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"title": "What You Could Take Away From 'David Bowie Is'",
"headTitle": "What You Could Take Away From ‘David Bowie Is’ | KQED",
"content": "\u003cp>There is a wonderful irony in a career retrospective of a living artist that becomes so popular it outlives its subject. In 2010 — long before \u003cem>David Bowie Is\u003c/em> travelled to ten other locations around the world, before it landed in Brooklyn earlier this month — London’s Victoria & Albert Museum was approached by the rock icon’s management to create an exhibit out of the singer’s archives. At the time, the idea that such a show would be taken seriously, much less prove to be a success, were hardly foregone conclusions. Music exhibitions of its type were practically non-existent outside of specialty institutions such as the Rock & Roll Hall of Fame. The barrier between high and low cultures was, even such a short time in the past, still sturdy.\u003c/p>\n\u003cp>Nevertheless, says Victoria Broackes, senior curator of the V&A’s theater and performance department, Bowie was “quite literally top of the museum’s list” of potential single-artist exhibition subjects, and when offered the show, she did not hesitate to say yes — “though I did not really have the authority to say that, given that we’re a traditional, 150-year-old museum. I reckoned that people would get how important this opportunity was, and indeed they did.” Even as the show opened, its blockbuster appeal in the global museum market was hardly obvious: “We only had one additional venue that was possibly interested [in taking the exhibit]. It was only after the first couple of weeks that we realized, ‘God, we sort of have a big hit on our hands.'” \u003c/p>\n\u003cp>Launched in March of 2013 and co-curated by Broackes and Geoffrey Marsh, \u003cem>David Bowie Is\u003c/em> treats its subject not merely as a pop star, but as an artist who, in the spot-on words of the curators’ preface, “channeled the avant-garde into the populist mainstream without compromising its subversive liberating power.”\u003c/p>\n\u003cp>The exhibit is stacked with the things that super-fans expect: costumes, photos, posters, lyric sheets, art mock-ups, videos, music, film and live clips (delivered by a relatively seamless audio-visual headphone experience), framed by pieces that place Bowie in a historical and cultural context. That context, the post-war slipstream of art and fashion, social ideas and human progress, is the origin story of his unquenchable inquisitiveness. The through-line of how a 17 year-old from a London suburb who founded the Society for the Prevention of Cruelty to Men with Long Hair (an interview with young David Jones pontificating on the subject is an early highlight) became a grizzled cyberpunk (developing dawn-of-the-digital-age software for cutting up words and pages in the manner of his heroes Brion Gysin and William Burroughs) is direct and unmistakable.\u003c/p>\n\u003cfigure id=\"attachment_13827480\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-800x450.jpg\" alt=\"'David Bowie Is.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘David Bowie Is.’ \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t only the material that demonstrates Bowie’s prolific mutation — according to Broackes, it was purposefully built into the show’s skeletal structure, which left room for the exhibition to change, at least a little, at each stop. Walking through the Brooklyn Museum, reveals distinctions great and small to the one installed at Chicago’s Museum of Contemporary Art in late 2014; a different order to parts of his story or ulterior emphasis, new set-pieces and items, and shorter, re-imagined functions for some of the programming. A room of in-concert clips that showed hours of footage in Chicago has, for instance, been reduced to five hand-picked performances.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Part of the story of Bowie and of the exhibition was not to stand still,” says Broackes. “The core of the exhibition was to remain the same — we worked hard with Bowie’s people to develop a narrative that everyone was happy with. But when it [travelled] to a place that had local significance in Bowie’s life — Japan, Berlin, to a lesser extent almost everywhere — the show would be able to adapt.”\u003c/p>\n\u003cp>These adjustments took place, in part, because the local curators and designers overseeing the exhibit at each institution had access to other collections, which they used to augment Bowie’s story at every stop. If part of Bowie’s appeal was an elasticity of his meaning — of the humane, perceptive usefulness that his mercurial creativity brought to audiences — the difference in the stories that each new presentation told served to mirror it.\u003c/p>\n\u003cp>“All that being said,” adds Broackes, “New York was something else entirely.”\u003c/p>\n\u003cp>As the location of Bowie’s earliest musical inspirations (see the test-pressing of \u003cem>Velvet Underground & Nico\u003c/em> that Andy Warhol gifted to Bowie’s first manager in 1966) and the place he called home for his last 24 years, the city was a major character in the artist’s life. “New York was always to be [the exhibit’s] final venue,” adds Broackes. “That was a real opportunity for Matthew to add material.”