp>The more fascinating of these wiggly-air delivery systems (or “weird stereos,” as one overheard visitor put it) make up the most compelling portion of \u003cem>Art of Noise\u003c/em>, on view at the San Francisco Museum of Modern Art, May 4–Aug. 16. The show, taking up the entire seventh floor of the museum, also includes two listening rooms, interactive displays, and collections of the artistic two-dimensional ways that music has been marketed and sold over the past 75 years.\u003c/p>\n\u003cfigure id=\"attachment_13957025\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957025\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg\" alt=\"\" width=\"1440\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Mathieu Lehanneur, ‘Power of Love,’ 2009. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s main flaw is also its saving grace. \u003cem>Art of Noise\u003c/em> is a hodgepodge collection of stuff related to music, with no connecting thread or narrative, and little context. And yet, because it contains over 800 pieces on display, the visitor is sure to stumble on something interesting, nostalgic or even profound.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The bulk of those pieces are Fillmore-style posters, which greet visitors at the show’s entrance: colorful 11-by-17-inch posters for the Fillmore Ballroom, the Avalon Ballroom, the Matrix, the Scottish Rite Temple and other late-1960s venues that hosted bands such as Jefferson Airplane, Big Brother and the Holding Company and the Grateful Dead.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For those who grew up in the the shadow of the Bay Area’s hippie generation and its adroit marketing of its own importance, this might warrant a shrug. But the design has obviously captured the contemporary imagination, as evidenced by an opposing corner of the exhibition with similar-looking posters, bubbly writing and all, for more recent bands like Comets on Fire, the Coachwhips and Panty Raid.\u003c/p>\n\u003cfigure id=\"attachment_13957023\" class=\"wp-caption aligncenter\" style=\"max-width: 1258px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg\" alt=\"\" width=\"1258\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg 1258w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-800x1221.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1020x1557.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-768x1172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1006x1536.jpg 1006w\" sizes=\"(max-width: 1258px) 100vw, 1258px\">\u003cfigcaption class=\"wp-caption-text\">Bonnie MacLean, The Yardbirds and The Doors at the Fillmore Auditorium, San Francisco, July 25–30, 1967.\u003c/figcaption>\u003c/figure>\n\u003cp>The posters come from a large collection donated to SFMOMA in the 1990s, and curators Joseph Becker with Divya Saraf seem to have thought it best to display as many as possible — satisfying for the completist, but to the detriment of context or visibility. Hung in a static grid, floor to tall ceiling, they simultaneously overwhelm and bleed together.\u003c/p>\n\u003cp>(Side note: the sanctioned \u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">decimation of the Fillmore’s Black community\u003c/a> is well-known, and it would be nice to see posters from \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\">the earlier years of the Fillmore Auditorium\u003c/a> — which hosted artists like Duke Ellington, Ike & Tina Turner and the Temptations — before Bill Graham took over the venue’s dance permit.)\u003c/p>\n\u003cfigure id=\"attachment_13957022\" class=\"wp-caption aligncenter\" style=\"max-width: 1454px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg\" alt=\"\" width=\"1454\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg 1454w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-800x1056.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1020x1347.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-768x1014.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1163x1536.jpg 1163w\" sizes=\"(max-width: 1454px) 100vw, 1454px\">\u003cfigcaption class=\"wp-caption-text\">Joy Division, ‘Unknown Pleasures.’ Poster. 1979. Designed by Factory Records after Peter Saville. \u003ccite>(Tenari Tuatagaloa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On another wall, various posters and flyers run chronologically from 1955 to 2015, with a number of dorm room standbys: posters for Woodstock, Bob Dylan as imagined by Milton Glaser, Joy Division’s \u003cem>Unknown Pleasures\u003c/em>. Early computer-designed rave flyers and photocopied punk flyers, plus block-lettered cardstock posters for ’80s and ’90s hip-hop shows, are a welcome addition.