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"title": "The 2024 Oscars’ Best Original Song Nominees, Cruelly Ranked",
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"content": "\u003cp>Given the commercial and awards dominance of \u003cem>Barbie\u003c/em>‘s soundtrack — which was, if you remember, the most-nominated album at this year’s Grammys — you’d be forgiven for thinking that this year’s race for the best original song Oscar boils down to Fun Barbie (Ryan Gosling’s “I’m Just Ken”) vs. Pensive Barbie (Billie Eilish’s “What Was I Made For?”). But the field has even more going for it than that, from a lovely Jon Batiste ballad to a moving piece by the Osage Tribal Singers to … well, the umpteenth nomination for songwriter Diane Warren, and even \u003cem>that\u003c/em> song isn’t terrible!\u003c/p>\n\u003cp>This is the sixth year I’ve ranked the nominated songs for NPR — here’s \u003ca href=\"https://www.npr.org/2023/03/06/1155451988/the-2023-oscars-best-original-song-nominees-cruelly-ranked\">2023\u003c/a>, \u003ca href=\"https://www.npr.org/2023/02/07/1083945317/the-2022-oscars-best-original-song-nominees-cruelly-ranked\">2022\u003c/a>, \u003ca href=\"https://www.npr.org/2021/04/21/987253460/the-2021-oscars-best-original-song-nominees-cruelly-ranked\">2021\u003c/a>, \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">2020\u003c/a> and \u003ca href=\"https://www.npr.org/2019/02/23/697103948/the-2019-oscars-best-original-song-nominees-cruelly-ranked\">2019\u003c/a> — and this is one of the better fields all around. So let’s tee ’em up, in ascending order of quality.\u003c/p>\n\u003cp>\u003cstrong>5. “The Fire Inside,” \u003c/strong>\u003cem>\u003cstrong>Flamin’ Hot\u003c/strong>\u003c/em>\u003cstrong>, performed by Becky G (Diane Warren, songwriter)\u003c/strong>\u003c/p>\n\u003cp>It’s hard to devise new ways to say that a Diane Warren composition gets nominated in this category every single year, invariably at the expense of superior songs. She’s locked into an eternal paradox: enough institutional support for a seventh consecutive nomination (!!), never enough juice to win.\u003c/p>\n\u003cp>[aside postid='arts_13953424']So here we are, yet again, pondering Doomed Nomination No. 15 and thanking our lucky stars that “The Fire Inside” is actually … decent, as recent-vintage Diane Warren songs go. Lyrically, it’s just another slice of quasi-inspirational, nominally defiant boilerplate, dragged down by couplets that would cause a generative AI program to resign in embarrassment (“They will think they can stop you / But there’s no stopping you”). Rise, stand, fight, you got this, they can’t hold you back, blah blah blah, seriously, \u003cem>have ChatGPT and Diane Warren ever been seen in the same room together?\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Musically, “The Fire Inside” is an effervescent and thoroughly inoffensive trifle, brought home by a charismatic vocal from Becky G. As a whole, this is probably Warren’s best Oscar-nominated song since 2015’s “Til It Happens to You” (a Lady Gaga collaboration that should have beaten Sam Smith’s “Writing’s on the Wall”), which is at least saying something. Just, you know, not \u003cem>much\u003c/em>. Had \u003cem>Flamin’ Hot\u003c/em> never existed — and how sad it would have been for the world to be denied Eva Longoria’s sub-featherweight brand-fluffing biopic! — Warren would have just gotten nominated for “\u003ca href=\"https://www.youtube.com/watch?v=58BzTRqQt4Y\">Gonna Be You\u003c/a>” from \u003cem>80 for Brady\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=COXSy3rp6Vc\u003c/p>\n\u003cp>\u003cstrong>4. “Wahzhazhe (A Song for My People),” \u003c/strong>\u003cem>\u003cstrong>Killers of the Flower Moon\u003c/strong>\u003c/em>\u003cstrong>, performed by Osage Tribal Singers (Scott George, songwriter)\u003c/strong>\u003c/p>\n\u003cp>Maybe I’m riding high on the thrill of not having to write about Diane Warren for another 12 months, but this is a strong field! Next up is “Wahzhazhe (A Song for My People),” which closes Martin Scorsese’s epic \u003cem>Killers of the Flower Moon\u003c/em> — and pointedly gives the Osage Nation the last word. An unconventional entry in a field typically reserved for English-language songs by well-known artists, “Wahzhazhe” had an unusual number of hurdles to clear in order to get nominated, starting with the fact that it had \u003ca href=\"https://www.billboard.com/music/awards/oscar-2024-nominations-music-best-original-song-score-1235604053/\">never been written down\u003c/a> prior to submission.\u003c/p>\n\u003cp>The first Native American nominated for best original song, songwriter Scott George crafted a rousing work that transcends its place in a movie’s closing credits: It’s a work of celebration that suits its moment in the film while speaking to the Osage Nation’s resilience in the face of systemic discrimination and murder. And it’ll surely sound terrific when performed on Oscar night, which is just one more reason among many to cheer its inclusion.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nyWCr1ly4oc\u003c/p>\n\u003cp>\u003cstrong>3. “It Never Went Away,” \u003c/strong>\u003cem>\u003cstrong>American Symphony\u003c/strong>\u003c/em>\u003cstrong>, performed by Jon Batiste (Jon Batiste and Dan Wilson, songwriters)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>American Symphony\u003c/em> documents 2021 Oscar winner Jon Batiste’s efforts to write a symphony while his wife, bestselling author Suleika Jaouad, battled leukemia. As documentaries go, it’s moving without being terribly revealing — which can also be said for the Oscar-nominated ballad that plays over the film’s closing credits. But the gorgeous piano line that propels “It Never Went Away” sure does hit hard, as Batiste serenades his wife in a lullaby of devotion.\u003c/p>\n\u003cp>Unlike so many Oscar-nominated closing-credits songs before it, “It Never Went Away” feels richly connected to the themes of the movie preceding it. The words Batiste sings aren’t exactly novel — “Thought I was a wise lad / When you plan, God laughs” — but the song as a whole beautifully captures the experience of love as an accumulation of hard-won moments, forged in shared sacrifice.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=27jnCQYRXLc\u003c/p>\n\u003cp>\u003cstrong>2. “I’m Just Ken,” \u003c/strong>\u003cem>\u003cstrong>Barbie\u003c/strong>\u003c/em>\u003cstrong>, performed by Ryan Gosling (Mark Ronson and Andrew Wyatt, songwriters)\u003c/strong>\u003c/p>\n\u003cp>It’s virtually impossible to choose which eligible \u003cem>Barbie\u003c/em> song most deserves this year’s Oscar: You could make a strong case for both nominated songs, as well as Dua Lipa’s effervescent “\u003ca href=\"https://www.youtube.com/watch?v=OiC1rgCPmUQ\">Dance the Night\u003c/a>,” which was shortlisted but missed the cut. (These days, Oscar rules stipulate that no more than two songs can be nominated from a single film.)\u003c/p>\n\u003cp>[aside postid='arts_13931753']So, seriously, think of Ryan Gosling’s wild, joke-dense “I’m Just Ken” as No. 1a more than No. 2 — though it does seem fitting that poor Ken would be relegated to second place yet again. Part inspirational battle anthem, \u003ca href=\"https://www.kqed.org/arts/13953424/film-critics-oscars-alternative-awards-best-movie-dog-stunt-cameo-song\">part dream ballet\u003c/a>, part ’80s power-ballad pastiche, “I’m Just Ken” soundtracks one of \u003cem>Barbie\u003c/em>‘s many key scenes, advancing the plot even as it dispenses catchphrases (“Can you feel the Kenergy?”) and asks the questions so many of us have asked of ourselves (“Am I not hot when I’m in my feelings?”).\u003c/p>\n\u003cp>Though “What Was I Made For?” remains this year’s likely winner, it wouldn’t be a massive shock if “I’m Just Ken” were to rise up and snatch the Oscar from its more somber \u003cem>Barbie\u003c/em> counterpart. The song pulls off a genuinely awesome feat: a grand and clever piece of comedic spectacle that is, among other superlatives, great at doing stuff. And, if you’re not grateful for “I’m Just Ken” now, just wait until it shows up to enliven a three-and-a-half-hour Oscars telecast.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wwux9KiBMjE\u003c/p>\n\u003cp>\u003cstrong>1. “What Was I Made For?,” \u003c/strong>\u003cem>\u003cstrong>Barbie\u003c/strong>\u003c/em>\u003cstrong>, performed by Billie Eilish (Billie Eilish and Finneas O’Connell, songwriters)\u003c/strong>\u003c/p>\n\u003cp>I’m never going to fault anyone for choosing jokes over feelings, so you’re more than forgiven if you prefer “I’m Just Ken” to “What Was I Made For?” But, \u003cem>man\u003c/em>, this is a gorgeous song: melodically rich, a radiant vocal performance from Billie Eilish, a compelling way to magnify the pathos in \u003cem>Barbie\u003c/em>‘s story of self-awakening, and an actual chart hit to boot.\u003c/p>\n\u003cp>[aside postid='arts_13931981']It’s worth noting once again how often the Oscars’ best original song field gets dominated by songs that roll harmlessly over closing credits — and, more to the point, that fail to convey or reflect on what their films were trying to say. This season, only the Diane Warren song really falls short in that regard; though they play over their respective credits, “Wahzhazhe (A Song for My People)” could only come from \u003cem>Killers of the Flower Moon\u003c/em> and “It Never Went Away” could only come from \u003cem>American Symphony\u003c/em>. That’s a big step up from most years, which says nothing of how integral “I’m Just Ken” and “What Was I Made For?” are to \u003cem>Barbie\u003c/em>.\u003c/p>\n\u003cp>Last year’s Oscar field produced one of the best and most satisfying winners this category has ever produced in “\u003ca href=\"https://www.youtube.com/watch?v=OsU0CGZoV8E\">Naatu Naatu\u003c/a>” from \u003cem>RRR\u003c/em>. As long as Barbie gets its due this time around, we’re in for another all-timer.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ML0zd8UAuq8\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+2024+Oscars%27+best+original+song+nominees%2C+cruelly+ranked&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Given the commercial and awards dominance of \u003cem>Barbie\u003c/em>‘s soundtrack — which was, if you remember, the most-nominated album at this year’s Grammys — you’d be forgiven for thinking that this year’s race for the best original song Oscar boils down to Fun Barbie (Ryan Gosling’s “I’m Just Ken”) vs. Pensive Barbie (Billie Eilish’s “What Was I Made For?”). But the field has even more going for it than that, from a lovely Jon Batiste ballad to a moving piece by the Osage Tribal Singers to … well, the umpteenth nomination for songwriter Diane Warren, and even \u003cem>that\u003c/em> song isn’t terrible!\u003c/p>\n\u003cp>This is the sixth year I’ve ranked the nominated songs for NPR — here’s \u003ca href=\"https://www.npr.org/2023/03/06/1155451988/the-2023-oscars-best-original-song-nominees-cruelly-ranked\">2023\u003c/a>, \u003ca href=\"https://www.npr.org/2023/02/07/1083945317/the-2022-oscars-best-original-song-nominees-cruelly-ranked\">2022\u003c/a>, \u003ca href=\"https://www.npr.org/2021/04/21/987253460/the-2021-oscars-best-original-song-nominees-cruelly-ranked\">2021\u003c/a>, \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">2020\u003c/a> and \u003ca href=\"https://www.npr.org/2019/02/23/697103948/the-2019-oscars-best-original-song-nominees-cruelly-ranked\">2019\u003c/a> — and this is one of the better fields all around. So let’s tee ’em up, in ascending order of quality.\u003c/p>\n\u003cp>\u003cstrong>5. “The Fire Inside,” \u003c/strong>\u003cem>\u003cstrong>Flamin’ Hot\u003c/strong>\u003c/em>\u003cstrong>, performed by Becky G (Diane Warren, songwriter)\u003c/strong>\u003c/p>\n\u003cp>It’s hard to devise new ways to say that a Diane Warren composition gets nominated in this category every single year, invariably at the expense of superior songs. She’s locked into an eternal paradox: enough institutional support for a seventh consecutive nomination (!!), never enough juice to win.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So here we are, yet again, pondering Doomed Nomination No. 15 and thanking our lucky stars that “The Fire Inside” is actually … decent, as recent-vintage Diane Warren songs go. Lyrically, it’s just another slice of quasi-inspirational, nominally defiant boilerplate, dragged down by couplets that would cause a generative AI program to resign in embarrassment (“They will think they can stop you / But there’s no stopping you”). Rise, stand, fight, you got this, they can’t hold you back, blah blah blah, seriously, \u003cem>have ChatGPT and Diane Warren ever been seen in the same room together?\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Musically, “The Fire Inside” is an effervescent and thoroughly inoffensive trifle, brought home by a charismatic vocal from Becky G. As a whole, this is probably Warren’s best Oscar-nominated song since 2015’s “Til It Happens to You” (a Lady Gaga collaboration that should have beaten Sam Smith’s “Writing’s on the Wall”), which is at least saying something. Just, you know, not \u003cem>much\u003c/em>. Had \u003cem>Flamin’ Hot\u003c/em> never existed — and how sad it would have been for the world to be denied Eva Longoria’s sub-featherweight brand-fluffing biopic! — Warren would have just gotten nominated for “\u003ca href=\"https://www.youtube.com/watch?v=58BzTRqQt4Y\">Gonna Be You\u003c/a>” from \u003cem>80 for Brady\u003c/em>.\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/COXSy3rp6Vc'\n title='//www.youtube.com/embed/COXSy3rp6Vc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>4. “Wahzhazhe (A Song for My People),” \u003c/strong>\u003cem>\u003cstrong>Killers of the Flower Moon\u003c/strong>\u003c/em>\u003cstrong>, performed by Osage Tribal Singers (Scott George, songwriter)\u003c/strong>\u003c/p>\n\u003cp>Maybe I’m riding high on the thrill of not having to write about Diane Warren for another 12 months, but this is a strong field! Next up is “Wahzhazhe (A Song for My People),” which closes Martin Scorsese’s epic \u003cem>Killers of the Flower Moon\u003c/em> — and pointedly gives the Osage Nation the last word. An unconventional entry in a field typically reserved for English-language songs by well-known artists, “Wahzhazhe” had an unusual number of hurdles to clear in order to get nominated, starting with the fact that it had \u003ca href=\"https://www.billboard.com/music/awards/oscar-2024-nominations-music-best-original-song-score-1235604053/\">never been written down\u003c/a> prior to submission.\u003c/p>\n\u003cp>The first Native American nominated for best original song, songwriter Scott George crafted a rousing work that transcends its place in a movie’s closing credits: It’s a work of celebration that suits its moment in the film while speaking to the Osage Nation’s resilience in the face of systemic discrimination and murder. And it’ll surely sound terrific when performed on Oscar night, which is just one more reason among many to cheer its inclusion.\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/nyWCr1ly4oc'\n title='//www.youtube.com/embed/nyWCr1ly4oc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>3. “It Never Went Away,” \u003c/strong>\u003cem>\u003cstrong>American Symphony\u003c/strong>\u003c/em>\u003cstrong>, performed by Jon Batiste (Jon Batiste and Dan Wilson, songwriters)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>American Symphony\u003c/em> documents 2021 Oscar winner Jon Batiste’s efforts to write a symphony while his wife, bestselling author Suleika Jaouad, battled leukemia. As documentaries go, it’s moving without being terribly revealing — which can also be said for the Oscar-nominated ballad that plays over the film’s closing credits. But the gorgeous piano line that propels “It Never Went Away” sure does hit hard, as Batiste serenades his wife in a lullaby of devotion.\u003c/p>\n\u003cp>Unlike so many Oscar-nominated closing-credits songs before it, “It Never Went Away” feels richly connected to the themes of the movie preceding it. The words Batiste sings aren’t exactly novel — “Thought I was a wise lad / When you plan, God laughs” — but the song as a whole beautifully captures the experience of love as an accumulation of hard-won moments, forged in shared sacrifice.\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/27jnCQYRXLc'\n title='//www.youtube.com/embed/27jnCQYRXLc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>2. “I’m Just Ken,” \u003c/strong>\u003cem>\u003cstrong>Barbie\u003c/strong>\u003c/em>\u003cstrong>, performed by Ryan Gosling (Mark Ronson and Andrew Wyatt, songwriters)\u003c/strong>\u003c/p>\n\u003cp>It’s virtually impossible to choose which eligible \u003cem>Barbie\u003c/em> song most deserves this year’s Oscar: You could make a strong case for both nominated songs, as well as Dua Lipa’s effervescent “\u003ca href=\"https://www.youtube.com/watch?v=OiC1rgCPmUQ\">Dance the Night\u003c/a>,” which was shortlisted but missed the cut. (These days, Oscar rules stipulate that no more than two songs can be nominated from a single film.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So, seriously, think of Ryan Gosling’s wild, joke-dense “I’m Just Ken” as No. 1a more than No. 2 — though it does seem fitting that poor Ken would be relegated to second place yet again. Part inspirational battle anthem, \u003ca href=\"https://www.kqed.org/arts/13953424/film-critics-oscars-alternative-awards-best-movie-dog-stunt-cameo-song\">part dream ballet\u003c/a>, part ’80s power-ballad pastiche, “I’m Just Ken” soundtracks one of \u003cem>Barbie\u003c/em>‘s many key scenes, advancing the plot even as it dispenses catchphrases (“Can you feel the Kenergy?”) and asks the questions so many of us have asked of ourselves (“Am I not hot when I’m in my feelings?”).\u003c/p>\n\u003cp>Though “What Was I Made For?” remains this year’s likely winner, it wouldn’t be a massive shock if “I’m Just Ken” were to rise up and snatch the Oscar from its more somber \u003cem>Barbie\u003c/em> counterpart. The song pulls off a genuinely awesome feat: a grand and clever piece of comedic spectacle that is, among other superlatives, great at doing stuff. And, if you’re not grateful for “I’m Just Ken” now, just wait until it shows up to enliven a three-and-a-half-hour Oscars telecast.\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/wwux9KiBMjE'\n title='//www.youtube.com/embed/wwux9KiBMjE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>1. “What Was I Made For?,” \u003c/strong>\u003cem>\u003cstrong>Barbie\u003c/strong>\u003c/em>\u003cstrong>, performed by Billie Eilish (Billie Eilish and Finneas O’Connell, songwriters)\u003c/strong>\u003c/p>\n\u003cp>I’m never going to fault anyone for choosing jokes over feelings, so you’re more than forgiven if you prefer “I’m Just Ken” to “What Was I Made For?” But, \u003cem>man\u003c/em>, this is a gorgeous song: melodically rich, a radiant vocal performance from Billie Eilish, a compelling way to magnify the pathos in \u003cem>Barbie\u003c/em>‘s story of self-awakening, and an actual chart hit to boot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s worth noting once again how often the Oscars’ best original song field gets dominated by songs that roll harmlessly over closing credits — and, more to the point, that fail to convey or reflect on what their films were trying to say. This season, only the Diane Warren song really falls short in that regard; though they play over their respective credits, “Wahzhazhe (A Song for My People)” could only come from \u003cem>Killers of the Flower Moon\u003c/em> and “It Never Went Away” could only come from \u003cem>American Symphony\u003c/em>. That’s a big step up from most years, which says nothing of how integral “I’m Just Ken” and “What Was I Made For?” are to \u003cem>Barbie\u003c/em>.\u003c/p>\n\u003cp>Last year’s Oscar field produced one of the best and most satisfying winners this category has ever produced in “\u003ca href=\"https://www.youtube.com/watch?v=OsU0CGZoV8E\">Naatu Naatu\u003c/a>” from \u003cem>RRR\u003c/em>. As long as Barbie gets its due this time around, we’re in for another all-timer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Re-Entrification’ Documentary Propels Vital Housing Conversations in SF",
"headTitle": "‘Re-Entrification’ Documentary Propels Vital Housing Conversations in SF | KQED",