\u003c/p>\n\u003cfigure id=\"attachment_13827481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-800x450.jpg\" alt=\"David Bowie Is.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Bowie Is. \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Matthew” is Matthew Yokobosky, Brooklyn’s director of exhibition design, who curated the museum’s \u003cem>David Bowie Is\u003c/em> experience. Listening to him speak, you hear a desire to bring a specific focus to “parts of the show that were about America” and deliver a “big New York emphasis,” as well as injecting the “excitement and intrigue” of a Bowie concert into the Brooklyn Museum. It’s a more visceral interpretation of Bowie’s legacy — and could be construed as a particularly American-pop take on art exhibits — replacing orthodoxy with spectacle, linear history for the cut-up.\u003c/p>\n\u003cp>In Brooklyn, it begins from the jump. Approaching its entrance, long-time (New York-based) Bowie producer Tony Visconti’s specially created mega-mix vibrates the headphones; a classic Aladdin Sane black vinyl bodysuit designed by Kansai Yamamoto stands guard; bright, soft-white flashing lights (that originated at his New York City Marathon tour in 2002, which had him playing in each of the five boroughs) spelling out B-O-W-I-E. “I spent two months with a conservator and a lighting designer trying to re-lamp the original letters and replicating how they were programmed,” Yokobosky says. Glam, in the service of a novel headspace.\u003c/p>\n\u003cp>An entire wall of a new section, entitled “David Bowie Is A Success in New York,” is devoted to the singer’s relationship with Andy Warhol. It opens with a silent black-and-white film, “David Bowie and his group visit the Factory [Warhol’s studio], September 14, 1971” and ends with memorabilia and private photos from the 1996 motion picture \u003cem>Basquiat\u003c/em>, in which Bowie played Andy. It’s a surreal transition, a remixing of roles, of artist and subject. Who is the bigger translator of cool, the more adept pop futurist – Bowie or Warhol? Depends on who you ask – but where once their canonical rankings were assured, that wall begs you to question them anew.\u003c/p>\n\u003cfigure id=\"attachment_13827482\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-800x450.jpg\" alt=\"David Bowie Is.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Bowie Is. \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elsewhere you’ll find “LINE,” a series of 20 drawings made by Bowie and composer Laurie Anderson for a 1998 exhibit titled “I Love New York,” at the Ludwig Museum in Cologne. Yakobosky explains: “David had this idea that Laurie possessed telekinesis and could communicate without speaking, so David proposed they do a drawing project where they call each other on the telephone, but instead of talking they would draw together. After they did it, they would fax the drawings to each other.” It’s not nearly as crazy as it sounds. And if Bowie’s musical ’90s felt like a step backward for fans of Ziggy Stardust or Major Tom, works like “LINE” were proof that his art-school instincts were as sharp as ever.\u003c/p>\n\u003cp>The pieces are examples of the strategic way Bowie intertwined his cutting-edge artistic impulses with living showmanship. It may be a cliché to say that \u003cem>David Bowie Is\u003c/em> presents his existence as a canvas — but in the wake of his passing, the very meaning of the show takes on a new dimension. Does it, after all, not seem strange that a person who spent his final decade in self-imposed seclusion opened his entire world to a museum during that time? If \u003cem>Blackstar\u003c/em>, the album he unexpectedly released two days before his death and a treatise on mortality, is the final scene in a life well-played, might the exhibit been created to serve as a knowing epilogue?\u003c/p>\n\u003cp>“At the time, [putting together \u003cem>David Bowie Is\u003c/em>] did not strike me particularly odd,” says Victoria Broackes. “But the more I got into the way he worked, the more everything he did seemed to have both a purpose and a prescience, an understanding the way the world is going.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-800x1432.jpg\" alt=\"\" width=\"800\" height=\"1432\" class=\"alignright size-medium wp-image-13827483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-800x1432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-160x286.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-768x1374.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1020x1825.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1920x3436.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1180x2111.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-960x1718.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-240x429.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-375x671.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-520x930.