\u003c/p>\n\u003cp>Meanwhile, posters of Apple’s silhouette and neon 2003 iPod campaign feel off somehow; not that they’re too recent, but perhaps too tied to a \u003cem>product\u003c/em> instead of more directly to music. For that, you can pivot to a nearby wall of aesthetically designed LP covers — some original issues, some modern reprints — from labels like Blue Note, Verve and Columbia.\u003c/p>\n\u003cfigure id=\"attachment_13957056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Devon Turnbull, ‘HiFi Pursuit Listening Room Dream No. 1,’ 2022. \u003ccite>(Michael Lavorgna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A small listening room offers the strange experience of hearing eight wooden sculptures sing songs like “Sweet Adeline” and “The Darktown Strutter’s Ball” in oddly disembodied voices reminiscent of \u003ca href=\"https://www.youtube.com/watch?v=41U78QP8nBk\">the IBM 7094 singing “Daisy Bell” in 1961\u003c/a>. Another side room contains a sound system designed by \u003ca href=\"https://www.nytimes.com/2022/07/25/style/devon-turnbull-ojas-speakers.html\">Devon Turnbull\u003c/a>, programmed live throughout the exhibition by Turnbull himself and a \u003ca href=\"https://www.sfmoma.org/devon-turnbull-listening-room-schedule/\">rotating schedule\u003c/a> of guest DJs.\u003c/p>\n\u003cp>On to the large room of weird stereos, where the music of New Order, Kraftwerk, Santana, Miles Davis and Grandmaster Flash softly emanates in an ambient din. Here’s where my imagination ran free, thinking of the vision necessary to design a turntable that looks like it was salvaged from the Starship Enterprise, or embedded in demolished concrete rubble, or meant to double as a waffle maker.\u003c/p>\n\u003cfigure id=\"attachment_13957024\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmo%CC%88bel-Rosita-Vision-2000.jpg\" alt=\"\" width=\"1920\" height=\"1588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-800x662.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1020x844.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-768x635.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1536x1270.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thilo Oerke and Rosita Tonmöbel, ‘Rosita Vision 2000,’ 1971. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The big hits are here: Bang & Olufsen’s sleek stereo components, Dieter Ram’s marvelous midcentury designs for Braun. An early Edison wax cylinder player sits near one of the first-ever widely marketed Rock-ola jukeboxes. 1980s boomboxes, 1990s CD players and various MP3 gizmos trip through time; there’s even a \u003ca href=\"https://www.youtube.com/watch?v=OvliFN893GA\">My First Sony\u003c/a>.\u003c/p>\n\u003cp>But the really marvelous additions are aggressively unfamiliar, such as Mathieu Lehanneur’s \u003cem>Power of Love music player\u003c/em>, or Hugh Spencer’s \u003cem>Project G\u003c/em>. In a utilitarian world, these reimagine everyday objects as transporters for the divine.\u003c/p>\n\u003cp>Why do we want to make a music player that looks like gilded flame? Or that resembles a space helmet? Perhaps, in designing its vessel, we want to create something as beautiful as music itself.\u003c/p>\n\u003cp>Not too shabby for a bunch of wiggly air.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfmoma.org/exhibition/art-of-noise/\">Art of Noise\u003c/a>’ is on view at the San Francisco Museum of Modern Art, May 4–Aug. 16, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Elisabeth Moss Embraces Her Best Role Yet as a Secret Agent in ‘The Veil’",
"headTitle": "Elisabeth Moss Embraces Her Best Role Yet as a Secret Agent in ‘The Veil’ | KQED",
"content": "\u003cp>The new FX on Hulu series \u003cem>The Veil\u003c/em> is a spy show about several different spy agencies — from the United States, England and France — all after the same goal. They want to discover the details of a suspected new Sept. 11-type terrorist plot, reportedly emanating from the Middle East, and stop it before it happens.\u003c/p>\n\u003cp>Sometimes these organizations work together — sometimes they work against one another. But throughout, the agent who is most crucial to cracking the case is a British superspy temporarily going under the name of Imogen. She’s played by \u003ca href=\"https://www.npr.org/2013/07/03/198032876/elisabeth-moss-from-naif-to-player-on-tvs-mad-men\">Elisabeth Moss\u003c/a>, of \u003ca href=\"https://www.npr.org/2013/04/25/178832854/matthew-weiner-on-mad-men-and-meaning\">\u003cem>Mad Men\u003c/em>\u003c/a> and\u003ca href=\"https://www.npr.org/2022/09/15/1123153313/the-handmaids-tale-season-5-recap\">\u003cem> The Handmaid’s Tale\u003c/em>\u003c/a>, and by the end of the six episodes of \u003cem>The Veil, \u003c/em>I was convinced that this is Moss’ best role, and best performance, yet. She’s amazing.