"content": "\u003cp>Right now, we’re all thinking about the cost of living. The groceries and the gas. The sun-eclipsing luxury apartments and the people living without shelter in their shadows. Staying in the Bay and fighting for some concept of “home,” or relocating to a remote, more affordable region.\u003c/p>\n\u003cp>It’s a lot to hold, especially when you consider that the current housing situation is just another layer on top of a heinous history of redlining, land grabs and colonization \u003cspan style=\"font-weight: 400\">— \u003c/span>which needs to be addressed so we can actually change course.\u003c/p>\n\u003cp>This is weighty discourse, and art can open conversations to help us parse through it in community. One such work is \u003cem>Re-Entrification\u003c/em>, a 65-minute documentary that turns to the people most impacted by the housing crisis to seek solutions. Helmed by director Fego Navarro and director of photography/editor Desire Lacap, the 2022 film screens \u003ca href=\"https://www.eventbrite.com/e/re-entrification-a-documentary-film-screening-presented-by-bravemaker-tickets-818841144907?utm_experiment=test_share_listing&aff=ebdsshios\" target=\"_blank\" rel=\"noopener\">March 9 in Redwood City\u003c/a> as a part of an event organized by BraveMaker, and then it will be shown again on \u003ca href=\"https://mtc.ca.gov/meetings-events/metro-talk-re-entrification-documentary-film-screening-discussion-2024-03-14t230000\" target=\"_blank\" rel=\"noopener\">March 14 at the Yerba Buena Conference Room\u003c/a>, as a part of an gathering supported by the Metropolitan Transportation Commission.\u003c/p>\n\u003cfigure id=\"attachment_13953386\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953386\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-800x562.png\" alt=\"A filmmaker addresses a small crowd. \" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-800x562.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-1020x716.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-768x539.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-1536x1079.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-2048x1438.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-1920x1348.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Desire Lacap speaks to an audience at the Chabot Movie Theater in Castro Valley during a recent screening of ‘Re-Entrification.’ \u003ccite>(Aaron Garrette )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Re-Entrification\u003c/em> features insightful interviews with people who’ve lived through evictions and periods of housing insecurity. There’s a candid interview with \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/jimmiefailsiv/?hl=en\" target=\"_blank\" rel=\"noopener\">Jimmie Fails\u003c/a>, the star and real-life inspiration for \u003cem>The Last Black Man in San Francisco,\u003c/em> the most lauded narrative film about gentrification in the City. \u003c/span>\u003c/p>\n\u003cp>The documentary also features folks who’ve overcome mental health issues and drug addictions, as well as people working on the frontlines to create change and advocate for alternative approaches to housing. One suggestion readily referenced in the film, \u003ca href=\"https://calmatters.org/housing/homelessness/2023/10/california-tiny-homes/\" target=\"_blank\" rel=\"noopener\">the tiny home idea\u003c/a>, has faced its share of criticism from housing advocates. Whether you agree with it or not, the main thing to take away is the momentum behind rethinking how we house people. That’s where we should invest our energy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film’s interviews are coupled with beautiful b-roll footage \u003cspan style=\"font-weight: 400\">— \u003c/span>as well as some video that just shouldn’t have been shot. There are glorious images of the City wrapped in fog, showcasing signature San Francisco. And there’s footage of people presumably living on the street. It’s duly sad because of their situation and the fact the scene was shot from a moving car. Although they’re quick clips, people’s faces are shown in safari-like footage. It feels like a contradiction to the film’s mission to humanize people most impacted.\u003c/p>\n\u003cp>To this point, Navarro says, “We were in \u003cspan style=\"font-weight: 400\">the [Tenderloin], driving around with no [filming] permits. Shooting guerrilla style.” He started his filmmaking endeavors while navigating distancing in the early days of the pandemic, and the first-time director admits it wasn’t a perfect process. It’s something he’s looking to make right by working with on-the-ground organizations in a forthcoming series on the same topic. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13953387\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953387\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-800x447.png\" alt='A frame of poet Aleja (\"Aleja Ajela\") Cobarruviaz during a recorded performance featured in the film Re-Entrification. ' width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-768x429.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-1536x859.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM.png 1900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A frame of poet Aleja (“Aleja Ajela”) Cobarruviaz during a recorded performance featured in the film ‘Re-Entrification.’ \u003ccite>(Desire Lacap)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A saving grace for \u003cem>Re-Entrification\u003c/em> is the chorus of homegrown poets who all share messages of local pride, critiques of housing policies and a clear demand for land. The list of lyrical leaders includes \u003ca href=\"https://sfranco510.squarespace.com/about\" target=\"_blank\" rel=\"noopener\">Stephanie Franco\u003c/a>, \u003ca href=\"https://www.thepoeticactivist.com/aboutme\" target=\"_blank\" rel=\"noopener\">Porsche Veu\u003c/a>, \u003ca href=\"https://www.lyricalopposition.org/team\" target=\"_blank\" rel=\"noopener\">Lacy Nguyen\u003c/a>, \u003ca href=\"https://www.instagram.com/ajelazw0rld/\" target=\"_blank\" rel=\"noopener\">Aleja (“Aleja Ajela”) Cobarruviaz\u003c/a> and even a few frames of \u003cspan style=\"font-weight: 400\">San Francisco Poet Laureate \u003c/span>\u003ca href=\"https://www.instagram.com/_tongogara_/\" target=\"_blank\" rel=\"noopener\">Tongo Eisen-Martin\u003c/a>.\u003c/p>\n\u003cp>When the poetic verses mix with the experiences of the interviewees, the film grows from a simple documentary to a vital push forward in the ongoing discussion. You know, the discussion that everyone is thinking about. [aside postid='news_11977258']\u003c/p>\n\u003cp>This week, California voters weigh in on \u003ca href=\"https://www.kqed.org/voterguide/california/proposition-1\">Prop 1\u003c/a>, which would allocate $6.4 billion dollars to fund the construction of new treatment beds and housing units for those living with mental health issues. It would also give the state further control over how resources for unhoused people are managed on a local level.\u003c/p>\n\u003cp>Last week, in an interview with\u003ca href=\"https://www.kqed.org/news/11977451/newsom-sees-prop-1-as-a-chance-to-finally-meet-the-needs-of-mentally-ill-californians\" target=\"_blank\" rel=\"noopener\"> KQED’s \u003cem>Political Breakdown\u003c/em>\u003c/a>, Governor Gavin Newsom said this bill is the state’s attempt to make up for years of lackluster resources for Californians battling mental health issues and housing insecurities.\u003c/p>\n\u003cp>While the issue moving up the political ladder is important, so is hearing from the folks on the grassroots level. \u003cem>Re-Entrification’\u003c/em>s director, Navarro, says that’s why his team is doing community screenings.\u003c/p>\n\u003cp>“I can’t say that I have a solution, but I would like to have a platform for the people who’ve been doing the work \u003cspan style=\"font-weight: 400\">—\u003c/span> who are in the community trying to make a change,” says Navarro.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Re-Entrification: Oakland\" src=\"https://player.vimeo.com/video/720862684?dnt=1&app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\">\u003c/iframe>\u003c/p>\n\u003cp>Since the film’s release, they’ve held a dozen screenings, each one with a conversation to boot. Navarro points to a recent screening at the Brava Theater, where activist and former Board of Supervisors candidate Roberto Hernandez, former Malo band member Leopoldo Rosales and \u003cspan style=\"font-weight: 400\">Ohlone Tribal Monitor\u003c/span> Desiree Dolores Vigil (who also appears in the film) sat on a panel. “They’re the elders,” says Navarro. “They’ve seen the change and the evolution.”\u003c/p>\n\u003cp>Even with the insights from the elders and the fiery lyrics from Gen Z, a clear solution to the issue hasn’t shown its face. Navarro, a Salvadorian American born and raised in San Francisco, says, “At every screening, that’s the thing that comes up. People asking: How do we find a solution?” [aside postid='news_11976472']\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">An MC and creative director of the \u003ca href=\"https://www.instagram.com/lyricalopposition/\" target=\"_blank\" rel=\"noopener\">Lyrical Opposition collective\u003c/a>, Navarro made this film on the back of grants from the San Francisco Foundation and the San Francisco Arts Commission. And now that it’s out there, he believes that this is a step toward finding the answer to thing that everyone is thinking about. The key, he says, lies in being in community, getting resources to the people and getting the information out to the masses. \u003c/span>\u003c/p>\n\u003cp>It’s a lofty goal for a problem that has existed since the creation of this country. But even with that starkness of this task, there’s optimism in the film. \u003cspan style=\"font-weight: 400\">At the end of the movie, the narrator, \u003ca href=\"https://www.instagram.com/sin.sineo/?hl=en\" target=\"_blank\" rel=\"noopener\">Sineo\u003c/a>, says the goal is this: “At the most, change the world. At the least, change how we treat each other.” \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Re-Entrification’ will screen Saturday, \u003ca href=\"https://www.eventbrite.com/e/re-entrification-a-documentary-film-screening-presented-by-bravemaker-tickets-818841144907?utm_experiment=test_share_listing&aff=ebdsshios\" target=\"_blank\" rel=\"noopener\">March 9 at 1840 Harding Avenue, Redwood City,\u003c/a> and again on Thursday, \u003ca href=\"https://mtc.ca.gov/meetings-events/metro-talk-re-entrification-documentary-film-screening-discussion-2024-03-14t230000\" target=\"_blank\" rel=\"noopener\">March 14, at the Yerba Buena Conference Room\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The film, screening in Redwood City this week, spotlights people most impacted by the housing crisis. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Right now, we’re all thinking about the cost of living. The groceries and the gas. The sun-eclipsing luxury apartments and the people living without shelter in their shadows. Staying in the Bay and fighting for some concept of “home,” or relocating to a remote, more affordable region.\u003c/p>\n\u003cp>It’s a lot to hold, especially when you consider that the current housing situation is just another layer on top of a heinous history of redlining, land grabs and colonization \u003cspan style=\"font-weight: 400\">— \u003c/span>which needs to be addressed so we can actually change course.\u003c/p>\n\u003cp>This is weighty discourse, and art can open conversations to help us parse through it in community. One such work is \u003cem>Re-Entrification\u003c/em>, a 65-minute documentary that turns to the people most impacted by the housing crisis to seek solutions. Helmed by director Fego Navarro and director of photography/editor Desire Lacap, the 2022 film screens \u003ca href=\"https://www.eventbrite.com/e/re-entrification-a-documentary-film-screening-presented-by-bravemaker-tickets-818841144907?utm_experiment=test_share_listing&aff=ebdsshios\" target=\"_blank\" rel=\"noopener\">March 9 in Redwood City\u003c/a> as a part of an event organized by BraveMaker, and then it will be shown again on \u003ca href=\"https://mtc.ca.gov/meetings-events/metro-talk-re-entrification-documentary-film-screening-discussion-2024-03-14t230000\" target=\"_blank\" rel=\"noopener\">March 14 at the Yerba Buena Conference Room\u003c/a>, as a part of an gathering supported by the Metropolitan Transportation Commission.\u003c/p>\n\u003cfigure id=\"attachment_13953386\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953386\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-800x562.png\" alt=\"A filmmaker addresses a small crowd. \" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-800x562.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-1020x716.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-768x539.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-1536x1079.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-2048x1438.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-1920x1348.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Desire Lacap speaks to an audience at the Chabot Movie Theater in Castro Valley during a recent screening of ‘Re-Entrification.’ \u003ccite>(Aaron Garrette )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Re-Entrification\u003c/em> features insightful interviews with people who’ve lived through evictions and periods of housing insecurity. There’s a candid interview with \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/jimmiefailsiv/?hl=en\" target=\"_blank\" rel=\"noopener\">Jimmie Fails\u003c/a>, the star and real-life inspiration for \u003cem>The Last Black Man in San Francisco,\u003c/em> the most lauded narrative film about gentrification in the City. \u003c/span>\u003c/p>\n\u003cp>The documentary also features folks who’ve overcome mental health issues and drug addictions, as well as people working on the frontlines to create change and advocate for alternative approaches to housing. One suggestion readily referenced in the film, \u003ca href=\"https://calmatters.org/housing/homelessness/2023/10/california-tiny-homes/\" target=\"_blank\" rel=\"noopener\">the tiny home idea\u003c/a>, has faced its share of criticism from housing advocates. Whether you agree with it or not, the main thing to take away is the momentum behind rethinking how we house people. That’s where we should invest our energy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film’s interviews are coupled with beautiful b-roll footage \u003cspan style=\"font-weight: 400\">— \u003c/span>as well as some video that just shouldn’t have been shot. There are glorious images of the City wrapped in fog, showcasing signature San Francisco. And there’s footage of people presumably living on the street. It’s duly sad because of their situation and the fact the scene was shot from a moving car. Although they’re quick clips, people’s faces are shown in safari-like footage. It feels like a contradiction to the film’s mission to humanize people most impacted.\u003c/p>\n\u003cp>To this point, Navarro says, “We were in \u003cspan style=\"font-weight: 400\">the [Tenderloin], driving around with no [filming] permits. Shooting guerrilla style.” He started his filmmaking endeavors while navigating distancing in the early days of the pandemic, and the first-time director admits it wasn’t a perfect process. It’s something he’s looking to make right by working with on-the-ground organizations in a forthcoming series on the same topic. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13953387\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953387\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-800x447.png\" alt='A frame of poet Aleja (\"Aleja Ajela\") Cobarruviaz during a recorded performance featured in the film Re-Entrification. ' width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-768x429.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-1536x859.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM.png 1900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A frame of poet Aleja (“Aleja Ajela”) Cobarruviaz during a recorded performance featured in the film ‘Re-Entrification.’ \u003ccite>(Desire Lacap)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A saving grace for \u003cem>Re-Entrification\u003c/em> is the chorus of homegrown poets who all share messages of local pride, critiques of housing policies and a clear demand for land. The list of lyrical leaders includes \u003ca href=\"https://sfranco510.squarespace.com/about\" target=\"_blank\" rel=\"noopener\">Stephanie Franco\u003c/a>, \u003ca href=\"https://www.thepoeticactivist.com/aboutme\" target=\"_blank\" rel=\"noopener\">Porsche Veu\u003c/a>, \u003ca href=\"https://www.lyricalopposition.org/team\" target=\"_blank\" rel=\"noopener\">Lacy Nguyen\u003c/a>, \u003ca href=\"https://www.instagram.com/ajelazw0rld/\" target=\"_blank\" rel=\"noopener\">Aleja (“Aleja Ajela”) Cobarruviaz\u003c/a> and even a few frames of \u003cspan style=\"font-weight: 400\">San Francisco Poet Laureate \u003c/span>\u003ca href=\"https://www.instagram.com/_tongogara_/\" target=\"_blank\" rel=\"noopener\">Tongo Eisen-Martin\u003c/a>.\u003c/p>\n\u003cp>When the poetic verses mix with the experiences of the interviewees, the film grows from a simple documentary to a vital push forward in the ongoing discussion. You know, the discussion that everyone is thinking about. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This week, California voters weigh in on \u003ca href=\"https://www.kqed.org/voterguide/california/proposition-1\">Prop 1\u003c/a>, which would allocate $6.4 billion dollars to fund the construction of new treatment beds and housing units for those living with mental health issues. It would also give the state further control over how resources for unhoused people are managed on a local level.\u003c/p>\n\u003cp>Last week, in an interview with\u003ca href=\"https://www.kqed.org/news/11977451/newsom-sees-prop-1-as-a-chance-to-finally-meet-the-needs-of-mentally-ill-californians\" target=\"_blank\" rel=\"noopener\"> KQED’s \u003cem>Political Breakdown\u003c/em>\u003c/a>, Governor Gavin Newsom said this bill is the state’s attempt to make up for years of lackluster resources for Californians battling mental health issues and housing insecurities.\u003c/p>\n\u003cp>While the issue moving up the political ladder is important, so is hearing from the folks on the grassroots level. \u003cem>Re-Entrification’\u003c/em>s director, Navarro, says that’s why his team is doing community screenings.\u003c/p>\n\u003cp>“I can’t say that I have a solution, but I would like to have a platform for the people who’ve been doing the work \u003cspan style=\"font-weight: 400\">—\u003c/span> who are in the community trying to make a change,” says Navarro.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Re-Entrification: Oakland\" src=\"https://player.vimeo.com/video/720862684?dnt=1&app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\">\u003c/iframe>\u003c/p>\n\u003cp>Since the film’s release, they’ve held a dozen screenings, each one with a conversation to boot. Navarro points to a recent screening at the Brava Theater, where activist and former Board of Supervisors candidate Roberto Hernandez, former Malo band member Leopoldo Rosales and \u003cspan style=\"font-weight: 400\">Ohlone Tribal Monitor\u003c/span> Desiree Dolores Vigil (who also appears in the film) sat on a panel. “They’re the elders,” says Navarro. “They’ve seen the change and the evolution.”\u003c/p>\n\u003cp>Even with the insights from the elders and the fiery lyrics from Gen Z, a clear solution to the issue hasn’t shown its face. Navarro, a Salvadorian American born and raised in San Francisco, says, “At every screening, that’s the thing that comes up. People asking: How do we find a solution?” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">An MC and creative director of the \u003ca href=\"https://www.instagram.com/lyricalopposition/\" target=\"_blank\" rel=\"noopener\">Lyrical Opposition collective\u003c/a>, Navarro made this film on the back of grants from the San Francisco Foundation and the San Francisco Arts Commission. And now that it’s out there, he believes that this is a step toward finding the answer to thing that everyone is thinking about. The key, he says, lies in being in community, getting resources to the people and getting the information out to the masses. \u003c/span>\u003c/p>\n\u003cp>It’s a lofty goal for a problem that has existed since the creation of this country. But even with that starkness of this task, there’s optimism in the film. \u003cspan style=\"font-weight: 400\">At the end of the movie, the narrator, \u003ca href=\"https://www.instagram.com/sin.sineo/?hl=en\" target=\"_blank\" rel=\"noopener\">Sineo\u003c/a>, says the goal is this: “At the most, change the world. At the least, change how we treat each other.” \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Re-Entrification’ will screen Saturday, \u003ca href=\"https://www.eventbrite.com/e/re-entrification-a-documentary-film-screening-presented-by-bravemaker-tickets-818841144907?utm_experiment=test_share_listing&aff=ebdsshios\" target=\"_blank\" rel=\"noopener\">March 9 at 1840 Harding Avenue, Redwood City,\u003c/a> and again on Thursday, \u003ca href=\"https://mtc.ca.gov/meetings-events/metro-talk-re-entrification-documentary-film-screening-discussion-2024-03-14t230000\" target=\"_blank\" rel=\"noopener\">March 14, at the Yerba Buena Conference Room\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13953378\" class=\"wp-caption aligncenter\" style=\"max-width: 852px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953378\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM.png\" alt=\"A book cover illustration shows a woman in a bikini and a small boy dancing next to her.\" width=\"852\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM.png 852w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM-800x1138.