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970.jpg 1145w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>And even if Bowie’s health and personal history did not reflect a deeper intent that the exhibit has taken on since his death, a confluence of global circumstances has brought the values and the societal outlook he clearly explored throughout his work, into a new light.\u003c/p>\n\u003cp>“The thing that strikes me now,” Broackes says, “is that the sort of liberal values which Bowie stood for and held out to us all — and that changed so many people’s lives, on a very personal level and for the better — have really come under threat in the years since \u003cem>David Bowie Is\u003c/em> opened, in ways we could never foresee in 2013. In that sense, I think Bowie has a real importance and significance for many of us now.”\u003c/p>\n\u003cp>Yakobosky brought up that the show isn’t the first time Bowie collaborated with the Brooklyn Museum. In 1999, the singer was an official sponsor and the audio-guide voice of a group-exhibit by a collection of young British artists called \u003cem>Sensation\u003c/em>. The exhibit is now best remembered as a battle in the co-called culture wars, sparking a national controversy about art, obscenity, and freedom of expression. Then-New York mayor Rudy Giuliani took religious offense at one of the exhibit’s paintings, Chris Offili’s “The Holy Virgin Mary,” despite the fact that Ofili was a practicing catholic and an altar boy. Giuliani claimed the painting — which depicted a black Madonna amidst a collage of cut-out female buttocks from porn magazines, set upon balls of dried elephant dung — to be “desecrating somebody else’s religion.” Giuliani’s administration sued to defund the museum (it lost).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Since then, Rudy Giuliani has, of course, gone on to be a courtier of the current American president. Chris Ofili, whose work Bowie had singled out in a \u003cem>Sensation\u003c/em> press release, has won the prestigious Turner Prize for painting and received an Order of the British Empire. \u003cem>David Bowie Is\u003c/em> has been seen by nearly 1.8 million people on four continents and will close at the Brooklyn Museum on July 15th. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+You+Could+Take+Away+From+%27David+Bowie+Is%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a wonderful irony in a career retrospective of a living artist that becomes so popular it outlives its subject. In 2010 — long before \u003cem>David Bowie Is\u003c/em> travelled to ten other locations around the world, before it landed in Brooklyn earlier this month — London’s Victoria & Albert Museum was approached by the rock icon’s management to create an exhibit out of the singer’s archives. At the time, the idea that such a show would be taken seriously, much less prove to be a success, were hardly foregone conclusions. Music exhibitions of its type were practically non-existent outside of specialty institutions such as the Rock & Roll Hall of Fame. The barrier between high and low cultures was, even such a short time in the past, still sturdy.\u003c/p>\n\u003cp>Nevertheless, says Victoria Broackes, senior curator of the V&A’s theater and performance department, Bowie was “quite literally top of the museum’s list” of potential single-artist exhibition subjects, and when offered the show, she did not hesitate to say yes — “though I did not really have the authority to say that, given that we’re a traditional, 150-year-old museum. I reckoned that people would get how important this opportunity was, and indeed they did.” Even as the show opened, its blockbuster appeal in the global museum market was hardly obvious: “We only had one additional venue that was possibly interested [in taking the exhibit]. It was only after the first couple of weeks that we realized, ‘God, we sort of have a big hit on our hands.'” \u003c/p>\n\u003cp>Launched in March of 2013 and co-curated by Broackes and Geoffrey Marsh, \u003cem>David Bowie Is\u003c/em> treats its subject not merely as a pop star, but as an artist who, in the spot-on words of the curators’ preface, “channeled the avant-garde into the populist mainstream without compromising its subversive liberating power.”\u003c/p>\n\u003cp>The exhibit is stacked with the things that super-fans expect: costumes, photos, posters, lyric sheets, art mock-ups, videos, music, film and live clips (delivered by a relatively seamless audio-visual headphone experience), framed by pieces that place Bowie in a historical and cultural context. That context, the post-war slipstream of art and fashion, social ideas and human progress, is the origin story of his unquenchable inquisitiveness. The through-line of how a 17 year-old from a London suburb who founded the Society for the Prevention of Cruelty to Men with Long Hair (an interview with young David Jones pontificating on the subject is an early highlight) became a grizzled cyberpunk (developing dawn-of-the-digital-age software for cutting up words and pages in the manner of his heroes Brion Gysin and William Burroughs) is direct and unmistakable.\u003c/p>\n\u003cfigure id=\"attachment_13827480\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-800x450.jpg\" alt=\"'David Bowie Is.