\u003c/p>\n\u003cp>[aside postid='arts_13956676']As a secret agent, Imogen has plenty of secrets of her own, which unfold slowly as the miniseries progresses. She’s a damaged soul with a haunted past — which, for her latest mission, turns out to be a valuable asset. She’s been charged to locate and befriend a woman who recently surfaced in a refugee camp on the Syrian and Turkish border.\u003c/p>\n\u003cp>The woman, going by the name Adilah (Yumna Marwan), claims to be of Algerian descent, and from France — but several spy agencies suspect her of being the elusive mastermind behind the rumored imminent terrorist plot. Imogen’s mission is to locate Adilah, who is held under guard at the camp after being attacked and stabbed by other refugees. Imogen offers to help Adilah escape, while getting close enough to try to ascertain her true identity, motives and target.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GGMmFC_GpXc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The terrorist Imogen is hunting is known as Djinn al Raqqa — in folklore, a shape-shifting genie who can assume any form. Is Adilah actually Djinn al Raqqa hiding in plain sight? Or is she as innocent as she claims? Imogen, a shapeshifter of sorts herself, uses all her spycraft skills to earn Adilah’s trust, by helping her in her quest to cross borders and return to Paris, where her young daughter awaits.\u003c/p>\n\u003cp>Their journey is fascinating, with each probing to learn the other’s secrets while protecting her own. It’s a bit like \u003ca href=\"https://www.npr.org/2020/04/27/845274696/whod-have-thought-we-d-be-watching-the-homeland-finale-to-de-stress\">\u003cem>Homeland \u003c/em>\u003c/a>where you, the viewer, are unsure of each character’s true motives. And as the two women go off the grid and spend time with each other, avoiding all the authorities trying to locate them, their relationship keeps deepening.\u003c/p>\n\u003cfigure id=\"attachment_13956950\" class=\"wp-caption aligncenter\" style=\"max-width: 1298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956950\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM.png\" alt=\"Two women peer out from behind a wall, looking for someone.\" width=\"1298\" height=\"968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM.png 1298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-800x597.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-1020x761.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-768x573.png 768w\" sizes=\"(max-width: 1298px) 100vw, 1298px\">\u003cfigcaption class=\"wp-caption-text\">Elisabeth Moss and Yumna Marwan are more alike than either initially suspect in ‘The Veil.’ \u003ccite>(Christine Tamalet/ FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In that way, \u003cem>The Veil \u003c/em>is a bit like \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">\u003cem>Thelma & Louise\u003c/em>\u003c/a>\u003cem>. \u003c/em>Except, sometimes, it’s more like \u003cem>Thelma v. Louise.\u003c/em> Both characters are delightfully unpredictable. In one scene, Imogen takes Adilah to a smuggler they hope will give them new passports and identities to get to Paris. Imogen’s plan is to have them pose as singers and belly dancers. But their proposed cover is at risk when the smuggler decides to test them a little by demanding that Adilah display her skills — which she does, leaving both Imogen and the smuggler suitably impressed.\u003c/p>\n\u003cp>[aside postid='arts_13955549']These two actors are incredibly nuanced and well-matched in these roles — captivating as adversaries, and even more so if and when they decide to become allies. The writer and creator of \u003cem>The Veil\u003c/em>, Steven Knight from \u003cem>Peaky Blinders \u003c/em>and \u003ca href=\"https://www.kqed.org/arts/13937572/all-the-light-we-cannot-see-is-a-heartening-and-hopeful-wartime-tale\">\u003cem>All the Light We Cannot See\u003c/em>\u003c/a>\u003cem>,\u003c/em> explores their relationship brilliantly. But he also keeps escalating the terrorist plot, and following the many agents and agencies trying to crack it. One special standout here is Josh Charles, from \u003cem>The Good Wife\u003c/em> and\u003cem> Sports Night,\u003c/em> who is cast as an aggressive CIA agent on French soil — an ugly American in Paris. He plays his part perfectly.\u003c/p>\n\u003cp>Even so,\u003cem> The Veil, \u003c/em>at its core, is the story of two shape-shifting survivors who are more alike than either of them suspected — and whose realization of that fact may, or may not, stop a horrifying terrorist attack. It’s quite a voyage — and quite a drama.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Veil’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new FX on Hulu series \u003cem>The Veil\u003c/em> is a spy show about several different spy agencies — from the United States, England and France — all after the same goal. They want to discover the details of a suspected new Sept. 11-type terrorist plot, reportedly emanating from the Middle East, and stop it before it happens.