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM-160x228.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM-768x1093.png 768w\" sizes=\"auto, (max-width: 852px) 100vw, 852px\">\u003cfigcaption class=\"wp-caption-text\">‘I’m So Glad We Had This Time Together’ by Maurice Vellekoop. \u003ccite>(Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point far into Maurice Vellekoop’s operatic, nearly 500-page graphic memoir \u003cem>I’m So Glad We Had This Time Together\u003c/em>, he depicts himself at an art event in Toronto. He has donated his work to the silent auction and is now scoping out the scene, chatting up yet another handsome stranger in search of that elusive spark. “I thought you said you were an artist,” the man bitterly remarks, having just matched the artist to his art — presumably a comics illustration.\u003c/p>\n\u003cp>This moment is somewhat peripheral to the main storyline, included as a demonstration of the then 30-something-year-old’s long-delayed willingness to put himself out there on the dating scene. But in a way, it captures a concern even more essential to the book. This long, gorgeous, often rambunctious memoir is the story of a man’s search for a way out of the expectations that have kept him constrained for most of his life. Vellekoop will not remain unscathed by other people’s judgment and censure. In the end, though, this impressive book is the proclamation of an artist, in this case a cartoonist, finally staking out his claim.\u003c/p>\n\u003cfigure id=\"attachment_13953376\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953376\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM.png\" alt=\"An illustration of a woman reading a book on a train, with a small boy curled up next to her.\" width=\"1292\" height=\"1288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM-800x798.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM-1020x1017.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM-768x766.png 768w\" sizes=\"auto, (max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">A panel from Maurice Vellekoop’s ‘I’m So Glad We Had This Time Together.’ \u003ccite>(Maurice Vellekoop/ Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Divided into four sections tracking various throughlines from his life so far, Vellekoop opens his lavishly colored book of comics with scenes from early childhood. Born in 1964, young Maurice was the fourth and final sibling raised in the suburbs of Toronto by Dutch immigrant parents who were also avid members of the Christian Reformed Church. From his loving but complicated Mum and Dad, he developed an immediate, and passionate, connection with music and art. This working-class immigrant family displayed a Rembrandt in their living room. His mother made clothes for the entire family, also running a hair salon out of their basement. His father, an art and music lover, took him to see \u003cem>Fantasia \u003c/em>when he was a little boy. It was initially through the two of them, and his adored older sister, Ingrid, that many of his great loves — and, eventually, prodigious talents — were launched.\u003c/p>\n\u003cp>[aside postid='arts_13935619']But family life was also full of contradictions. Vellekoop’s father was subject to sudden, inexplicable rages. His mother could never reconcile the aesthetic tastes she shared with her youngest with her sense, particularly as he grew older, that his desires were not quite aligned with her adopted religious beliefs and cultural standards. “My Mum and I should have bonded over beauty,” the narrator mournfully reports, tracking one missed opportunity after another. First subtly — say, by substituting a marionette as a gift in lieu of a much-desired Barbie — later much more overtly, by handing her son religious pamphlets condemning homosexuality, Vellekoop’s mother, whom he adored, time and again makes her disapprovals known. As the boy ages into puberty, he battles his budding sexual desires alongside a longing to please his parents as well as a growing anxiety around peers who tease and also verbally abuse him.\u003c/p>\n\u003cfigure id=\"attachment_13953377\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM.png\" alt=\"An illustration of a small boy crouched between book cases reading Cinderella.\" width=\"1280\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM.png 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM-800x798.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM-1020x1017.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM-768x766.png 768w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">A panel from Maurice Vellekoop’s ‘I’m So Glad We Had This Time Together.’ \u003ccite>(Maurice Vellekoop/ Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Armed from a young age with an ability to find beauty and connection in all manner of storytelling forms, from the so-called lowbrow to the most classical of works, Vellekoop packs his passages — from public high school and arts college into the post-collegiate Toronto scene and, later, travels to New York City — with all manner of references, from which he draws inspiration. As a child he falls in love, first with Disney films, then television. The shows he loves to watch include \u003cem>The Addams Family\u003c/em>, \u003cem>Tarzan\u003c/em> and \u003cem>The Carol Burnett Show — \u003c/em>the memoir’s title is drawn from the popular variety show’s closing song.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He derives pleasure, too, from other forms, like popular and avant garde cinema and theater, punk rock, comics, opera, painting, science fiction, literature, and more. These cultural and aesthetic touchstones become the foundations not only for the expertly rendered images and prose on display but also the important friendships that dominate his life, and sustain him. His successful art and illustration career, which takes off quickly after his graduation from the Ontario College of Art and Design, sees him globetrotting, publishing works in places like \u003cem>The New Yorker\u003c/em>, \u003cem>Vogue\u003c/em> and\u003cem> Rolling Stone.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13926136']Throughout, Vellekoop candidly depicts several violent and unprovoked attacks from strangers, his internalized shame, his struggles with depression, coming to terms with his sexual proclivities and finding a mate. He finds consolation and support, not only in the art he continually seeks out, and all that he creates, but also in the Toronto arts community, his straight female friendships and, eventually, a professional therapist. Alongside other evocative gay and queer cartoonists, from Howard Cruse and Alison Bechdel to Robert Kirby and Maia Kobabe, Vellekoop is invested in presenting the highs and lows of a life lived willfully resisting other people’s inconsistent, harmful attitudes.\u003c/p>\n\u003cp>There is, too, for Vellekoop, an eventual reconciliation of sorts with his mother. Though it is far from seamless, at long last she echoes a designation he has already gifted himself, many times over. On the phone, nearing the end of her life, in response to his own declarations of affection she tells him: “I love you too. My Maurice, my artist son.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tahneer Oksman is a writer, teacher, and scholar specializing in memoir as well as graphic novels and comics. She lives in Brooklyn, NY.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+man+fights+expectations+in+%27I%27m+So+Glad+We+Had+This+Time+Together%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13953378\" class=\"wp-caption aligncenter\" style=\"max-width: 852px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953378\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM.png\" alt=\"A book cover illustration shows a woman in a bikini and a small boy dancing next to her.\" width=\"852\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM.png 852w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM-800x1138.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM-160x228.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM-768x1093.png 768w\" sizes=\"auto, (max-width: 852px) 100vw, 852px\">\u003cfigcaption class=\"wp-caption-text\">‘I’m So Glad We Had This Time Together’ by Maurice Vellekoop. \u003ccite>(Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point far into Maurice Vellekoop’s operatic, nearly 500-page graphic memoir \u003cem>I’m So Glad We Had This Time Together\u003c/em>, he depicts himself at an art event in Toronto. He has donated his work to the silent auction and is now scoping out the scene, chatting up yet another handsome stranger in search of that elusive spark. “I thought you said you were an artist,” the man bitterly remarks, having just matched the artist to his art — presumably a comics illustration.\u003c/p>\n\u003cp>This moment is somewhat peripheral to the main storyline, included as a demonstration of the then 30-something-year-old’s long-delayed willingness to put himself out there on the dating scene. But in a way, it captures a concern even more essential to the book. This long, gorgeous, often rambunctious memoir is the story of a man’s search for a way out of the expectations that have kept him constrained for most of his life. Vellekoop will not remain unscathed by other people’s judgment and censure. In the end, though, this impressive book is the proclamation of an artist, in this case a cartoonist, finally staking out his claim.\u003c/p>\n\u003cfigure id=\"attachment_13953376\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953376\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM.png\" alt=\"An illustration of a woman reading a book on a train, with a small boy curled up next to her.\" width=\"1292\" height=\"1288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM-800x798.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM-1020x1017.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM-768x766.png 768w\" sizes=\"auto, (max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">A panel from Maurice Vellekoop’s ‘I’m So Glad We Had This Time Together.’ \u003ccite>(Maurice Vellekoop/ Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Divided into four sections tracking various throughlines from his life so far, Vellekoop opens his lavishly colored book of comics with scenes from early childhood. Born in 1964, young Maurice was the fourth and final sibling raised in the suburbs of Toronto by Dutch immigrant parents who were also avid members of the Christian Reformed Church. From his loving but complicated Mum and Dad, he developed an immediate, and passionate, connection with music and art. This working-class immigrant family displayed a Rembrandt in their living room. His mother made clothes for the entire family, also running a hair salon out of their basement. His father, an art and music lover, took him to see \u003cem>Fantasia \u003c/em>when he was a little boy. It was initially through the two of them, and his adored older sister, Ingrid, that many of his great loves — and, eventually, prodigious talents — were launched.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But family life was also full of contradictions. Vellekoop’s father was subject to sudden, inexplicable rages. His mother could never reconcile the aesthetic tastes she shared with her youngest with her sense, particularly as he grew older, that his desires were not quite aligned with her adopted religious beliefs and cultural standards. “My Mum and I should have bonded over beauty,” the narrator mournfully reports, tracking one missed opportunity after another. First subtly — say, by substituting a marionette as a gift in lieu of a much-desired Barbie — later much more overtly, by handing her son religious pamphlets condemning homosexuality, Vellekoop’s mother, whom he adored, time and again makes her disapprovals known. As the boy ages into puberty, he battles his budding sexual desires alongside a longing to please his parents as well as a growing anxiety around peers who tease and also verbally abuse him.\u003c/p>\n\u003cfigure id=\"attachment_13953377\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM.png\" alt=\"An illustration of a small boy crouched between book cases reading Cinderella.\" width=\"1280\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM.png 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM-800x798.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM-1020x1017.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM-768x766.png 768w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">A panel from Maurice Vellekoop’s ‘I’m So Glad We Had This Time Together.’ \u003ccite>(Maurice Vellekoop/ Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Armed from a young age with an ability to find beauty and connection in all manner of storytelling forms, from the so-called lowbrow to the most classical of works, Vellekoop packs his passages — from public high school and arts college into the post-collegiate Toronto scene and, later, travels to New York City — with all manner of references, from which he draws inspiration. As a child he falls in love, first with Disney films, then television. The shows he loves to watch include \u003cem>The Addams Family\u003c/em>, \u003cem>Tarzan\u003c/em> and \u003cem>The Carol Burnett Show — \u003c/em>the memoir’s title is drawn from the popular variety show’s closing song.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He derives pleasure, too, from other forms, like popular and avant garde cinema and theater, punk rock, comics, opera, painting, science fiction, literature, and more. These cultural and aesthetic touchstones become the foundations not only for the expertly rendered images and prose on display but also the important friendships that dominate his life, and sustain him. His successful art and illustration career, which takes off quickly after his graduation from the Ontario College of Art and Design, sees him globetrotting, publishing works in places like \u003cem>The New Yorker\u003c/em>, \u003cem>Vogue\u003c/em> and\u003cem> Rolling Stone.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Throughout, Vellekoop candidly depicts several violent and unprovoked attacks from strangers, his internalized shame, his struggles with depression, coming to terms with his sexual proclivities and finding a mate. He finds consolation and support, not only in the art he continually seeks out, and all that he creates, but also in the Toronto arts community, his straight female friendships and, eventually, a professional therapist. Alongside other evocative gay and queer cartoonists, from Howard Cruse and Alison Bechdel to Robert Kirby and Maia Kobabe, Vellekoop is invested in presenting the highs and lows of a life lived willfully resisting other people’s inconsistent, harmful attitudes.\u003c/p>\n\u003cp>There is, too, for Vellekoop, an eventual reconciliation of sorts with his mother. Though it is far from seamless, at long last she echoes a designation he has already gifted himself, many times over. On the phone, nearing the end of her life, in response to his own declarations of affection she tells him: “I love you too. My Maurice, my artist son.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tahneer Oksman is a writer, teacher, and scholar specializing in memoir as well as graphic novels and comics. She lives in Brooklyn, NY.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+man+fights+expectations+in+%27I%27m+So+Glad+We+Had+This+Time+Together%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Smelling Music? A Multisensory ‘Prometheus’ Delights at the SF Symphony",
"headTitle": "Smelling Music? A Multisensory ‘Prometheus’ Delights at the SF Symphony | KQED",
"content": "\u003cp>So here’s the challenge: How does one present a 114-year-old piece of music by a composer said to be afflicted with \u003ca href=\"https://www.psychologytoday.com/us/basics/synesthesia\">synesthesia\u003c/a> who, in the score, calls for a “\u003ca href=\"https://en.wikipedia.org/wiki/Clavier_%C3%A0_lumi%C3%A8res\">color organ\u003c/a>” — an instrument that does not exist?\u003c/p>\n\u003cp>Furthermore, how does one interpret this composer’s mysticism and artistic philosophy of merging the senses? How does one weave together so many intangibles and unknowns in a way that says, “Yes, yes, this is the way he would want it performed” — even though it involves significant labor and cost, and, oh right, only lasts 20 minutes?\u003c/p>\n\u003cp>[aside postID='arts_13951043']That’s the challenge Esa-Pekka Salonen and the San Francisco Symphony faced when deciding to undertake Alexander Scriabin’s \u003cem>Prometheus, The Poem of Fire\u003c/em>, a piece rarely performed due to risks both aesthetic and logistic. (It’s not exactly an easy commercial sell, either.)\u003c/p>\n\u003cp>And yet on Sunday, with colorful light splashed around the inside of Davies Symphony Hall, and special scents piped throughout the audience, \u003cem>Prometheus\u003c/em> was a dazzling success.\u003c/p>\n\u003cfigure id=\"attachment_13953338\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953338\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the orchestra with pianist Jean-Yves Thibaudet as the San Francisco Symphony performs Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall on March 1, 2024. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before the orchestra played a single note, Davies resembled elements from the film \u003cem>2001\u003c/em>; bathed in red light, the sound baffling conjured \u003ca href=\"https://www.kqed.org/pop/102906/50-years-later-2001-a-space-odyssey-is-still-a-cinematic-landmark\">David Bowman’s spherical helmet\u003c/a>, and the grid of square holes in the stage wall recalled \u003ca href=\"https://www.kinolab.org/FilmClip.php?id=790\">HAL’s central circuit boards\u003c/a>. A giant circular lighting rig hovered over the stage. Around the side terraces and floor were situated 12 \u003ca href=\"https://www.nytimes.com/2024/02/23/arts/music/scriabin-prometheus-san-francisco-perfume-cartier.html\">wooden contraptions looking like space pods\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then? The piece started in complete darkness. A faint spotlight appeared on conductor Esa-Pekka Salonen, then vertical lights down the orchestra floor turned indigo. Overhead, the circle glowed green, illuminating pianist Jean-Yves Thibaudet.\u003c/p>\n\u003cp>Three minutes in, I could smell the aroma developed by Mathilde Laurent from Cartier. I’d figured it’d resemble women’s perfume, but no — this was a complex, earthy scent. The lights changed colors corresponding to the music. A dextrous solo passage by Thibaudet was bathed in deep purple, and during one loud portion, what I thought was someone opening the concert hall’s doors to the bright afternoon sun turned out to be the side lighting burning bright white.\u003c/p>\n\u003cp>The scent got stronger — I thought of fern, madrone and damp bay leaves — and the music more swirling and intense. Swelling brass played against full-fingered piano runs as Scriabin’s score approached the moment, in the Greek myth of Prometheus (and, coincidentally, the beginning of \u003cem>2001\u003c/em>), when humankind is gifted with the power of harnessing fire.\u003c/p>\n\u003cfigure id=\"attachment_13953336\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953336\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony performs Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall, outfitted with special lighting and smoke cannons, on March 1, 2024. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That arrived at the 13-minute mark, when the round doors of the space pods slowly opened, emanating wisps of mist. As the orchestra crescendoed to a climax, \u003cem>boom!\u003c/em> — the space pod cannons launched smoke rings across the hall, zig-zagging over the audience in vibrant red and yellow light. The scent suddenly changed, lighter and less musky, to what seemed like citrus and lychee. I may or may not have whispered, “Oh my God.”\u003c/p>\n\u003cp>Did I say that was the climax? Alas, the joke was on me, because a 77-piece choir started filing into the center terrace to sing thunderously as the music intensified and the scent changed yet again, this time to a sweet herbal note reminiscent of Fernet Branca being poured in a houseplant boutique.\u003c/p>\n\u003cp>What followed in the final six minutes was pure wonderment at the scope of it all, and the capacity of humans to undertake such a vigorous challenge. At the gigantic fortississimo ending, Davies shimmered with red and yellow until a full blackout after the final thrilling chord.\u003c/p>\n\u003cfigure id=\"attachment_13953335\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953335\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A curtain call for the San Francisco Symphony performance of Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall on March 1, 2024. Left to right: Music Director Esa-Pekka Salonen, Chorus Director Jenny Wong, lighting designer Luke Kritzeck, pianist Jean-Yves Thibaudet and Cartier’s in-house perfumer Mathilde Laurent. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the intermission, Béla Bartók’s \u003cem>Duke Bluebeard’s Castle\u003c/em> felt a bit like Carly Rae Jepsen having to follow Beyoncé. Gerald Finley and Michelle DeYoung were in fine form singing the tale of a doomed wife exploring a blood-stained castle, and the special lighting was used intermittently. But it was no match for the first half.\u003c/p>\n\u003cp>Scriabin is a composer with a diehard fanbase. During a 2015 performance of Scriabin’s piano sonatas at SFJAZZ by Garrick Ohlsson, some audience members had sheet music in their laps to follow along. Their passion comes from those moments when his singular, strange vision of music is beautifully realized.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It doesn’t happen often. Leave it up to San Francisco to pull it off.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So here’s the challenge: How does one present a 114-year-old piece of music by a composer said to be afflicted with \u003ca href=\"https://www.psychologytoday.com/us/basics/synesthesia\">synesthesia\u003c/a> who, in the score, calls for a “\u003ca href=\"https://en.wikipedia.org/wiki/Clavier_%C3%A0_lumi%C3%A8res\">color organ\u003c/a>” — an instrument that does not exist?\u003c/p>\n\u003cp>Furthermore, how does one interpret this composer’s mysticism and artistic philosophy of merging the senses? How does one weave together so many intangibles and unknowns in a way that says, “Yes, yes, this is the way he would want it performed” — even though it involves significant labor and cost, and, oh right, only lasts 20 minutes?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That’s the challenge Esa-Pekka Salonen and the San Francisco Symphony faced when deciding to undertake Alexander Scriabin’s \u003cem>Prometheus, The Poem of Fire\u003c/em>, a piece rarely performed due to risks both aesthetic and logistic. (It’s not exactly an easy commercial sell, either.)\u003c/p>\n\u003cp>And yet on Sunday, with colorful light splashed around the inside of Davies Symphony Hall, and special scents piped throughout the audience, \u003cem>Prometheus\u003c/em> was a dazzling success.\u003c/p>\n\u003cfigure id=\"attachment_13953338\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953338\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the orchestra with pianist Jean-Yves Thibaudet as the San Francisco Symphony performs Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall on March 1, 2024. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before the orchestra played a single note, Davies resembled elements from the film \u003cem>2001\u003c/em>; bathed in red light, the sound baffling conjured \u003ca href=\"https://www.kqed.org/pop/102906/50-years-later-2001-a-space-odyssey-is-still-a-cinematic-landmark\">David Bowman’s spherical helmet\u003c/a>, and the grid of square holes in the stage wall recalled \u003ca href=\"https://www.kinolab.org/FilmClip.php?id=790\">HAL’s central circuit boards\u003c/a>. A giant circular lighting rig hovered over the stage. Around the side terraces and floor were situated 12 \u003ca href=\"https://www.nytimes.com/2024/02/23/arts/music/scriabin-prometheus-san-francisco-perfume-cartier.html\">wooden contraptions looking like space pods\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then? The piece started in complete darkness. A faint spotlight appeared on conductor Esa-Pekka Salonen, then vertical lights down the orchestra floor turned indigo. Overhead, the circle glowed green, illuminating pianist Jean-Yves Thibaudet.\u003c/p>\n\u003cp>Three minutes in, I could smell the aroma developed by Mathilde Laurent from Cartier. I’d figured it’d resemble women’s perfume, but no — this was a complex, earthy scent. The lights changed colors corresponding to the music. A dextrous solo passage by Thibaudet was bathed in deep purple, and during one loud portion, what I thought was someone opening the concert hall’s doors to the bright afternoon sun turned out to be the side lighting burning bright white.\u003c/p>\n\u003cp>The scent got stronger — I thought of fern, madrone and damp bay leaves — and the music more swirling and intense. Swelling brass played against full-fingered piano runs as Scriabin’s score approached the moment, in the Greek myth of Prometheus (and, coincidentally, the beginning of \u003cem>2001\u003c/em>), when humankind is gifted with the power of harnessing fire.\u003c/p>\n\u003cfigure id=\"attachment_13953336\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953336\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony performs Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall, outfitted with special lighting and smoke cannons, on March 1, 2024. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That arrived at the 13-minute mark, when the round doors of the space pods slowly opened, emanating wisps of mist. As the orchestra crescendoed to a climax, \u003cem>boom!\u003c/em> — the space pod cannons launched smoke rings across the hall, zig-zagging over the audience in vibrant red and yellow light. The scent suddenly changed, lighter and less musky, to what seemed like citrus and lychee. I may or may not have whispered, “Oh my God.”\u003c/p>\n\u003cp>Did I say that was the climax? Alas, the joke was on me, because a 77-piece choir started filing into the center terrace to sing thunderously as the music intensified and the scent changed yet again, this time to a sweet herbal note reminiscent of Fernet Branca being poured in a houseplant boutique.\u003c/p>\n\u003cp>What followed in the final six minutes was pure wonderment at the scope of it all, and the capacity of humans to undertake such a vigorous challenge. At the gigantic fortississimo ending, Davies shimmered with red and yellow until a full blackout after the final thrilling chord.\u003c/p>\n\u003cfigure id=\"attachment_13953335\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953335\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A curtain call for the San Francisco Symphony performance of Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall on March 1, 2024. Left to right: Music Director Esa-Pekka Salonen, Chorus Director Jenny Wong, lighting designer Luke Kritzeck, pianist Jean-Yves Thibaudet and Cartier’s in-house perfumer Mathilde Laurent. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the intermission, Béla Bartók’s \u003cem>Duke Bluebeard’s Castle\u003c/em> felt a bit like Carly Rae Jepsen having to follow Beyoncé. Gerald Finley and Michelle DeYoung were in fine form singing the tale of a doomed wife exploring a blood-stained castle, and the special lighting was used intermittently. But it was no match for the first half.\u003c/p>\n\u003cp>Scriabin is a composer with a diehard fanbase. During a 2015 performance of Scriabin’s piano sonatas at SFJAZZ by Garrick Ohlsson, some audience members had sheet music in their laps to follow along. Their passion comes from those moments when his singular, strange vision of music is beautifully realized.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It doesn’t happen often. Leave it up to San Francisco to pull it off.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Live Review: Bad Bunny Gets in His Feels at San Francisco’s Chase Center",
"headTitle": "Live Review: Bad Bunny Gets in His Feels at San Francisco’s Chase Center | KQED",
"content": "\u003cp>If I hadn’t known Bad Bunny was headlining at the Chase Center on Saturday night, I would have sworn, judging by the fans heading inside, that I was at an Eslabon Armado or Grupo Firme show. In force were thick jean jackets, cowboy hats, cowboy boots — and I’m not talking about just any boots, but \u003cem>botas\u003c/em> with full embroidery and bling.\u003c/p>\n\u003cp>I’d never seen a ranchero aesthetic showing up so strongly for a reggaeton artist. It proved that Bad Bunny has fulfilled the promise of his latest album, \u003cem>Nadie Sabe Lo Que Va a Pasar Mañana\u003c/em>, by seamlessly bringing together a multiplicity of genres — banda, trap, dembow, Jersey club — with his irresistible looks and style.\u003c/p>\n\u003cfigure id=\"attachment_13953309\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13953309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A group of friends show off their hats outside the Chase Center before Bad Bunny’s concert in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After an intro by a live orchestra (violins, cellos, brass and all), Benito rose from the floor on a second stage, hidden in a cloud of smoke. Opening with the somber new track “Nadie Sabe,” he leaned on the mic in a dark jacket and black Dodgers cap, with no backup dancers — just the man and the stage. (Regardless of how many chart-breaking summer anthems he cranks out year after year, El Conejo Malo keeps true to his sadboy side.)\u003c/p>\n\u003cp>It wasn’t until the second song, “Monaco,” that backup dancers arrived. But just like Bad Bunny, they wore simple black clothing, and kept their choreography low-key. In contrast with his previous tour, which was all about having a big, colorful summer party on the beach (oh, to be back in May 2022 and hear \u003cem>Un Verano Sin Ti\u003c/em> for the first time again), the Benito on this year’s Most Wanted Tour is a whole different person: serious, mature, grounded. I’ll add mysterious, too; for much of the show, Benito kept his face obscured, at one point donning a ski mask and sunglasses.\u003c/p>\n\u003cfigure id=\"attachment_13953305\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny performs at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of the show was dedicated to tracks from \u003cem>Nadie Sabe Lo Que Va a Pasar Mañana\u003c/em>, like “Fina” and “Where She Goes.” (Unfortunately for the fans in their ranchero fits, only a snippet appeared of “un x100to,” which features Mexican regional band Grupo Frontera.) Benito’s love for trap had the spotlight, and it wasn’t until the second half of the show that he performed the perreo anthems of years past. As “La Santa” and “Me Porto Bonito” came paired with fireworks, lasers, fog machines and thousands of LED lights from necklaces distributed to fans before the show, the stage became the center of what felt like the biggest club in the world — think Coco Bongo Cancún.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13953284']Mind you, it was still a club with \u003cem>showmanship\u003c/em>. To open the second act of his set, Benito entered the stage on a horse. It was the first time I’d ever seen a reggaetonero perform with a horse, and brought me flashbacks to \u003ca href=\"https://www.youtube.com/watch?v=pXRYAp00yhw\">Joan Sebastian singing on a horse in his jaripeos\u003c/a>. This aligns with the idea of the tour: that Benito is a lone horseman on the run, “most wanted” after breaking the law.\u003c/p>\n\u003cp>But I couldn’t help but ask myself: \u003cem>What is he on the run from? What force is threatening this man?\u003c/em> After all, Benito is no longer the up-and-coming rookie teased by other reggaetoneros for his painted nails and earrings — Bad Bunny \u003cem>is\u003c/em> the face of reggaeton now to a global audience. His market success and impact on younger artists stands on par with legends of the genre like Ivy Queen and Plan B.\u003c/p>\n\u003cfigure id=\"attachment_13953306\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny performs at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Benito, however, gave several interpretations of what it means to be “Most Wanted.” When he reached “Baticano,” he paused to talk to the audience. “Es imposible creer que este lugar se llenó con tanta gente,” he said — “It’s impossible to believe that this whole place is filled up with so many people.”\u003c/p>\n\u003cp>With just a few lights on stage, Benito started reflecting out loud: “Yo estoy siempre seguro que quizás muchos de ustedes aquí en esta noche están pasando por una situación sufrida, una situación un poco difícil … pero aun así vinieron aquí y dejaron los problemas afuera un poco para estar conmigo,” he said, nearly drowned out by the sound of thousands of fans cheering. “I am always sure that many of you here tonight are going through tough, difficult situations … but despite that, you came here, left your problems for a bit, to come here and be with me.”\u003c/p>\n\u003cp>“Yo se los agradezco mucho … ustedes también me hacen sentir mejor,” he added. “I deeply thank you … all of you make me feel better as well.”\u003c/p>\n\u003cfigure id=\"attachment_13953308\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny performs at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Important to remember is that this tour comes after Bad Bunny shared that he was “\u003ca href=\"https://www.billboard.com/video/bad-bunny-talks-about-touring-taking-a-break-reflects-on-his-journey-to-the-top-and-more-billboard-cover/\">taking a break\u003c/a>” to focus on himself at the end of 2022. In 2023, he came under scrutiny after a video went viral that showed him \u003ca href=\"https://www.rollingstone.com/music/music-latin/bad-bunny-response-throwing-fan-phone-1234655208/\">grabbing and tossing away a fan’s phone\u003c/a>. And last December, he and Kendall Jenner \u003ca href=\"https://people.com/bad-bunny-kendall-jenner-split-source-8402569\">ended their relationship\u003c/a> — a union that was \u003ca href=\"https://www.vanityfair.com/style/2023/09/bad-bunny-on-sex-social-media-and-kendall-jenner\">criticized by fans\u003c/a> who felt it was “a form of cultural betrayal.” All told, 2023 was the year \u003cem>everyone\u003c/em> had an opinion on \u003cem>everything\u003c/em> Bad Bunny said and did.\u003c/p>\n\u003cp>“Most Wanted” could also represent the pressure that comes with being a global icon, when everyone, fans and haters alike, feel like they know who you are. As if to answer to this, in a clip shown on massive screens between songs, Benito’s voice intones: “Yo sé quién soy.” “I know who I am.”\u003c/p>\n\u003cfigure id=\"attachment_13953310\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13953310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">An orchestra plays during Bad Bunny’s performance at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The fans I met loved seeing Bad Bunny fully claim himself. Karla de la Fuente came all the way from Texas to see the show with Bay Area friends, and despite being a longtime fan, she confessed that she felt a bit unsure about Benito this time around, citing the fan cell phone incident and the Kendall Jenner relationship. After the show, she said that Benito won her heart once more.\u003c/p>\n\u003cp>“When he spoke to the crowd that we are all going through difficult moments but can pause to be together and dance,” she said, “he struck a chord.”\u003c/p>\n\u003cfigure id=\"attachment_13953324\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13953324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A group of friends show off their boots outside Bad Bunny’s concert at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Regardless of whichever new genre Bad Bunny dabbles in, whether he dresses up as a ranchero one day and a tropical cyberpunk the day after, he brings a characteristic sense of vulnerability. It’s what marks his contribution to the genre: being a baddie but openly expressing his emotions, be it heartbreak, anger, joy or loneliness. The man is eternally in his feels.\u003c/p>\n\u003cp>“I always appreciate that aspect of him,” said Vannesa Gurrola, who came to the show from East Palo Alto, “because I’m someone who is learning to express their feelings and have always used music to try to figure that out.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As long as Bad Bunny keeps wearing his heart on his sleeve, fans will keep coming back.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If I hadn’t known Bad Bunny was headlining at the Chase Center on Saturday night, I would have sworn, judging by the fans heading inside, that I was at an Eslabon Armado or Grupo Firme show. In force were thick jean jackets, cowboy hats, cowboy boots — and I’m not talking about just any boots, but \u003cem>botas\u003c/em> with full embroidery and bling.\u003c/p>\n\u003cp>I’d never seen a ranchero aesthetic showing up so strongly for a reggaeton artist. It proved that Bad Bunny has fulfilled the promise of his latest album, \u003cem>Nadie Sabe Lo Que Va a Pasar Mañana\u003c/em>, by seamlessly bringing together a multiplicity of genres — banda, trap, dembow, Jersey club — with his irresistible looks and style.\u003c/p>\n\u003cfigure id=\"attachment_13953309\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13953309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A group of friends show off their hats outside the Chase Center before Bad Bunny’s concert in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After an intro by a live orchestra (violins, cellos, brass and all), Benito rose from the floor on a second stage, hidden in a cloud of smoke. Opening with the somber new track “Nadie Sabe,” he leaned on the mic in a dark jacket and black Dodgers cap, with no backup dancers — just the man and the stage. (Regardless of how many chart-breaking summer anthems he cranks out year after year, El Conejo Malo keeps true to his sadboy side.)\u003c/p>\n\u003cp>It wasn’t until the second song, “Monaco,” that backup dancers arrived. But just like Bad Bunny, they wore simple black clothing, and kept their choreography low-key. In contrast with his previous tour, which was all about having a big, colorful summer party on the beach (oh, to be back in May 2022 and hear \u003cem>Un Verano Sin Ti\u003c/em> for the first time again), the Benito on this year’s Most Wanted Tour is a whole different person: serious, mature, grounded. I’ll add mysterious, too; for much of the show, Benito kept his face obscured, at one point donning a ski mask and sunglasses.\u003c/p>\n\u003cfigure id=\"attachment_13953305\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny performs at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of the show was dedicated to tracks from \u003cem>Nadie Sabe Lo Que Va a Pasar Mañana\u003c/em>, like “Fina” and “Where She Goes.” (Unfortunately for the fans in their ranchero fits, only a snippet appeared of “un x100to,” which features Mexican regional band Grupo Frontera.) Benito’s love for trap had the spotlight, and it wasn’t until the second half of the show that he performed the perreo anthems of years past. As “La Santa” and “Me Porto Bonito” came paired with fireworks, lasers, fog machines and thousands of LED lights from necklaces distributed to fans before the show, the stage became the center of what felt like the biggest club in the world — think Coco Bongo Cancún.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mind you, it was still a club with \u003cem>showmanship\u003c/em>. To open the second act of his set, Benito entered the stage on a horse. It was the first time I’d ever seen a reggaetonero perform with a horse, and brought me flashbacks to \u003ca href=\"https://www.youtube.com/watch?v=pXRYAp00yhw\">Joan Sebastian singing on a horse in his jaripeos\u003c/a>. This aligns with the idea of the tour: that Benito is a lone horseman on the run, “most wanted” after breaking the law.\u003c/p>\n\u003cp>But I couldn’t help but ask myself: \u003cem>What is he on the run from? What force is threatening this man?\u003c/em> After all, Benito is no longer the up-and-coming rookie teased by other reggaetoneros for his painted nails and earrings — Bad Bunny \u003cem>is\u003c/em> the face of reggaeton now to a global audience. His market success and impact on younger artists stands on par with legends of the genre like Ivy Queen and Plan B.\u003c/p>\n\u003cfigure id=\"attachment_13953306\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny performs at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Benito, however, gave several interpretations of what it means to be “Most Wanted.” When he reached “Baticano,” he paused to talk to the audience. “Es imposible creer que este lugar se llenó con tanta gente,” he said — “It’s impossible to believe that this whole place is filled up with so many people.”\u003c/p>\n\u003cp>With just a few lights on stage, Benito started reflecting out loud: “Yo estoy siempre seguro que quizás muchos de ustedes aquí en esta noche están pasando por una situación sufrida, una situación un poco difícil … pero aun así vinieron aquí y dejaron los problemas afuera un poco para estar conmigo,” he said, nearly drowned out by the sound of thousands of fans cheering. “I am always sure that many of you here tonight are going through tough, difficult situations … but despite that, you came here, left your problems for a bit, to come here and be with me.”\u003c/p>\n\u003cp>“Yo se los agradezco mucho … ustedes también me hacen sentir mejor,” he added. “I deeply thank you … all of you make me feel better as well.”\u003c/p>\n\u003cfigure id=\"attachment_13953308\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny performs at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Important to remember is that this tour comes after Bad Bunny shared that he was “\u003ca href=\"https://www.billboard.com/video/bad-bunny-talks-about-touring-taking-a-break-reflects-on-his-journey-to-the-top-and-more-billboard-cover/\">taking a break\u003c/a>” to focus on himself at the end of 2022. In 2023, he came under scrutiny after a video went viral that showed him \u003ca href=\"https://www.rollingstone.com/music/music-latin/bad-bunny-response-throwing-fan-phone-1234655208/\">grabbing and tossing away a fan’s phone\u003c/a>. And last December, he and Kendall Jenner \u003ca href=\"https://people.com/bad-bunny-kendall-jenner-split-source-8402569\">ended their relationship\u003c/a> — a union that was \u003ca href=\"https://www.vanityfair.com/style/2023/09/bad-bunny-on-sex-social-media-and-kendall-jenner\">criticized by fans\u003c/a> who felt it was “a form of cultural betrayal.” All told, 2023 was the year \u003cem>everyone\u003c/em> had an opinion on \u003cem>everything\u003c/em> Bad Bunny said and did.\u003c/p>\n\u003cp>“Most Wanted” could also represent the pressure that comes with being a global icon, when everyone, fans and haters alike, feel like they know who you are. As if to answer to this, in a clip shown on massive screens between songs, Benito’s voice intones: “Yo sé quién soy.” “I know who I am.”\u003c/p>\n\u003cfigure id=\"attachment_13953310\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13953310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">An orchestra plays during Bad Bunny’s performance at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The fans I met loved seeing Bad Bunny fully claim himself. Karla de la Fuente came all the way from Texas to see the show with Bay Area friends, and despite being a longtime fan, she confessed that she felt a bit unsure about Benito this time around, citing the fan cell phone incident and the Kendall Jenner relationship. After the show, she said that Benito won her heart once more.\u003c/p>\n\u003cp>“When he spoke to the crowd that we are all going through difficult moments but can pause to be together and dance,” she said, “he struck a chord.”\u003c/p>\n\u003cfigure id=\"attachment_13953324\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13953324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A group of friends show off their boots outside Bad Bunny’s concert at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Regardless of whichever new genre Bad Bunny dabbles in, whether he dresses up as a ranchero one day and a tropical cyberpunk the day after, he brings a characteristic sense of vulnerability. It’s what marks his contribution to the genre: being a baddie but openly expressing his emotions, be it heartbreak, anger, joy or loneliness. The man is eternally in his feels.\u003c/p>\n\u003cp>“I always appreciate that aspect of him,” said Vannesa Gurrola, who came to the show from East Palo Alto, “because I’m someone who is learning to express their feelings and have always used music to try to figure that out.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As long as Bad Bunny keeps wearing his heart on his sleeve, fans will keep coming back.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Live Review: Nicki Minaj Reclaims Her Crown at Pink Friday 2 Tour Kickoff in Oakland",