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘David Bowie Is.’ \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t only the material that demonstrates Bowie’s prolific mutation — according to Broackes, it was purposefully built into the show’s skeletal structure, which left room for the exhibition to change, at least a little, at each stop. Walking through the Brooklyn Museum, reveals distinctions great and small to the one installed at Chicago’s Museum of Contemporary Art in late 2014; a different order to parts of his story or ulterior emphasis, new set-pieces and items, and shorter, re-imagined functions for some of the programming. A room of in-concert clips that showed hours of footage in Chicago has, for instance, been reduced to five hand-picked performances.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Part of the story of Bowie and of the exhibition was not to stand still,” says Broackes. “The core of the exhibition was to remain the same — we worked hard with Bowie’s people to develop a narrative that everyone was happy with. But when it [travelled] to a place that had local significance in Bowie’s life — Japan, Berlin, to a lesser extent almost everywhere — the show would be able to adapt.”\u003c/p>\n\u003cp>These adjustments took place, in part, because the local curators and designers overseeing the exhibit at each institution had access to other collections, which they used to augment Bowie’s story at every stop. If part of Bowie’s appeal was an elasticity of his meaning — of the humane, perceptive usefulness that his mercurial creativity brought to audiences — the difference in the stories that each new presentation told served to mirror it.\u003c/p>\n\u003cp>“All that being said,” adds Broackes, “New York was something else entirely.”\u003c/p>\n\u003cp>As the location of Bowie’s earliest musical inspirations (see the test-pressing of \u003cem>Velvet Underground & Nico\u003c/em> that Andy Warhol gifted to Bowie’s first manager in 1966) and the place he called home for his last 24 years, the city was a major character in the artist’s life. “New York was always to be [the exhibit’s] final venue,” adds Broackes. “That was a real opportunity for Matthew to add material.”\u003c/p>\n\u003cfigure id=\"attachment_13827481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-800x450.jpg\" alt=\"David Bowie Is.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Bowie Is. \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Matthew” is Matthew Yokobosky, Brooklyn’s director of exhibition design, who curated the museum’s \u003cem>David Bowie Is\u003c/em> experience. Listening to him speak, you hear a desire to bring a specific focus to “parts of the show that were about America” and deliver a “big New York emphasis,” as well as injecting the “excitement and intrigue” of a Bowie concert into the Brooklyn Museum. It’s a more visceral interpretation of Bowie’s legacy — and could be construed as a particularly American-pop take on art exhibits — replacing orthodoxy with spectacle, linear history for the cut-up.\u003c/p>\n\u003cp>In Brooklyn, it begins from the jump. Approaching its entrance, long-time (New York-based) Bowie producer Tony Visconti’s specially created mega-mix vibrates the headphones; a classic Aladdin Sane black vinyl bodysuit designed by Kansai Yamamoto stands guard; bright, soft-white flashing lights (that originated at his New York City Marathon tour in 2002, which had him playing in each of the five boroughs) spelling out B-O-W-I-E. “I spent two months with a conservator and a lighting designer trying to re-lamp the original letters and replicating how they were programmed,” Yokobosky says. Glam, in the service of a novel headspace.\u003c/p>\n\u003cp>An entire wall of a new section, entitled “David Bowie Is A Success in New York,” is devoted to the singer’s relationship with Andy Warhol. It opens with a silent black-and-white film, “David Bowie and his group visit the Factory [Warhol’s studio], September 14, 1971” and ends with memorabilia and private photos from the 1996 motion picture \u003cem>Basquiat\u003c/em>, in which Bowie played Andy. It’s a surreal transition, a remixing of roles, of artist and subject. Who is the bigger translator of cool, the more adept pop futurist – Bowie or Warhol? Depends on who you ask – but where once their canonical rankings were assured, that wall begs you to question them anew.\u003c/p>\n\u003cfigure id=\"attachment_13827482\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-800x450.jpg\" alt=\"David Bowie Is.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Bowie Is. \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elsewhere you’ll find “LINE,” a series of 20 drawings made by Bowie and composer Laurie Anderson for a 1998 exhibit titled “I Love New York,” at the Ludwig Museum in Cologne. Yakobosky explains: “David had this idea that Laurie possessed telekinesis and could communicate without speaking, so David proposed they do a drawing project where they call each other on the telephone, but instead of talking they would draw together. After they did it, they would fax the drawings to each other.” It’s not nearly as crazy as it sounds. And if Bowie’s musical ’90s felt like a step backward for fans of Ziggy Stardust or Major Tom, works like “LINE” were proof that his art-school instincts were as sharp as ever.