\u003c/p>\n\u003cp>Sometimes these organizations work together — sometimes they work against one another. But throughout, the agent who is most crucial to cracking the case is a British superspy temporarily going under the name of Imogen. She’s played by \u003ca href=\"https://www.npr.org/2013/07/03/198032876/elisabeth-moss-from-naif-to-player-on-tvs-mad-men\">Elisabeth Moss\u003c/a>, of \u003ca href=\"https://www.npr.org/2013/04/25/178832854/matthew-weiner-on-mad-men-and-meaning\">\u003cem>Mad Men\u003c/em>\u003c/a> and\u003ca href=\"https://www.npr.org/2022/09/15/1123153313/the-handmaids-tale-season-5-recap\">\u003cem> The Handmaid’s Tale\u003c/em>\u003c/a>, and by the end of the six episodes of \u003cem>The Veil, \u003c/em>I was convinced that this is Moss’ best role, and best performance, yet. She’s amazing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The terrorist Imogen is hunting is known as Djinn al Raqqa — in folklore, a shape-shifting genie who can assume any form. Is Adilah actually Djinn al Raqqa hiding in plain sight? Or is she as innocent as she claims? Imogen, a shapeshifter of sorts herself, uses all her spycraft skills to earn Adilah’s trust, by helping her in her quest to cross borders and return to Paris, where her young daughter awaits.\u003c/p>\n\u003cp>Their journey is fascinating, with each probing to learn the other’s secrets while protecting her own. It’s a bit like \u003ca href=\"https://www.npr.org/2020/04/27/845274696/whod-have-thought-we-d-be-watching-the-homeland-finale-to-de-stress\">\u003cem>Homeland \u003c/em>\u003c/a>where you, the viewer, are unsure of each character’s true motives. And as the two women go off the grid and spend time with each other, avoiding all the authorities trying to locate them, their relationship keeps deepening.\u003c/p>\n\u003cfigure id=\"attachment_13956950\" class=\"wp-caption aligncenter\" style=\"max-width: 1298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956950\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM.png\" alt=\"Two women peer out from behind a wall, looking for someone.\" width=\"1298\" height=\"968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM.png 1298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-800x597.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-1020x761.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-768x573.png 768w\" sizes=\"(max-width: 1298px) 100vw, 1298px\">\u003cfigcaption class=\"wp-caption-text\">Elisabeth Moss and Yumna Marwan are more alike than either initially suspect in ‘The Veil.’ \u003ccite>(Christine Tamalet/ FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In that way, \u003cem>The Veil \u003c/em>is a bit like \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">\u003cem>Thelma & Louise\u003c/em>\u003c/a>\u003cem>. \u003c/em>Except, sometimes, it’s more like \u003cem>Thelma v. Louise.\u003c/em> Both characters are delightfully unpredictable. In one scene, Imogen takes Adilah to a smuggler they hope will give them new passports and identities to get to Paris. Imogen’s plan is to have them pose as singers and belly dancers. But their proposed cover is at risk when the smuggler decides to test them a little by demanding that Adilah display her skills — which she does, leaving both Imogen and the smuggler suitably impressed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These two actors are incredibly nuanced and well-matched in these roles — captivating as adversaries, and even more so if and when they decide to become allies. The writer and creator of \u003cem>The Veil\u003c/em>, Steven Knight from \u003cem>Peaky Blinders \u003c/em>and \u003ca href=\"https://www.kqed.org/arts/13937572/all-the-light-we-cannot-see-is-a-heartening-and-hopeful-wartime-tale\">\u003cem>All the Light We Cannot See\u003c/em>\u003c/a>\u003cem>,\u003c/em> explores their relationship brilliantly. But he also keeps escalating the terrorist plot, and following the many agents and agencies trying to crack it. One special standout here is Josh Charles, from \u003cem>The Good Wife\u003c/em> and\u003cem> Sports Night,\u003c/em> who is cast as an aggressive CIA agent on French soil — an ugly American in Paris. He plays his part perfectly.\u003c/p>\n\u003cp>Even so,\u003cem> The Veil, \u003c/em>at its core, is the story of two shape-shifting survivors who are more alike than either of them suspected — and whose realization of that fact may, or may not, stop a horrifying terrorist attack. It’s quite a voyage — and quite a drama.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Veil’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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