"headTitle": "Live Review: Nicki Minaj Reclaims Her Crown at Pink Friday 2 Tour Kickoff in Oakland | KQED",
"content": "\u003cfigure id=\"attachment_13953285\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-scaled.jpg\" alt=\"a woman in a silvery bodysuit smiles on stage with a microphone in a big arena with pink and purple lighting behind her\" width=\"2560\" height=\"1797\" class=\"size-full wp-image-13953285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-1020x716.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-1536x1078.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-2048x1438.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-1920x1348.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You’d be right to have worried that the first show of Nicki Minaj’s Pink Friday 2 tour in Oakland on Friday might be, well, a mess.\u003c/p>\n\u003cp>Known more for controversies and \u003ca href=\"https://variety.com/2024/music/news/nicki-minaj-megan-thee-stallion-feud-timeline-1235890487/\">feuds\u003c/a> in recent years than the immense talent that once made her the world’s most feared rapper, Nicki Minaj victoriously spent two hours at her tour kickoff reminding a sold-out Oakland Arena that she still sings, raps, dances and brings the heat.\u003c/p>\n\u003cfigure id=\"attachment_13953290\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘Feelin’ Myself’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This was clear right from the start of the show, when Nicki rose from below the stage rapping with noticeable vigor on the throwback opener “I’m the Best” (key line: “Which world tour should I go on today?”). In one moment, all the \u003ca href=\"https://twitter.com/NICKIMINAJ/status/1751290347957911700\">Ben Shapiro tweets\u003c/a>, \u003ca href=\"https://www.washingtonpost.com/arts-entertainment/2021/09/14/nicki-minaj-covid-19-vaccine-conspiracy/\">COVID conspiracies\u003c/a>, irredeemable \u003ca href=\"https://www.reddit.com/r/rateyourmusic/comments/1aeyxcl/nicki_minajs_bigfoot_is_now_the_second_lowest/\">diss tracks\u003c/a> and \u003ca href=\"https://www.instagram.com/p/C3jycgCO7ih/\">scattered whisper-rambles on Instagram Live\u003c/a> became distant memories. She was not here to play. \u003c/p>\n\u003cp>We are talking about a \u003ca href=\"https://www.setlist.fm/setlist/nicki-minaj/2024/oakland-arena-oakland-ca-53ad7bb5.html\">36-song setlist\u003c/a>, with smash hits and deep cuts alike. Six costume changes, robot dancers, a subway train, phone booths for her different alter egos. Lots of simulated copulation — group, duo and solo. Nicki, at age 41, coming for vengeance on workouts like “Roman’s Revenge,” and showing off her vocals on “Save Me.” And, just three months after being released, Nicki’s new songs from \u003cem>Pink Friday 2\u003c/em> — a smoldering “Big Difference,” set closer “Everybody” — coming off like classics. \u003c/p>\n\u003cfigure id=\"attachment_13953294\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s evident is Nicki is \u003cem>hungry\u003c/em> again. Maybe the competition got to her, and she upped her game. Maybe it was always in hiding. While she performed, I found myself wondering if her whole meandering, is-she-on-drugs-or-isn’t-she thing of late has been an elaborate psy-op to hide intense training and rehearsal. Whatever happened, it’s resulted in her giving 100% again. The show (“this magical historic night,” Nicki declared) recalled the first time I saw her headline the Bay Area, \u003ca href=\"https://bohemian.com/live-review-nicki-minaj-at-the-paramount-theater-oakland/\">in 2012 at the Paramount Theatre\u003c/a> — how unstoppable she seemed then, how she gave her all to the crowd. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There have been rough patches in the interim, to be sure. Bay Area fans may remember a fraught Concord Pavilion show in 2015 that suffered from beleaguered choreography and a strange detachment that seemed concerning, especially after \u003cem>The Pinkprint\u003c/em>’s multiple references to Percocet. The show ended with a \u003ca href=\"https://www.vibe.com/music/music-news/nicki-minaj-concert-brawl-video-369856/\">giant brawl in the crowd\u003c/a>; as I left I saw one guy \u003ca href=\"https://twitter.com/gmeline/status/632463878668943360\">face-down, knocked out\u003c/a>. The vibes, as they say, were off.\u003c/p>\n\u003cfigure id=\"attachment_13953293\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Friday night, fans got the old Nicki. And not just with older deep cuts like “Favorite” and “Win Again,” which roused diehards but caused the overall energy to dip. One of the show’s early peaks was “FTCU,” and the modern phenomenon of an arena screaming the \u003ca href=\"https://www.tiktok.com/tag/ftcu?lang=en\">30 seconds of a song that are famous on TikTok\u003c/a>.\u003c/p>\n\u003cp>The inspirational Nicki showed up too, during “The Night Is Still Young.” “I wanna tell you guys something right now,” she said. “No matter what is happening right now outside of Gag City, inside here, we are radiating positivity, success, prosperity, intelligence and wisdom” — later telling her audience, many clad in in sequined skirts, pink wigs, fuzzy hats and platform heels, “You still have time to do what you have to do! Don’t waste a minute of your life! Promise me that!” \u003c/p>\n\u003cfigure id=\"attachment_13953295\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘Cowgirl’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans also got the sex-positive Nicki. After a costume change into a basketball jersey-inspired yellow dress and boxing hoodie, Nicki did her best impression of Prince’s “Darling Nikki” upon the stage floor, complete with 90-degree leg lifts and a strategically positioned microphone. Cue the Beyoncé duet “Feelin’ Myself,” followed by undulating with three leather-clad beefcakes on steel beds (“Cowgirl”) and a straight-up face sit (“RNB”). \u003c/p>\n\u003cp>Provocative? Sure. But she knows what she’s doing. Nicki is hyper-aware of the meta narratives around her every move — and I’m not sure that’s always a good thing. As a longtime fan, part of my hesitation about this tour is that she’s seemed less interested in being the world’s greatest rapper, and more interested in \u003cem>hearing people say\u003c/em> she’s the world’s greatest rapper. It’s been giving self-doubt, and made me hear her music as telegraphing “greatness” instead of embodying it.\u003c/p>\n\u003cfigure id=\"attachment_13953291\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953291\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘Red Ruby da Sleeze’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if anyone’s earned the right to rest on her laurels, it’s Nicki. You can hear her carefree flamboyance in Doja Cat, her winking humor in Cardi B, her boss-bitch confidence in — yes — Megan Thee Stallion. But primarily, 24 years into her career, Nicki’s influence is in the fact we are talking about any of these talented women at all.\u003c/p>\n\u003cp>It is really, really hard to convey to younger fans the unfair reality in which we lived, for years, that allowed for one and only one female rapper at a time. Nicki blew that notion apart. With her many alter egos and endless flows, she paved a multitude of ways for women to make their mark in the industry. On Friday, she also let \u003ca href=\"https://twitter.com/BARIJUKU/status/1763827847473635820\">national treasure Monica\u003c/a> perform a simmering set of a half-dozen songs during her headlining set, rather than making her open to a half-full arena.\u003c/p>\n\u003cfigure id=\"attachment_13953292\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘FTCU’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the show, I thought of the prom scene in \u003cem>Mean Girls\u003c/em>, where Cady Heron hands out pieces of her crown to the other girls at school. That’s what Nicki did. I don’t think she really wants the crown back. She just wants people to know where it came from. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>During her joyous finale in Oakland — with favorites “Moment for Life,” “Starships” and the eternal “Super Bass” — she made a convincing closing argument for that fact. This jury’s verdict is in: Nicki’s resurrected herself. \u003c/p>\n\n",
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"excerpt": "Forget what you've heard. In a revelatory two-hour set, Nicki Minaj proved she’s hungry again.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13953285\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-scaled.jpg\" alt=\"a woman in a silvery bodysuit smiles on stage with a microphone in a big arena with pink and purple lighting behind her\" width=\"2560\" height=\"1797\" class=\"size-full wp-image-13953285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-1020x716.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-1536x1078.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-2048x1438.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-1920x1348.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You’d be right to have worried that the first show of Nicki Minaj’s Pink Friday 2 tour in Oakland on Friday might be, well, a mess.\u003c/p>\n\u003cp>Known more for controversies and \u003ca href=\"https://variety.com/2024/music/news/nicki-minaj-megan-thee-stallion-feud-timeline-1235890487/\">feuds\u003c/a> in recent years than the immense talent that once made her the world’s most feared rapper, Nicki Minaj victoriously spent two hours at her tour kickoff reminding a sold-out Oakland Arena that she still sings, raps, dances and brings the heat.\u003c/p>\n\u003cfigure id=\"attachment_13953290\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘Feelin’ Myself’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This was clear right from the start of the show, when Nicki rose from below the stage rapping with noticeable vigor on the throwback opener “I’m the Best” (key line: “Which world tour should I go on today?”). In one moment, all the \u003ca href=\"https://twitter.com/NICKIMINAJ/status/1751290347957911700\">Ben Shapiro tweets\u003c/a>, \u003ca href=\"https://www.washingtonpost.com/arts-entertainment/2021/09/14/nicki-minaj-covid-19-vaccine-conspiracy/\">COVID conspiracies\u003c/a>, irredeemable \u003ca href=\"https://www.reddit.com/r/rateyourmusic/comments/1aeyxcl/nicki_minajs_bigfoot_is_now_the_second_lowest/\">diss tracks\u003c/a> and \u003ca href=\"https://www.instagram.com/p/C3jycgCO7ih/\">scattered whisper-rambles on Instagram Live\u003c/a> became distant memories. She was not here to play. \u003c/p>\n\u003cp>We are talking about a \u003ca href=\"https://www.setlist.fm/setlist/nicki-minaj/2024/oakland-arena-oakland-ca-53ad7bb5.html\">36-song setlist\u003c/a>, with smash hits and deep cuts alike. Six costume changes, robot dancers, a subway train, phone booths for her different alter egos. Lots of simulated copulation — group, duo and solo. Nicki, at age 41, coming for vengeance on workouts like “Roman’s Revenge,” and showing off her vocals on “Save Me.” And, just three months after being released, Nicki’s new songs from \u003cem>Pink Friday 2\u003c/em> — a smoldering “Big Difference,” set closer “Everybody” — coming off like classics. \u003c/p>\n\u003cfigure id=\"attachment_13953294\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s evident is Nicki is \u003cem>hungry\u003c/em> again. Maybe the competition got to her, and she upped her game. Maybe it was always in hiding. While she performed, I found myself wondering if her whole meandering, is-she-on-drugs-or-isn’t-she thing of late has been an elaborate psy-op to hide intense training and rehearsal. Whatever happened, it’s resulted in her giving 100% again. The show (“this magical historic night,” Nicki declared) recalled the first time I saw her headline the Bay Area, \u003ca href=\"https://bohemian.com/live-review-nicki-minaj-at-the-paramount-theater-oakland/\">in 2012 at the Paramount Theatre\u003c/a> — how unstoppable she seemed then, how she gave her all to the crowd. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There have been rough patches in the interim, to be sure. Bay Area fans may remember a fraught Concord Pavilion show in 2015 that suffered from beleaguered choreography and a strange detachment that seemed concerning, especially after \u003cem>The Pinkprint\u003c/em>’s multiple references to Percocet. The show ended with a \u003ca href=\"https://www.vibe.com/music/music-news/nicki-minaj-concert-brawl-video-369856/\">giant brawl in the crowd\u003c/a>; as I left I saw one guy \u003ca href=\"https://twitter.com/gmeline/status/632463878668943360\">face-down, knocked out\u003c/a>. The vibes, as they say, were off.\u003c/p>\n\u003cfigure id=\"attachment_13953293\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Friday night, fans got the old Nicki. And not just with older deep cuts like “Favorite” and “Win Again,” which roused diehards but caused the overall energy to dip. One of the show’s early peaks was “FTCU,” and the modern phenomenon of an arena screaming the \u003ca href=\"https://www.tiktok.com/tag/ftcu?lang=en\">30 seconds of a song that are famous on TikTok\u003c/a>.\u003c/p>\n\u003cp>The inspirational Nicki showed up too, during “The Night Is Still Young.” “I wanna tell you guys something right now,” she said. “No matter what is happening right now outside of Gag City, inside here, we are radiating positivity, success, prosperity, intelligence and wisdom” — later telling her audience, many clad in in sequined skirts, pink wigs, fuzzy hats and platform heels, “You still have time to do what you have to do! Don’t waste a minute of your life! Promise me that!” \u003c/p>\n\u003cfigure id=\"attachment_13953295\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘Cowgirl’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans also got the sex-positive Nicki. After a costume change into a basketball jersey-inspired yellow dress and boxing hoodie, Nicki did her best impression of Prince’s “Darling Nikki” upon the stage floor, complete with 90-degree leg lifts and a strategically positioned microphone. Cue the Beyoncé duet “Feelin’ Myself,” followed by undulating with three leather-clad beefcakes on steel beds (“Cowgirl”) and a straight-up face sit (“RNB”). \u003c/p>\n\u003cp>Provocative? Sure. But she knows what she’s doing. Nicki is hyper-aware of the meta narratives around her every move — and I’m not sure that’s always a good thing. As a longtime fan, part of my hesitation about this tour is that she’s seemed less interested in being the world’s greatest rapper, and more interested in \u003cem>hearing people say\u003c/em> she’s the world’s greatest rapper. It’s been giving self-doubt, and made me hear her music as telegraphing “greatness” instead of embodying it.\u003c/p>\n\u003cfigure id=\"attachment_13953291\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953291\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘Red Ruby da Sleeze’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if anyone’s earned the right to rest on her laurels, it’s Nicki. You can hear her carefree flamboyance in Doja Cat, her winking humor in Cardi B, her boss-bitch confidence in — yes — Megan Thee Stallion. But primarily, 24 years into her career, Nicki’s influence is in the fact we are talking about any of these talented women at all.\u003c/p>\n\u003cp>It is really, really hard to convey to younger fans the unfair reality in which we lived, for years, that allowed for one and only one female rapper at a time. Nicki blew that notion apart. With her many alter egos and endless flows, she paved a multitude of ways for women to make their mark in the industry. On Friday, she also let \u003ca href=\"https://twitter.com/BARIJUKU/status/1763827847473635820\">national treasure Monica\u003c/a> perform a simmering set of a half-dozen songs during her headlining set, rather than making her open to a half-full arena.\u003c/p>\n\u003cfigure id=\"attachment_13953292\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘FTCU’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the show, I thought of the prom scene in \u003cem>Mean Girls\u003c/em>, where Cady Heron hands out pieces of her crown to the other girls at school. That’s what Nicki did. I don’t think she really wants the crown back. She just wants people to know where it came from. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During her joyous finale in Oakland — with favorites “Moment for Life,” “Starships” and the eternal “Super Bass” — she made a convincing closing argument for that fact. This jury’s verdict is in: Nicki’s resurrected herself. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There is a scene in \u003cem>Problemista\u003c/em> where Craigslist becomes an actual physical entity. The listings website is personified by a large flamboyant man floating in space. Wrapped in junk and tech garbage, he whispers intensely about sex work in one breath and Ikea Billy bookcases the next. Strange though this may sound, this entity is acutely (and hilariously) familiar to any human that has ever casually browsed that website.\u003c/p>\n\u003cp>This kind of surrealist vision is not unusual in \u003cem>Problemista\u003c/em> even though the movie is grounded, at its core, in harsh realities. In the film, Alejandro (Julio Torres, who also wrote and directed it) is an aspiring toy designer from El Salvador who takes an unpaid job with Elizabeth (Tilda Swinton) after losing his U.S. visa. Alejandro is childlike, moves through the world in tiny hops like a cartoon, and is full of dark whimsy. (He wants all of the toys he designs to have “tension and intrigue.” Like Cabbage Patch Dolls contending with bitchy text messages, and snakes that leap out of cans with signs attached to them that read: “I’m sorry, I was trapped in this can and scaring you was the only way out.”)