\u003c/p>\n\u003cp>The pieces are examples of the strategic way Bowie intertwined his cutting-edge artistic impulses with living showmanship. It may be a cliché to say that \u003cem>David Bowie Is\u003c/em> presents his existence as a canvas — but in the wake of his passing, the very meaning of the show takes on a new dimension. Does it, after all, not seem strange that a person who spent his final decade in self-imposed seclusion opened his entire world to a museum during that time? If \u003cem>Blackstar\u003c/em>, the album he unexpectedly released two days before his death and a treatise on mortality, is the final scene in a life well-played, might the exhibit been created to serve as a knowing epilogue?\u003c/p>\n\u003cp>“At the time, [putting together \u003cem>David Bowie Is\u003c/em>] did not strike me particularly odd,” says Victoria Broackes. “But the more I got into the way he worked, the more everything he did seemed to have both a purpose and a prescience, an understanding the way the world is going.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-800x1432.jpg\" alt=\"\" width=\"800\" height=\"1432\" class=\"alignright size-medium wp-image-13827483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-800x1432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-160x286.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-768x1374.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1020x1825.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1920x3436.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1180x2111.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-960x1718.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-240x429.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-375x671.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-520x930.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970.jpg 1145w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>And even if Bowie’s health and personal history did not reflect a deeper intent that the exhibit has taken on since his death, a confluence of global circumstances has brought the values and the societal outlook he clearly explored throughout his work, into a new light.\u003c/p>\n\u003cp>“The thing that strikes me now,” Broackes says, “is that the sort of liberal values which Bowie stood for and held out to us all — and that changed so many people’s lives, on a very personal level and for the better — have really come under threat in the years since \u003cem>David Bowie Is\u003c/em> opened, in ways we could never foresee in 2013. In that sense, I think Bowie has a real importance and significance for many of us now.”\u003c/p>\n\u003cp>Yakobosky brought up that the show isn’t the first time Bowie collaborated with the Brooklyn Museum. In 1999, the singer was an official sponsor and the audio-guide voice of a group-exhibit by a collection of young British artists called \u003cem>Sensation\u003c/em>. The exhibit is now best remembered as a battle in the co-called culture wars, sparking a national controversy about art, obscenity, and freedom of expression. Then-New York mayor Rudy Giuliani took religious offense at one of the exhibit’s paintings, Chris Offili’s “The Holy Virgin Mary,” despite the fact that Ofili was a practicing catholic and an altar boy. Giuliani claimed the painting — which depicted a black Madonna amidst a collage of cut-out female buttocks from porn magazines, set upon balls of dried elephant dung — to be “desecrating somebody else’s religion.” Giuliani’s administration sued to defund the museum (it lost).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since then, Rudy Giuliani has, of course, gone on to be a courtier of the current American president. Chris Ofili, whose work Bowie had singled out in a \u003cem>Sensation\u003c/em> press release, has won the prestigious Turner Prize for painting and received an Order of the British Empire. \u003cem>David Bowie Is\u003c/em> has been seen by nearly 1.8 million people on four continents and will close at the Brooklyn Museum on July 15th. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+You+Could+Take+Away+From+%27David+Bowie+Is%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "An Office Lady Becomes a Leading Lady in ‘Oh Lucy!’ | KQED",