\u003c/p>\n\u003cp>[aside postid='arts_13952779']In contrast to Alejandro, Elizabeth is harsh, entitled and tightly wound in a way that’s unbearable for almost everyone in her vicinity. Still, the two strike a deal: If Alejandro helps Elizabeth put together an art show of her deceased husband’s work, she will sponsor his immigration application. All of which might make for a bleak story were it not for Torres’ penchant for embracing weirdness.\u003c/p>\n\u003cp>At one point, the quagmire of immigration law becomes a series of floating diagonal boxes that must be navigated via trapdoors and vents — a little bit like an un-winnable game of shoots and ladders. These small moments of surreality don’t just serve as an engaging way to tell \u003cem>Problemista’\u003c/em>s story, they make the circumstances of the main character more viscerally relatable.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zbsk4okRUds\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to the mind-bending scenery,\u003cem> Problemista\u003c/em> is elevated by an exceptionally funny script. Many of the best lines are served up by Swinton leaning full force into her character’s casual indifference to other people’s hardships. (Her utterance of the line “There is an underbelly of closeted fishermen” is, in particular, a masterpiece of dry comedic acting, but her tone stays on point throughout.)\u003c/p>\n\u003cp>Once upon a time many years ago, I — like Alejandro — worked as a personal assistant in New York City. Like Elizabeth, my boss was an eccentric, blunt, supremely demanding woman who owned a variety of homes in expensive places. At the time, I was a broke freelancer with a variety of immigration issues, hustling to make ends meet and living, like Alejandro, in Bushwick. To say I related to this movie would be a gross understatement. By this story’s unpredictable — and surprisingly heartwarming — end, however, I realized that the themes of \u003cem>Problemista \u003c/em>are actually very universal.\u003c/p>\n\u003cp>[aside postid='arts_13953095']\u003cem>Problemista\u003c/em> is a story about the hardships that come with chasing your dreams — any dreams at all. It’s about the inhumanity of gratuitous bureaucracy and needlessly complicated technology. (FileMaker Pro is a running joke throughout). It’s about how, so often, wanting to work in an artistic profession makes one’s life more difficult, but also infinitely more joyful. Ultimately, \u003cem>Problemista \u003c/em>is about finding lessons and friendship in unusual places, slaying personal dragons and the importance of standing up for yourself.\u003c/p>\n\u003cp>If it’s not already obvious, this movie contains multitudes. (I haven’t even covered Isabella Rossellini’s delightful narration or the side storyline about cryogenesis…) And presented through Torres’ eyes, Alejandro’s difficult but dreamlike little world becomes a joy to visit — even when it’s being partially operated by Craigslist demons.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Problemista’ screens at select San Francisco theaters on March 8, and nationwide on March 22, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to the mind-bending scenery,\u003cem> Problemista\u003c/em> is elevated by an exceptionally funny script. Many of the best lines are served up by Swinton leaning full force into her character’s casual indifference to other people’s hardships. (Her utterance of the line “There is an underbelly of closeted fishermen” is, in particular, a masterpiece of dry comedic acting, but her tone stays on point throughout.)\u003c/p>\n\u003cp>Once upon a time many years ago, I — like Alejandro — worked as a personal assistant in New York City. Like Elizabeth, my boss was an eccentric, blunt, supremely demanding woman who owned a variety of homes in expensive places. At the time, I was a broke freelancer with a variety of immigration issues, hustling to make ends meet and living, like Alejandro, in Bushwick. To say I related to this movie would be a gross understatement. By this story’s unpredictable — and surprisingly heartwarming — end, however, I realized that the themes of \u003cem>Problemista \u003c/em>are actually very universal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Problemista\u003c/em> is a story about the hardships that come with chasing your dreams — any dreams at all. It’s about the inhumanity of gratuitous bureaucracy and needlessly complicated technology. (FileMaker Pro is a running joke throughout). It’s about how, so often, wanting to work in an artistic profession makes one’s life more difficult, but also infinitely more joyful. Ultimately, \u003cem>Problemista \u003c/em>is about finding lessons and friendship in unusual places, slaying personal dragons and the importance of standing up for yourself.\u003c/p>\n\u003cp>If it’s not already obvious, this movie contains multitudes. (I haven’t even covered Isabella Rossellini’s delightful narration or the side storyline about cryogenesis…) And presented through Torres’ eyes, Alejandro’s difficult but dreamlike little world becomes a joy to visit — even when it’s being partially operated by Craigslist demons.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Problemista’ screens at select San Francisco theaters on March 8, and nationwide on March 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Carrie Preston won an Emmy Award in 2013, as outstanding guest actress, for her portrayal of a seemingly scatter-brained lawyer on the CBS series \u003cem>The Good Wife\u003c/em>\u003cem>. \u003c/em>Her character, Elsbeth Tascioni, really \u003cem>was \u003c/em>a character. Her conversations tended to derail into unexpected directions. Her questions never seemed to follow any logical path, but they always had a purpose — and she was keenly, almost uncomfortably, observant.\u003c/p>\n\u003cp>Michelle and Robert King, the writing team that created \u003cem>The Good Wife\u003c/em> to showcase the talent of Julianna Margulies, quickly recognized Preston’s Elsbeth as a valuable supporting player. She appeared in six of the seven seasons of\u003cem> The Good Wife, \u003c/em>and won her Emmy there.\u003c/p>\n\u003cp>[aside postid='arts_13953000']Then she returned as the same character in \u003ca href=\"https://www.npr.org/2017/02/19/516137854/the-good-fight-offers-edgier-version-of-the-good-wife-in-series-debut\">\u003cem>The Good Fight\u003c/em>\u003c/a>\u003cem>, \u003c/em>which the Kings wrote as a sequel series starring Christine Baranski. And now, there’s a third series, this time bringing Preston front and center. It’s called \u003cem>Elsbeth\u003c/em>, and all 10 episodes have been written by co-creators Michelle and Robert King, with him directing the premiere episode.\u003c/p>\n\u003cp>So what are they up to this time? They’ve transplanted Elsbeth from Chicago to New York City, where she’s been hired to officially observe, and secretly investigate, some of the police there. In her new job, she’s given so much latitude, she even can serve as an ad-hoc murder investigator.\u003c/p>\n\u003cp>\u003cem>Elsbeth\u003c/em>, the series, is structured like \u003ca href=\"https://www.kqed.org/arts/13924192/no-lie-natasha-lyonne-is-unforgettable-in-poker-face\">\u003cem>Poker Face\u003c/em>\u003c/a>, or, even more obviously, \u003cem>Columbo\u003c/em>. I’ve previewed three episodes, and each begins with viewers seeing the murderer commit the crime … and then, and only then, does Elsbeth enter the crime scene and start putting the puzzle pieces together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1J-fCrWcF14\u003c/p>\n\u003cp>As with \u003cem>Columbo\u003c/em>, each episode features a prominent guest star as the killer of the week. For the premiere episode of \u003cem>Elsbeth \u003c/em>— no spoiler alerts here, because the murder is shown in the opening moments — Stephen Moyer from \u003ca href=\"https://www.kqed.org/arts/96643/summer_is_coming_true_blood_season_5\">\u003cem>True Blood\u003c/em>\u003c/a> is the special guest star. He plays an acting teacher and director who has found a way to dispose of his much younger former student and lover, by making it look like suicide. When Elsbeth arrives at the victim’s apartment, she ignores the dead body and heads straight for the bathroom — where she pokes around until a detective notices her and objects.\u003c/p>\n\u003cp>The police aren’t sure what to make of her, of course. \u003ca href=\"https://www.npr.org/sections/ablogsupreme/2011/07/04/137607222/wendell-pierce-everyones-favorite-fake-trombone-player\">Wendell Pierce\u003c/a>, that wonderful actor from \u003ca href=\"https://www.npr.org/2022/08/05/1115935761/20-years-later-the-wire-still-enthralls\">\u003cem>The Wire\u003c/em>\u003c/a>, plays Capt. Wagner, who is exasperated one moment, impressed the next — which is how everyone reacted to Elsbeth way back on \u003cem>The Good Wife.\u003c/em> Carra Patterson plays Kaya Blanke, an officer who soon becomes a friend as well as a colleague.\u003c/p>\n\u003cp>[aside postid='arts_13952420']But as with \u003cem>Columbo\u003c/em>, the most important dynamic is between the investigator and the killer. Elsbeth, like Columbo, is persistent and underestimated. But where Columbo kept his theories close to his vest, or his raincoat, Elsbeth almost delights in revealing her hole cards, to unsettle her prime suspect. Preston and Moyer worked together on HBO’s \u003cem>True Blood, \u003c/em>and it’s fun to see them together again here — this time as adversaries.\u003c/p>\n\u003cp>Other episodes shown to critics feature, as the murderers of the week, Jane Krakowski from \u003ca href=\"https://www.kqed.org/pop/96840/now-is-definitely-the-time-to-re-watch-30-rock\">\u003cem>30 Rock\u003c/em>\u003c/a> and Jesse Tyler Ferguson from \u003cem>Modern Family\u003c/em>\u003cem>. \u003c/em>Both of them bring a playful energy, sparring with Preston’s Elsbeth — and she really sparkles, with and without them, and carries the series with ease.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also, the show’s New York locations add even more to the flavor, and the enjoyment. All together, they make \u003cem>Elsbeth \u003c/em>an undeniable throwback to an earlier TV era. But so is P\u003cem>oker Face, \u003c/em>which I love for many of the same reasons: Great leading role; delightful guest stars; decent, clever mysteries that are solved by the end of each episode. And in an era where so much TV is so dark and depressing, \u003cem>Elsbeth \u003c/em>stands out as a sweet, happy little treat.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+the+mood+for+a+sweet%2C+off-beat+murder+mystery%3F+%27Elsbeth%27+is+on+the+case&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Carrie Preston won an Emmy Award in 2013, as outstanding guest actress, for her portrayal of a seemingly scatter-brained lawyer on the CBS series \u003cem>The Good Wife\u003c/em>\u003cem>. \u003c/em>Her character, Elsbeth Tascioni, really \u003cem>was \u003c/em>a character. Her conversations tended to derail into unexpected directions. Her questions never seemed to follow any logical path, but they always had a purpose — and she was keenly, almost uncomfortably, observant.\u003c/p>\n\u003cp>Michelle and Robert King, the writing team that created \u003cem>The Good Wife\u003c/em> to showcase the talent of Julianna Margulies, quickly recognized Preston’s Elsbeth as a valuable supporting player. She appeared in six of the seven seasons of\u003cem> The Good Wife, \u003c/em>and won her Emmy there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then she returned as the same character in \u003ca href=\"https://www.npr.org/2017/02/19/516137854/the-good-fight-offers-edgier-version-of-the-good-wife-in-series-debut\">\u003cem>The Good Fight\u003c/em>\u003c/a>\u003cem>, \u003c/em>which the Kings wrote as a sequel series starring Christine Baranski. And now, there’s a third series, this time bringing Preston front and center. It’s called \u003cem>Elsbeth\u003c/em>, and all 10 episodes have been written by co-creators Michelle and Robert King, with him directing the premiere episode.\u003c/p>\n\u003cp>So what are they up to this time? They’ve transplanted Elsbeth from Chicago to New York City, where she’s been hired to officially observe, and secretly investigate, some of the police there. In her new job, she’s given so much latitude, she even can serve as an ad-hoc murder investigator.\u003c/p>\n\u003cp>\u003cem>Elsbeth\u003c/em>, the series, is structured like \u003ca href=\"https://www.kqed.org/arts/13924192/no-lie-natasha-lyonne-is-unforgettable-in-poker-face\">\u003cem>Poker Face\u003c/em>\u003c/a>, or, even more obviously, \u003cem>Columbo\u003c/em>. I’ve previewed three episodes, and each begins with viewers seeing the murderer commit the crime … and then, and only then, does Elsbeth enter the crime scene and start putting the puzzle pieces together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1J-fCrWcF14'\n title='//www.youtube.com/embed/1J-fCrWcF14'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As with \u003cem>Columbo\u003c/em>, each episode features a prominent guest star as the killer of the week. For the premiere episode of \u003cem>Elsbeth \u003c/em>— no spoiler alerts here, because the murder is shown in the opening moments — Stephen Moyer from \u003ca href=\"https://www.kqed.org/arts/96643/summer_is_coming_true_blood_season_5\">\u003cem>True Blood\u003c/em>\u003c/a> is the special guest star. He plays an acting teacher and director who has found a way to dispose of his much younger former student and lover, by making it look like suicide. When Elsbeth arrives at the victim’s apartment, she ignores the dead body and heads straight for the bathroom — where she pokes around until a detective notices her and objects.\u003c/p>\n\u003cp>The police aren’t sure what to make of her, of course. \u003ca href=\"https://www.npr.org/sections/ablogsupreme/2011/07/04/137607222/wendell-pierce-everyones-favorite-fake-trombone-player\">Wendell Pierce\u003c/a>, that wonderful actor from \u003ca href=\"https://www.npr.org/2022/08/05/1115935761/20-years-later-the-wire-still-enthralls\">\u003cem>The Wire\u003c/em>\u003c/a>, plays Capt. Wagner, who is exasperated one moment, impressed the next — which is how everyone reacted to Elsbeth way back on \u003cem>The Good Wife.\u003c/em> Carra Patterson plays Kaya Blanke, an officer who soon becomes a friend as well as a colleague.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But as with \u003cem>Columbo\u003c/em>, the most important dynamic is between the investigator and the killer. Elsbeth, like Columbo, is persistent and underestimated. But where Columbo kept his theories close to his vest, or his raincoat, Elsbeth almost delights in revealing her hole cards, to unsettle her prime suspect. Preston and Moyer worked together on HBO’s \u003cem>True Blood, \u003c/em>and it’s fun to see them together again here — this time as adversaries.\u003c/p>\n\u003cp>Other episodes shown to critics feature, as the murderers of the week, Jane Krakowski from \u003ca href=\"https://www.kqed.org/pop/96840/now-is-definitely-the-time-to-re-watch-30-rock\">\u003cem>30 Rock\u003c/em>\u003c/a> and Jesse Tyler Ferguson from \u003cem>Modern Family\u003c/em>\u003cem>. \u003c/em>Both of them bring a playful energy, sparring with Preston’s Elsbeth — and she really sparkles, with and without them, and carries the series with ease.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also, the show’s New York locations add even more to the flavor, and the enjoyment. All together, they make \u003cem>Elsbeth \u003c/em>an undeniable throwback to an earlier TV era. But so is P\u003cem>oker Face, \u003c/em>which I love for many of the same reasons: Great leading role; delightful guest stars; decent, clever mysteries that are solved by the end of each episode. And in an era where so much TV is so dark and depressing, \u003cem>Elsbeth \u003c/em>stands out as a sweet, happy little treat.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+the+mood+for+a+sweet%2C+off-beat+murder+mystery%3F+%27Elsbeth%27+is+on+the+case&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When we look back on history, all too often we stay focused on the big events — the disasters, the elections, the assassinations. But when it comes to getting an accurate view of a bygone era, it’s almost always the footage of everyday occurrences that tells us the most.\u003c/p>\n\u003cp>[aside postid='arts_13950886']\u003cem>Raymond Cooper’s Oakland\u003c/em>, a photography collection currently on display at the \u003ca href=\"https://www.ebpco.org/opw\">Oakland Photo Workshop\u003c/a>, does just that. In Cooper’s images, we see snapshots of lives and characters, places and social events that vividly take us back to the streets and living rooms of 1970s Oakland. Two young men hanging on a street corner. Children posing with a parked Chrysler Sunbeam. A woman with a beautiful Afro smoking a cigarette on her porch. A Black cowboy riding through a parade.\u003c/p>\n\u003cfigure id=\"attachment_13953021\" class=\"wp-caption aligncenter\" style=\"max-width: 2251px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953021\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids.jpg\" alt=\"Two children sit on the floor of a comfortable living room. They are surrounded by green plants, a white lamp behind them. \" width=\"2251\" height=\"1676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids.jpg 2251w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-1536x1144.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-2048x1525.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-1920x1430.jpg 1920w\" sizes=\"(max-width: 2251px) 100vw, 2251px\">\u003cfigcaption class=\"wp-caption-text\">Intimate family portraits are a high point of ‘Raymond Cooper’s Oakland.’ \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The images feel warm, familiar and intimate. They might not be of your friends and family, but they’ll make you think of the people who are. And their ability to take us to the least documented corners of the Town of 50 years ago is what makes them just a little bit magical.\u003c/p>\n\u003cp>The pictures on display represent an eclectic hodgepodge of Cooper’s two decades working as a photographer. (He also owned Sundance, a camera supply store on Webster Street.) In addition to Cooper’s street and home photography, there are some distinctly ’70s works of futuristic collage, a collection of fashion portraiture and some behind-the-scenes snaps, often involving hair stylists.\u003c/p>\n\u003cfigure id=\"attachment_13953026\" class=\"wp-caption aligncenter\" style=\"max-width: 1458px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953026\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM.png\" alt=\"A young white man wearing short shorts and knee high tube socks plays an arcade game.\" width=\"1458\" height=\"972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM.png 1458w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM-768x512.png 768w\" sizes=\"(max-width: 1458px) 100vw, 1458px\">\u003cfigcaption class=\"wp-caption-text\">Little is known about most of the locations and subjects of Cooper’s photos, but they distinctly reflect the era in which they were taken. \u003ccite>(Courtesy of the East Bay Photo Collective/ Aja Cooper)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.sfgate.com/local/article/stolen-photos-reveal-1970s-oakland-17494418.php\">The story of how Cooper’s photography got this little renaissance\u003c/a> is a delightful one. In 2021, a skateboarder named Ben Tolford rescued several binders of slides that had been dumped next to a trashcan in Oakland. While studying them at home, he found a self-portrait of Cooper that had the photographer’s name on it. He also found a baby picture with the name Aja on it. Tolford used social media to locate her — Aja is Cooper’s daughter — and returned the slides, which had been stolen from her storage space. Many more of Cooper’s photos had previously been lost in a house fire.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What’s left of Cooper’s portfolio tells a colorful story about trends, community and belonging. It provides contemporary audiences with an on-the-ground view of everyday Oakland life half a century ago. And it brings back vivid memories for those who lived through it.\u003c/p>\n\u003cfigure id=\"attachment_13953030\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953030\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/raymondatsundance-scaled-e1708988629717.jpg\" alt=\"A slightly damaged photograph of a Black man on the phone inside a small business. He is waving to the photographer.\" width=\"1920\" height=\"1372\">\u003cfigcaption class=\"wp-caption-text\">Raymond Cooper working at his downtown Oakland photography supply store, Sundance. \u003ccite>(Courtesy of the East Bay Photo Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the exhibit’s opening party, an image featuring the downtown Oakland Doggie Diner prompted one man next to me to reminisce about the restaurant’s former proximity to a furniture store that sold, in his words, “the wildest furniture” and “you know, all that leopard print and shag.” Thanks to Raymond Cooper, that’s not so difficult to picture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Raymond Cooper’s Oakland’ is on display at the \u003ca href=\"https://www.ebpco.org/opw\">Oakland Photo Workshop\u003c/a> (312 8th Street) through April 21, 2024. Aja Cooper will appear in conversation with ‘East Bay Yesterday’ host Liam O’Donoghue on April 5 at 7 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Raymond Cooper’s Oakland\u003c/em>, a photography collection currently on display at the \u003ca href=\"https://www.ebpco.org/opw\">Oakland Photo Workshop\u003c/a>, does just that. In Cooper’s images, we see snapshots of lives and characters, places and social events that vividly take us back to the streets and living rooms of 1970s Oakland. Two young men hanging on a street corner. Children posing with a parked Chrysler Sunbeam. A woman with a beautiful Afro smoking a cigarette on her porch. A Black cowboy riding through a parade.\u003c/p>\n\u003cfigure id=\"attachment_13953021\" class=\"wp-caption aligncenter\" style=\"max-width: 2251px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953021\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids.jpg\" alt=\"Two children sit on the floor of a comfortable living room. They are surrounded by green plants, a white lamp behind them. \" width=\"2251\" height=\"1676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids.jpg 2251w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-1536x1144.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-2048x1525.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-1920x1430.jpg 1920w\" sizes=\"(max-width: 2251px) 100vw, 2251px\">\u003cfigcaption class=\"wp-caption-text\">Intimate family portraits are a high point of ‘Raymond Cooper’s Oakland.’ \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The images feel warm, familiar and intimate. They might not be of your friends and family, but they’ll make you think of the people who are. And their ability to take us to the least documented corners of the Town of 50 years ago is what makes them just a little bit magical.\u003c/p>\n\u003cp>The pictures on display represent an eclectic hodgepodge of Cooper’s two decades working as a photographer. (He also owned Sundance, a camera supply store on Webster Street.) In addition to Cooper’s street and home photography, there are some distinctly ’70s works of futuristic collage, a collection of fashion portraiture and some behind-the-scenes snaps, often involving hair stylists.\u003c/p>\n\u003cfigure id=\"attachment_13953026\" class=\"wp-caption aligncenter\" style=\"max-width: 1458px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953026\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM.png\" alt=\"A young white man wearing short shorts and knee high tube socks plays an arcade game.\" width=\"1458\" height=\"972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM.png 1458w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM-768x512.png 768w\" sizes=\"(max-width: 1458px) 100vw, 1458px\">\u003cfigcaption class=\"wp-caption-text\">Little is known about most of the locations and subjects of Cooper’s photos, but they distinctly reflect the era in which they were taken. \u003ccite>(Courtesy of the East Bay Photo Collective/ Aja Cooper)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.sfgate.com/local/article/stolen-photos-reveal-1970s-oakland-17494418.php\">The story of how Cooper’s photography got this little renaissance\u003c/a> is a delightful one. In 2021, a skateboarder named Ben Tolford rescued several binders of slides that had been dumped next to a trashcan in Oakland. While studying them at home, he found a self-portrait of Cooper that had the photographer’s name on it. He also found a baby picture with the name Aja on it. Tolford used social media to locate her — Aja is Cooper’s daughter — and returned the slides, which had been stolen from her storage space. Many more of Cooper’s photos had previously been lost in a house fire.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What’s left of Cooper’s portfolio tells a colorful story about trends, community and belonging. It provides contemporary audiences with an on-the-ground view of everyday Oakland life half a century ago. And it brings back vivid memories for those who lived through it.\u003c/p>\n\u003cfigure id=\"attachment_13953030\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953030\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/raymondatsundance-scaled-e1708988629717.jpg\" alt=\"A slightly damaged photograph of a Black man on the phone inside a small business. He is waving to the photographer.\" width=\"1920\" height=\"1372\">\u003cfigcaption class=\"wp-caption-text\">Raymond Cooper working at his downtown Oakland photography supply store, Sundance. \u003ccite>(Courtesy of the East Bay Photo Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the exhibit’s opening party, an image featuring the downtown Oakland Doggie Diner prompted one man next to me to reminisce about the restaurant’s former proximity to a furniture store that sold, in his words, “the wildest furniture” and “you know, all that leopard print and shag.” Thanks to Raymond Cooper, that’s not so difficult to picture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Raymond Cooper’s Oakland’ is on display at the \u003ca href=\"https://www.ebpco.org/opw\">Oakland Photo Workshop\u003c/a> (312 8th Street) through April 21, 2024. Aja Cooper will appear in conversation with ‘East Bay Yesterday’ host Liam O’Donoghue on April 5 at 7 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Suzanne Ciani Turns Grace Cathedral Into an Otherworldly House of Worship",
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"content": "\u003cp>Even before \u003ca href=\"https://www.kqed.org/forum/2010101904787/electronic-music-composer-suzanne-ciani-celebrates-groundbreaking-career\">Suzanne Ciani\u003c/a> played one note inside \u003ca href=\"https://www.kqed.org/arts/tag/grace-cathedral\">Grace Cathedral\u003c/a>, her headlining show on Saturday night felt like an \u003cem>event\u003c/em>. Outside, the full moon glistened behind the Top of the Mark, explosions of Lunar New Year fireworks reverberated from Chinatown below and a long line for her concert snaked down California Street on Nob Hill.\u003c/p>\n\u003cp>Ciani, the \u003ca href=\"https://www.kqed.org/forum/2010101904787/electronic-music-composer-suzanne-ciani-celebrates-groundbreaking-career\">groundbreaking analog synth composer\u003c/a> and Bay Area treasure, was here to celebrate the 40th anniversary of her debut studio album \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=RusmM57kAJ4&list=PLJPztq7aAo9yis1OnYgI04ex2WVp0zBWo\">Seven Waves\u003c/a>\u003c/em>. As the sold-out crowd made of mostly 30- and 40-somethings filed into the cathedral — outfitted with quadraphonic speakers for the occasion — dozens took photos of the high ceilings, Ciani’s synthesizer and even the tech specs on the back of the speakers themselves.\u003c/p>\n\u003cfigure id=\"attachment_13952973\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952973\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Suzanne Ciani speaks prior to her performance of ‘Seven Waves’ at Grace Cathedral in San Francisco on Feb. 24, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ciani, who lives in Bolinas, welcomed her many friends in attendance, and introduced her Buchla 200e as “this instrument I’ve been playing for the past millions of years.” Then the 77-year-old icon sat down, started sending \u003cem>Seven Waves\u003c/em>’ distinct ocean wave sounds across the cathedral walls — bathed in light patterns — and took the audience on a journey.\u003c/p>\n\u003cp>Instead of performing a straight re-creation of the album, Ciani introduced an array of themes from \u003cem>Seven Waves\u003c/em>’ original multitracks, and over them hatched spontaneous compositions. Released in 1984, \u003cem>Seven Waves\u003c/em> is full of wondrous melodies, deep bass often in counterpoint and arpeggios typical of the New Age era. (I hesitate to say it, but in my brain, it’s filed next to \u003ca href=\"https://youtu.be/SCJKdajjYYM?si=qwv0KbyzMjaSWgdN\">Ray Lynch’s \u003cem>Deep Breakfast\u003c/em>\u003c/a>.) On Saturday night, however, her improvised deconstructions turned it into an entirely new, eerie, invigorating work for 2024.\u003c/p>\n\u003cfigure id=\"attachment_13952981\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952981\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-LIGHTS-GIF-MD-KQED.gif\" alt=\"\" width=\"2000\" height=\"1333\">\u003cfigcaption class=\"wp-caption-text\">A light projection show on the vaulted ceiling of Grace Cathedral in San Francisco as Suzanne Ciani performs on Feb. 24, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Immediately it became clear just how much Ciani is an influence on modern film composers like Atticus Ross and Cliff Martinez, as well as recent darkwave bands like Kavinsky or Com Truise. Even more in focus was Ciani’s command of dynamics. Soft passages stayed soft; no small feat considering Grace Cathedral’s famous seven-second delay, and she knew just when to drop a sharp bass stab to rattle the pews.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After a while, the music worked its magic on the audience’s various mindstates (the announcer had acknowledged that “ushers are here to make sure you have the best trip possible”). A series of tones in 6/8 time evoked seagulls flying over the ocean; a syncopated, fuzzy bass provided the foundation for what sounded like disembodied human voices humorously trying to hold a conversation.\u003c/p>\n\u003cfigure id=\"attachment_13952970\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952970\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People file into Grace Cathedral in San Francisco to watch Suzanne Ciani perform Particles & Waves on Feb. 24, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, Ciani whittled her music down to pure percussive elements. Mixed with white noise, these transformed into near-gunshot sounds. As they fired out of successive speakers on either side of the nave, it felt for several minutes like being in the middle of a battlefield.\u003c/p>\n\u003cp>What came next? Peace, of course. Waves, waves and more waves, taking on new life with each audio ripple across the tall walls.\u003c/p>\n\u003cfigure id=\"attachment_13952971\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952971\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans make photos of Suzanne Ciani’s Buchla 200e at Grace Cathedral in San Francisco on Feb. 24, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cathedral is a haven for the spiritual. The synthesizer is a box for the mechanical. But with someone like Ciani in charge, mixing the two proved powerful, nearly human, as if the French Gothic building itself were speaking.\u003c/p>\n\u003cp>It even proved romantic. By the concert’s end, in the back, I counted five couples sitting with their arm around each other, head rested on the other’s shoulders, gazing into the sound and dreaming about forever.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Suzanne Ciani performed as part of the Noise Pop Festival, which continues through March 3; \u003ca href=\"https://noisepopfest.com/\">details here\u003c/a>. Ambient synth composer Steve Roach revisits his 1984 album ‘Structures From Silence’ at Grace Cathedral on April 6; \u003ca href=\"https://ageofreflections.com/Calendar\">details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even before \u003ca href=\"https://www.kqed.org/forum/2010101904787/electronic-music-composer-suzanne-ciani-celebrates-groundbreaking-career\">Suzanne Ciani\u003c/a> played one note inside \u003ca href=\"https://www.kqed.org/arts/tag/grace-cathedral\">Grace Cathedral\u003c/a>, her headlining show on Saturday night felt like an \u003cem>event\u003c/em>. Outside, the full moon glistened behind the Top of the Mark, explosions of Lunar New Year fireworks reverberated from Chinatown below and a long line for her concert snaked down California Street on Nob Hill.\u003c/p>\n\u003cp>Ciani, the \u003ca href=\"https://www.kqed.org/forum/2010101904787/electronic-music-composer-suzanne-ciani-celebrates-groundbreaking-career\">groundbreaking analog synth composer\u003c/a> and Bay Area treasure, was here to celebrate the 40th anniversary of her debut studio album \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=RusmM57kAJ4&list=PLJPztq7aAo9yis1OnYgI04ex2WVp0zBWo\">Seven Waves\u003c/a>\u003c/em>. As the sold-out crowd made of mostly 30- and 40-somethings filed into the cathedral — outfitted with quadraphonic speakers for the occasion — dozens took photos of the high ceilings, Ciani’s synthesizer and even the tech specs on the back of the speakers themselves.\u003c/p>\n\u003cfigure id=\"attachment_13952973\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952973\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Suzanne Ciani speaks prior to her performance of ‘Seven Waves’ at Grace Cathedral in San Francisco on Feb. 24, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ciani, who lives in Bolinas, welcomed her many friends in attendance, and introduced her Buchla 200e as “this instrument I’ve been playing for the past millions of years.” Then the 77-year-old icon sat down, started sending \u003cem>Seven Waves\u003c/em>’ distinct ocean wave sounds across the cathedral walls — bathed in light patterns — and took the audience on a journey.\u003c/p>\n\u003cp>Instead of performing a straight re-creation of the album, Ciani introduced an array of themes from \u003cem>Seven Waves\u003c/em>’ original multitracks, and over them hatched spontaneous compositions. Released in 1984, \u003cem>Seven Waves\u003c/em> is full of wondrous melodies, deep bass often in counterpoint and arpeggios typical of the New Age era. (I hesitate to say it, but in my brain, it’s filed next to \u003ca href=\"https://youtu.be/SCJKdajjYYM?si=qwv0KbyzMjaSWgdN\">Ray Lynch’s \u003cem>Deep Breakfast\u003c/em>\u003c/a>.) On Saturday night, however, her improvised deconstructions turned it into an entirely new, eerie, invigorating work for 2024.\u003c/p>\n\u003cfigure id=\"attachment_13952981\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952981\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-LIGHTS-GIF-MD-KQED.gif\" alt=\"\" width=\"2000\" height=\"1333\">\u003cfigcaption class=\"wp-caption-text\">A light projection show on the vaulted ceiling of Grace Cathedral in San Francisco as Suzanne Ciani performs on Feb. 24, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Immediately it became clear just how much Ciani is an influence on modern film composers like Atticus Ross and Cliff Martinez, as well as recent darkwave bands like Kavinsky or Com Truise. Even more in focus was Ciani’s command of dynamics. Soft passages stayed soft; no small feat considering Grace Cathedral’s famous seven-second delay, and she knew just when to drop a sharp bass stab to rattle the pews.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After a while, the music worked its magic on the audience’s various mindstates (the announcer had acknowledged that “ushers are here to make sure you have the best trip possible”). A series of tones in 6/8 time evoked seagulls flying over the ocean; a syncopated, fuzzy bass provided the foundation for what sounded like disembodied human voices humorously trying to hold a conversation.\u003c/p>\n\u003cfigure id=\"attachment_13952970\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952970\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People file into Grace Cathedral in San Francisco to watch Suzanne Ciani perform Particles & Waves on Feb. 24, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, Ciani whittled her music down to pure percussive elements. Mixed with white noise, these transformed into near-gunshot sounds. As they fired out of successive speakers on either side of the nave, it felt for several minutes like being in the middle of a battlefield.\u003c/p>\n\u003cp>What came next? Peace, of course. Waves, waves and more waves, taking on new life with each audio ripple across the tall walls.\u003c/p>\n\u003cfigure id=\"attachment_13952971\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952971\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans make photos of Suzanne Ciani’s Buchla 200e at Grace Cathedral in San Francisco on Feb. 24, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cathedral is a haven for the spiritual. The synthesizer is a box for the mechanical. But with someone like Ciani in charge, mixing the two proved powerful, nearly human, as if the French Gothic building itself were speaking.\u003c/p>\n\u003cp>It even proved romantic. By the concert’s end, in the back, I counted five couples sitting with their arm around each other, head rested on the other’s shoulders, gazing into the sound and dreaming about forever.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Suzanne Ciani performed as part of the Noise Pop Festival, which continues through March 3; \u003ca href=\"https://noisepopfest.com/\">details here\u003c/a>. Ambient synth composer Steve Roach revisits his 1984 album ‘Structures From Silence’ at Grace Cathedral on April 6; \u003ca href=\"https://ageofreflections.com/Calendar\">details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13952988\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952988\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-9.37.25-AM.png\" alt=\"A book cover featuring a close-up headshot of a white woman with short brown hair. She is wearing aviator sunglasses that show a reflection of fire.\" width=\"838\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-9.37.25-AM.png 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-9.37.25-AM-800x1161.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-9.37.25-AM-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-9.37.25-AM-768x1114.png 768w\" sizes=\"auto, (max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">‘Burn Book: A Tech Love Story’ by Kara Swisher. \u003ccite>(Simon & Schuster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Technology is so pervasive and invasive that it’s polarizing people, producing feelings of love and loathing for its devices, online services and the would-be visionaries behind them, according to a longtime Silicon Valley reporter.\u003c/p>\n\u003cp>Kara Swisher unwraps how we got to this point in her incendiary memoir, \u003cem>Burn Book\u003c/em>, an exposé that also seeks to avert technological calamity on the perilous road still ahead.\u003c/p>\n\u003cp>[aside postid='arts_13951772']Swisher skewers many of the once-idealistic tech moguls who, when she met them as entrepreneurs decades ago, promised to change the world for the better but often chose a path of destructive disruption instead. And along the way, they amassed staggering fortunes that have disconnected them from reality.\u003c/p>\n\u003cp>Facebook founder Mark Zuckerberg, who broke into a sweat during an on-stage interview with Swisher in 2010, and Tesla CEO Elon Musk, who once talked to her regularly before cutting off communications after he bought Twitter in 2022, are painted in the harshest light.\u003c/p>\n\u003cp>“If Mark Zuckerberg is the most damaging man in tech to me, Musk was the most disappointing,” Swisher writes in her 300-page book.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s one of the milder critiques in what’s a mostly scathing takedown by one of the most respected and feared reporters covering technology. Her reputation is such that Swisher has become as synonymous with Silicon Valley as the famous entrepreneurs who shaped it since she began covering the industry in the 1990s.\u003c/p>\n\u003cp>CEOs, including Zuckerberg and Musk, regularly granted her exclusive interviews, fed her scoops and sometimes even secretly called her for advice, according to her book. When the HBO series, \u003cem>Silicon Valley\u003c/em>, needed someone to play an influential reporter in an episode, Swisher was cast as herself — a role she still regularly fills as a technology commentator on major TV networks.\u003c/p>\n\u003cp>Swisher no longer resides in Silicon Valley. She moved to Washington, D.C., a few years ago, mostly because that’s where her wife works, but also because she was feeling a need to escape what had become an increasingly toxic and insular scene.\u003c/p>\n\u003cp>[aside postid='arts_13950698']But she has remained plugged into — and worried — about what is happening with technology, particularly with the accelerating rise of artificial intelligence and its potential for causing even more damage than she thinks has already been done by social media, smartphones and other products that haven’t been tightly regulated.\u003c/p>\n\u003cp>Swisher told The Associated Press that she hopes \u003cem>Burn Book\u003c/em> serves as a shot across the bow of both the technology industry and governments around the world, a warning that the same missteps that happened during the past 20 years must not be repeated as artificial intelligence seeps into all corners of society.\u003c/p>\n\u003cp>“Don’t get fooled a second time,” Swisher said of what she hopes the book’s main takeaway will be. “We need our government to make these (technology-industry) people accountable and that has not happened. We need them to understand consequences because they certainly haven’t done us right on the damaging parts of technology. We need to stop letting them off the hook.”\u003c/p>\n\u003cp>Swisher initially didn’t even want to write another book, partly because she has become more interested in focusing on her \u003cem>Pivot\u003c/em> podcast. But she but finally got on a roll after she hired Nell Scovell, who co-wrote a best-selling book with former Facebook executive Sheryl Sandberg, to help her remember all the stories she accumulated.\u003c/p>\n\u003cp>Those recollections led her to disassemble some of the world’s richest people in her book, but Swisher isn’t worried about the blowback.\u003c/p>\n\u003cp>“I don’t care what they think,” Swisher said. “The worst thing I do is tell people what I think of them, but I am being truthful.”\u003c/p>\n\u003cp>Musk, who also runs rocket ship maker SpaceX and social media company X, used a pejorative term for anus to describe Swisher in his last email sent to her in October 2022, according to her book.\u003c/p>\n\u003cp>[aside postid='arts_13952713']“You can see it every day on Twitter (renamed X by Musk). There is something wrong with him,” Swisher said of Musk during the AP interview. “He is in desperate need of attention, he is a classic narcissist who has turned into a malevolent narcissist.”\u003c/p>\n\u003cp>Swisher doesn’t spend her entire book bashing tech leaders. She devotes an entire chapter to the industry’s “mensches,” a list that includes Salesforce CEO Marc Benioff, investor Mark Cuban and the late Dave Goldberg, who was CEO of SurveyMonkey and Sandberg’s husband when he died in 2015 while on vacation in Mexico. She also has mostly kind words for the likes of former Netflix CEO Reed Hastings, former Yahoo CEO Jerry Yang, Apple CEO Tim Cook and his late predecessor, Steve Jobs.\u003c/p>\n\u003cp>Eventually, Swisher said she hopes she will look back kindly on the tech leaders at the vanguard of AI, especially Sam Altman, the CEO of OpenAI, the San Francisco startup behind the popular chatbot ChatGPT.\u003c/p>\n\u003cp>“One thing I do like about Sam is he is able to hold two conflicting ideas in his head at the same time,” Swisher said. “Of course, he is going to be a techno-optimist, but he is not a techno-idiot. Now what will be a problem is he just takes whatever he wants, even though he has warned of unsafe things, and then does nothing about them. That’s what too many of these tech moguls have done.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cem>‘Burn Book: A Tech Love Story’ is out on Feb. 27, 2024, via Simon & Schuster. \u003ca href=\"https://www.cityarts.net/event/kara-swisher-sam-altman/\">Kara Swisher will be interviewed by Sam Altman for City Arts & Lectures\u003c/a>, at San Francisco’s Sydney Goldstein Theater on March 7, 2024. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But she has remained plugged into — and worried — about what is happening with technology, particularly with the accelerating rise of artificial intelligence and its potential for causing even more damage than she thinks has already been done by social media, smartphones and other products that haven’t been tightly regulated.\u003c/p>\n\u003cp>Swisher told The Associated Press that she hopes \u003cem>Burn Book\u003c/em> serves as a shot across the bow of both the technology industry and governments around the world, a warning that the same missteps that happened during the past 20 years must not be repeated as artificial intelligence seeps into all corners of society.\u003c/p>\n\u003cp>“Don’t get fooled a second time,” Swisher said of what she hopes the book’s main takeaway will be. “We need our government to make these (technology-industry) people accountable and that has not happened. We need them to understand consequences because they certainly haven’t done us right on the damaging parts of technology. We need to stop letting them off the hook.”\u003c/p>\n\u003cp>Swisher initially didn’t even want to write another book, partly because she has become more interested in focusing on her \u003cem>Pivot\u003c/em> podcast. But she but finally got on a roll after she hired Nell Scovell, who co-wrote a best-selling book with former Facebook executive Sheryl Sandberg, to help her remember all the stories she accumulated.\u003c/p>\n\u003cp>Those recollections led her to disassemble some of the world’s richest people in her book, but Swisher isn’t worried about the blowback.\u003c/p>\n\u003cp>“I don’t care what they think,” Swisher said. “The worst thing I do is tell people what I think of them, but I am being truthful.”\u003c/p>\n\u003cp>Musk, who also runs rocket ship maker SpaceX and social media company X, used a pejorative term for anus to describe Swisher in his last email sent to her in October 2022, according to her book.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“You can see it every day on Twitter (renamed X by Musk). There is something wrong with him,” Swisher said of Musk during the AP interview. “He is in desperate need of attention, he is a classic narcissist who has turned into a malevolent narcissist.”\u003c/p>\n\u003cp>Swisher doesn’t spend her entire book bashing tech leaders. She devotes an entire chapter to the industry’s “mensches,” a list that includes Salesforce CEO Marc Benioff, investor Mark Cuban and the late Dave Goldberg, who was CEO of SurveyMonkey and Sandberg’s husband when he died in 2015 while on vacation in Mexico. She also has mostly kind words for the likes of former Netflix CEO Reed Hastings, former Yahoo CEO Jerry Yang, Apple CEO Tim Cook and his late predecessor, Steve Jobs.\u003c/p>\n\u003cp>Eventually, Swisher said she hopes she will look back kindly on the tech leaders at the vanguard of AI, especially Sam Altman, the CEO of OpenAI, the San Francisco startup behind the popular chatbot ChatGPT.\u003c/p>\n\u003cp>“One thing I do like about Sam is he is able to hold two conflicting ideas in his head at the same time,” Swisher said. “Of course, he is going to be a techno-optimist, but he is not a techno-idiot. Now what will be a problem is he just takes whatever he wants, even though he has warned of unsafe things, and then does nothing about them. That’s what too many of these tech moguls have done.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cem>‘Burn Book: A Tech Love Story’ is out on Feb. 27, 2024, via Simon & Schuster. \u003ca href=\"https://www.cityarts.net/event/kara-swisher-sam-altman/\">Kara Swisher will be interviewed by Sam Altman for City Arts & Lectures\u003c/a>, at San Francisco’s Sydney Goldstein Theater on March 7, 2024. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There is a specific and toxic level of melancholia that comes with modern life.\u003c/p>\n\u003cp>Certainly, having the world at one’s literal fingertips makes for infinite possibilities. No longer do archaic fossils of culture dominate society — think about the last time you needed to buy a concert or sports ticket in person, or when you last sat in a bookstore reading a novel or magazine with pages that required physical turning.\u003c/p>\n\u003cp>Today, phones, tablets or a trusty laptop provide every creature comfort known to humanity, and tech’s capabilities expand with each new update. But at what cost? Are we, in our yearning for more knowledge with blaring rapidity, simply feeding the beast? Frailty, thy name is algorithm!\u003c/p>\n\u003cfigure id=\"attachment_13952875\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952875\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121.jpg\" alt=\"\" width=\"1278\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121.jpg 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-1022x1536.jpg 1022w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">BD Wong (M) in the world premiere of Kate Attwell’s ‘Big Data,’ running at ACT’s Toni Rembe Theater through March 10. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In playwright Kate Attwell’s world premiere of \u003cem>Big Data\u003c/em>, commissioned and presented by American Conservatory Theater in San Francisco, modern society’s horrors take the form of the dastardly-yet-dashing “M” (B.D. Wong), an automated puppet master who readily loads his subjects with thoughts and ideas that veer from inspired to toxic. “M” is random as all get out – knocking on stranger’s doors to simply hang out, seducing a young man and offering pleasures of the flesh, and subtly convincing an older couple that their time on this Earth has surpassed its useful life.\u003c/p>\n\u003cp>Director Pam MacKinnon’s meticulous attention to detail provides effective, steady subtlety inside Attwell’s staccato-ish dialogue. Occasionally, the script has a propensity to drone into one-note, ineffective territory, especially within stretches of the first act. This is not a fault of the cast, which is universally terrific. Both Sam (Gabriel Brown) and Timmy (Michael Phillis) are handsome, married millennials whose polyamorous dealings veer outside of simple physicality. Those invited inside their velvet, lustful ropes didn’t plan for the baggage of loneliness that both carry.\u003c/p>\n\u003cfigure id=\"attachment_13952876\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952876\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Gabriel Brown (Sam), Rosie Hallett (Lucy), and Michael Phillis (Timmy) in the world premiere of Kate Attwell’s ‘Big Data,’ running at ACT’s Toni Rembe Theater through March 10. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Likewise, a sense of unease persists between medical professional Lucy (Rosie Hallett) and husband Max (Jomar Tagatac). While Lucy easily gives every ounce of herself to big tech, her cell phone notifications going off incessantly, Max is much more concerned with old school natural dangers like earthquakes and flooding. Together, the mix of infertility, home economics and large loans turn the couple into carbon and oxygen balls of mass agita.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The distinct nature of each act is intentional. Whereas the first act establishes five characters, all with their own issues, the second introduces two new characters entirely, revealing the ways in which the aforementioned folks connect. As the older parentals, Didi (Julia McNeal) and her husband Joe (Harold Surratt) don’t carry the same relationship to tech as their younger counterparts, but are nonetheless affected mightily by its constant presence.\u003c/p>\n\u003cp>Didi and Joe refuse to succumb to the new vanguard without a fight, thanks to Joe’s gargantuan cement truck that creates a physical barrier to the tech devices they’re actively shunning. (That smart thermometer is no match for concrete.)\u003c/p>\n\u003cfigure id=\"attachment_13952878\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952878\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Brown (Sam) in the world premiere of Kate Attwell’s ‘Big Data,’ running at ACT’s Toni Rembe Theater through March 10. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While no one would advocate the play’s denouement, there is something poetic about Didi and Joe’s choices. Technology will always move forward, yet at a time when the human mind is challenged more than ever by the artificial world, human expendability is on the table in unforeseen ways. To those who make art their life’s work, putting random words into a machine and having poetry and music returned with soaring fidelity is horrifying.\u003c/p>\n\u003cp>[aside postID='arts_13951752']Each performer takes turns as the representation of societal strife. Tagatac, an ACT favorite, brings forth a skittish freneticism that parallels our divisive times. Hallett, whose listening skills are uncanny, engages sharply with Tagatac and advocates for her character’s neurosis with resonance. Brown and Phillis carry the responsibility of establishing the narrative’s style, handling many of the play’s funniest moments due to their honesty. And McNeal, along with Surratt and his dopey, everyman quality, delivers critical information with searing truth, magically making her case about the world’s artificiality and what it means to her generation.\u003c/p>\n\u003cp>As a primary strength, \u003cem>Big Data\u003c/em> advocates that the absurd really isn’t that absurd at all. Back in the day, we just knew how to breathe. Now, there’s an app for that. Even while Attwell’s dialogue is often sly, characters don’t speak with wonderment and discovery, and instead with mechanical precision. Each of the first act’s scene changes are soulless jaunts, moving from one reality to the next, within Tanya Orellana’s broad, barren scenic design. A completely different world appears in the second act — brought upon by the charming Wong as he gleefully pops and prances all over the place, sporting many fun costume changes borne of Lydia Tanji’s design.\u003c/p>\n\u003cfigure id=\"attachment_13952874\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952874\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">BD Wong (M) and Gabriel Brown (Sam) in the world premiere of Kate Attwell’s ‘Big Data,’ running at ACT’s Toni Rembe Theater through March 10. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the end of the day, what messages are we sending to certain generations? Your dollar bill is worthless, and so is that change in your pocket, because it’s all about cash-free zones and cryptocurrency now. How about some soulless poetry or music from Chat GPT? Is this where society is headed? Are we just birds programmed to eat, drink, even play piano on command? How does one even do that?\u003c/p>\n\u003cp>Let me guess – there’s an app for that.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Big Data’ runs through Sunday, March 10, at ACT’s Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2023-24-season/big-data/\">Details and ticket info here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a specific and toxic level of melancholia that comes with modern life.\u003c/p>\n\u003cp>Certainly, having the world at one’s literal fingertips makes for infinite possibilities. No longer do archaic fossils of culture dominate society — think about the last time you needed to buy a concert or sports ticket in person, or when you last sat in a bookstore reading a novel or magazine with pages that required physical turning.\u003c/p>\n\u003cp>Today, phones, tablets or a trusty laptop provide every creature comfort known to humanity, and tech’s capabilities expand with each new update. But at what cost? Are we, in our yearning for more knowledge with blaring rapidity, simply feeding the beast? Frailty, thy name is algorithm!\u003c/p>\n\u003cfigure id=\"attachment_13952875\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952875\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121.jpg\" alt=\"\" width=\"1278\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121.jpg 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-1022x1536.jpg 1022w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">BD Wong (M) in the world premiere of Kate Attwell’s ‘Big Data,’ running at ACT’s Toni Rembe Theater through March 10. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In playwright Kate Attwell’s world premiere of \u003cem>Big Data\u003c/em>, commissioned and presented by American Conservatory Theater in San Francisco, modern society’s horrors take the form of the dastardly-yet-dashing “M” (B.D. Wong), an automated puppet master who readily loads his subjects with thoughts and ideas that veer from inspired to toxic. “M” is random as all get out – knocking on stranger’s doors to simply hang out, seducing a young man and offering pleasures of the flesh, and subtly convincing an older couple that their time on this Earth has surpassed its useful life.\u003c/p>\n\u003cp>Director Pam MacKinnon’s meticulous attention to detail provides effective, steady subtlety inside Attwell’s staccato-ish dialogue. Occasionally, the script has a propensity to drone into one-note, ineffective territory, especially within stretches of the first act. This is not a fault of the cast, which is universally terrific. Both Sam (Gabriel Brown) and Timmy (Michael Phillis) are handsome, married millennials whose polyamorous dealings veer outside of simple physicality. Those invited inside their velvet, lustful ropes didn’t plan for the baggage of loneliness that both carry.\u003c/p>\n\u003cfigure id=\"attachment_13952876\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952876\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Gabriel Brown (Sam), Rosie Hallett (Lucy), and Michael Phillis (Timmy) in the world premiere of Kate Attwell’s ‘Big Data,’ running at ACT’s Toni Rembe Theater through March 10. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Likewise, a sense of unease persists between medical professional Lucy (Rosie Hallett) and husband Max (Jomar Tagatac). While Lucy easily gives every ounce of herself to big tech, her cell phone notifications going off incessantly, Max is much more concerned with old school natural dangers like earthquakes and flooding. Together, the mix of infertility, home economics and large loans turn the couple into carbon and oxygen balls of mass agita.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The distinct nature of each act is intentional. Whereas the first act establishes five characters, all with their own issues, the second introduces two new characters entirely, revealing the ways in which the aforementioned folks connect. As the older parentals, Didi (Julia McNeal) and her husband Joe (Harold Surratt) don’t carry the same relationship to tech as their younger counterparts, but are nonetheless affected mightily by its constant presence.\u003c/p>\n\u003cp>Didi and Joe refuse to succumb to the new vanguard without a fight, thanks to Joe’s gargantuan cement truck that creates a physical barrier to the tech devices they’re actively shunning. (That smart thermometer is no match for concrete.)\u003c/p>\n\u003cfigure id=\"attachment_13952878\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952878\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Brown (Sam) in the world premiere of Kate Attwell’s ‘Big Data,’ running at ACT’s Toni Rembe Theater through March 10. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While no one would advocate the play’s denouement, there is something poetic about Didi and Joe’s choices. Technology will always move forward, yet at a time when the human mind is challenged more than ever by the artificial world, human expendability is on the table in unforeseen ways. To those who make art their life’s work, putting random words into a machine and having poetry and music returned with soaring fidelity is horrifying.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Each performer takes turns as the representation of societal strife. Tagatac, an ACT favorite, brings forth a skittish freneticism that parallels our divisive times. Hallett, whose listening skills are uncanny, engages sharply with Tagatac and advocates for her character’s neurosis with resonance. Brown and Phillis carry the responsibility of establishing the narrative’s style, handling many of the play’s funniest moments due to their honesty. And McNeal, along with Surratt and his dopey, everyman quality, delivers critical information with searing truth, magically making her case about the world’s artificiality and what it means to her generation.\u003c/p>\n\u003cp>As a primary strength, \u003cem>Big Data\u003c/em> advocates that the absurd really isn’t that absurd at all. Back in the day, we just knew how to breathe. Now, there’s an app for that. Even while Attwell’s dialogue is often sly, characters don’t speak with wonderment and discovery, and instead with mechanical precision. Each of the first act’s scene changes are soulless jaunts, moving from one reality to the next, within Tanya Orellana’s broad, barren scenic design. A completely different world appears in the second act — brought upon by the charming Wong as he gleefully pops and prances all over the place, sporting many fun costume changes borne of Lydia Tanji’s design.\u003c/p>\n\u003cfigure id=\"attachment_13952874\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952874\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">BD Wong (M) and Gabriel Brown (Sam) in the world premiere of Kate Attwell’s ‘Big Data,’ running at ACT’s Toni Rembe Theater through March 10. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the end of the day, what messages are we sending to certain generations? Your dollar bill is worthless, and so is that change in your pocket, because it’s all about cash-free zones and cryptocurrency now. How about some soulless poetry or music from Chat GPT? Is this where society is headed? Are we just birds programmed to eat, drink, even play piano on command? How does one even do that?\u003c/p>\n\u003cp>Let me guess – there’s an app for that.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Big Data’ runs through Sunday, March 10, at ACT’s Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2023-24-season/big-data/\">Details and ticket info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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