"content": "\u003cp>There are four suicide attempts in Atsuko Hirayanagi’s debut feature film \u003cem>Oh Lucy!\u003c/em> The first one succeeds; it’s the catalyst that spurs Setsuko (Shinobu Terajima) to reexamine her reclusive life. \u003c/p>\n\u003cp>It doesn’t take long to inventory the constituent parts of that life. Her small apartment, where she’s made enough space to watch TV, is a hoarder’s dream. She has an ambivalent relationship with her sister Ayako (Kaho Minami) and her niece Mika (Shioli Kutsuna). On the crowded Tokyo subway, Setsuko commutes to her job as an “office lady” with a tightly secured face mask. It’s yet another symbol of her inability to let the outside world in. \u003c/p>\n\u003cp>In her publicist’s office in downtown San Francisco, Hirayanagi describes the duties of an office lady. “It’s a secretary,” she says. “Basically, they do the same thing and they never move up on the career. They pour tea, make copies and assist the workforce, who are mostly men.” It’s a job performed by 20-somethings. “Usually they quit after the age of 30. So for her to be 43 years old and doing that, she’s an outcast.” These personal and professional doldrums are key to understanding what Setsuko does next. \u003c/p>\n\u003cfigure id=\"attachment_13827294\" class=\"wp-caption aligncenter\" style=\"max-width: 1480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/4_setsukostreet.jpg\" alt=\"Shinobu Terajima in 'Oh Lucy!'\" width=\"1480\" height=\"800\" class=\"size-full wp-image-13827294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet.jpg 1480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-520x281.jpg 520w\" sizes=\"(max-width: 1480px) 100vw, 1480px\">\u003cfigcaption class=\"wp-caption-text\">Shinobu Terajima in ‘Oh Lucy!’ \u003ccite>(Courtesy of Film Movement)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mika calls her aunt on the day that Setsuko witnesses a suicide. Her niece asks her to take her place at an English language school — and to pay the niece directly for the remaining tuition costs. In need of a change, Setsuko reluctantly agrees. Hirayanagi explains her conception of the character’s motivation to step away from her daily routine, “I feel like the universe is always trying to present you with an incident or to make you meet people or something you need to deal with. And this time she took it.” \u003c/p>\n\u003cp>Setsuko finds the school in a seedy urban alley and meets the handsome American teacher John (an entirely relaxed Josh Hartnett). He hands her a curly blonde wig, renames her Lucy and embraces her. The combination of speaking in English, donning a silly wig and that hug facilitates the release of Setsuko’s pent up emotions. It’s a familiar filmmaking trope: unleash a character’s restricted id and remove them from their comfortable, if drab, circumstances. Following Setsuko’s personal transformation sparked by running toward, not away from, a chaotic world, \u003ci>Oh Lucy!\u003c/i> joins films like Jonathan Demme’s \u003cem>Something Wild\u003c/em>, Martin Scorsese’s \u003cem>After Hours\u003c/em> and Pedro Almodóvar’s \u003cem>Women on the Verge of a Nervous Breakdown\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13827295\" class=\"wp-caption aligncenter\" style=\"max-width: 1422px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY.jpg\" alt=\"Kaho Minami, Josh Hartnett and Shinobu Terajima in 'Oh Lucy!'\" width=\"1422\" height=\"800\" class=\"size-full wp-image-13827295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY.jpg 1422w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-520x293.jpg 520w\" sizes=\"(max-width: 1422px) 100vw, 1422px\">\u003cfigcaption class=\"wp-caption-text\">Kaho Minami, Josh Hartnett and Shinobu Terajima in ‘Oh Lucy!’ \u003ccite>(Courtesy of Film Movement)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Hirayanagi’s approach takes into account, as she says, “the fact that what people usually present to the world is completely opposite of what they are.” Once smitten with John, Setsuko — or her inner Lucy — pursues him back to the United States, a foolish and courageous act she never would have undertaken before. The director cast Shinobu Terajima in the part after seeing her in Ryuichi Hiroki’s 2003 film \u003cem>Vibrator\u003c/em>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She does this fearless, daring acting, which I don’t often see in Japanese actresses,” Hirayanagi says. “The producing partner is NHK, which is like the BBC of Japan. Because of them I was able to approach Miss Terajima. She’s an A-list actress, and when they gave me the list of actors for me to consider, I immediately thought she would be the only person who can perform this.”\u003c/p>\n\u003cfigure id=\"attachment_13827297\" class=\"wp-caption aligncenter\" style=\"max-width: 1025px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi.jpg\" alt=\"Atsuko Hirayanagi, director of 'Oh Lucy!'\" width=\"1025\" height=\"862\" class=\"size-full wp-image-13827297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-160x135.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-800x673.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-768x646.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-1020x858.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-960x807.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-240x202.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-375x315.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-520x437.jpg 520w\" sizes=\"(max-width: 1025px) 100vw, 1025px\">\u003cfigcaption class=\"wp-caption-text\">Atsuko Hirayanagi, director of ‘Oh Lucy!’ \u003ccite>(Courtesy of Film Movement)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Terajima projects Setsuko’s stifled longings as expressively as she does Lucy’s ecstatic, frenzied liberation. Hirayanagi, who also wrote the script, describes the moment when she begins to change, after the man commuting suicide brushes past her before he dies. “He happened to be behind her, but to me it’s not a coincidence,” she says. “People attract each other. Darkness, I think, attracts darkness. I’m talking here about synchronicity. And then I feel like all these five characters are basically the same people, attracted to each other on this journey.” \u003c/p>\n\u003cp>The director says that she has experienced suicide in her circle of acquaintances, even witnessing one when she lived in Singapore. “It’s not like this subject is so far from me. Everybody goes through those dark moments,” she says. “In a way the suicide is telling her, ‘I know who you are.’ That’s why he provoked her.” But the journey Setsuko makes is away from him, away from loneliness and death, and towards an unconventional, bewigged renewal.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\u003ci>‘Oh Lucy!’ opens March 16 in San Francisco, Berkeley and San Rafael.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Atsuko Hirayanagi’s debut feature film follows a reclusive woman's personal transformation sparked by running toward, not away from, a chaotic world.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are four suicide attempts in Atsuko Hirayanagi’s debut feature film \u003cem>Oh Lucy!\u003c/em> The first one succeeds; it’s the catalyst that spurs Setsuko (Shinobu Terajima) to reexamine her reclusive life. \u003c/p>\n\u003cp>It doesn’t take long to inventory the constituent parts of that life. Her small apartment, where she’s made enough space to watch TV, is a hoarder’s dream. She has an ambivalent relationship with her sister Ayako (Kaho Minami) and her niece Mika (Shioli Kutsuna). On the crowded Tokyo subway, Setsuko commutes to her job as an “office lady” with a tightly secured face mask. It’s yet another symbol of her inability to let the outside world in. \u003c/p>\n\u003cp>In her publicist’s office in downtown San Francisco, Hirayanagi describes the duties of an office lady. “It’s a secretary,” she says. “Basically, they do the same thing and they never move up on the career. They pour tea, make copies and assist the workforce, who are mostly men.” It’s a job performed by 20-somethings. “Usually they quit after the age of 30. So for her to be 43 years old and doing that, she’s an outcast.” These personal and professional doldrums are key to understanding what Setsuko does next. \u003c/p>\n\u003cfigure id=\"attachment_13827294\" class=\"wp-caption aligncenter\" style=\"max-width: 1480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/4_setsukostreet.jpg\" alt=\"Shinobu Terajima in 'Oh Lucy!'\" width=\"1480\" height=\"800\" class=\"size-full wp-image-13827294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet.jpg 1480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-520x281.jpg 520w\" sizes=\"(max-width: 1480px) 100vw, 1480px\">\u003cfigcaption class=\"wp-caption-text\">Shinobu Terajima in ‘Oh Lucy!’ \u003ccite>(Courtesy of Film Movement)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mika calls her aunt on the day that Setsuko witnesses a suicide. Her niece asks her to take her place at an English language school — and to pay the niece directly for the remaining tuition costs. In need of a change, Setsuko reluctantly agrees. Hirayanagi explains her conception of the character’s motivation to step away from her daily routine, “I feel like the universe is always trying to present you with an incident or to make you meet people or something you need to deal with. And this time she took it.” \u003c/p>\n\u003cp>Setsuko finds the school in a seedy urban alley and meets the handsome American teacher John (an entirely relaxed Josh Hartnett). He hands her a curly blonde wig, renames her Lucy and embraces her. The combination of speaking in English, donning a silly wig and that hug facilitates the release of Setsuko’s pent up emotions. It’s a familiar filmmaking trope: unleash a character’s restricted id and remove them from their comfortable, if drab, circumstances. Following Setsuko’s personal transformation sparked by running toward, not away from, a chaotic world, \u003ci>Oh Lucy!\u003c/i> joins films like Jonathan Demme’s \u003cem>Something Wild\u003c/em>, Martin Scorsese’s \u003cem>After Hours\u003c/em> and Pedro Almodóvar’s \u003cem>Women on the Verge of a Nervous Breakdown\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13827295\" class=\"wp-caption aligncenter\" style=\"max-width: 1422px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY.jpg\" alt=\"Kaho Minami, Josh Hartnett and Shinobu Terajima in 'Oh Lucy!'\" width=\"1422\" height=\"800\" class=\"size-full wp-image-13827295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY.jpg 1422w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-520x293.jpg 520w\" sizes=\"(max-width: 1422px) 100vw, 1422px\">\u003cfigcaption class=\"wp-caption-text\">Kaho Minami, Josh Hartnett and Shinobu Terajima in ‘Oh Lucy!’ \u003ccite>(Courtesy of Film Movement)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Hirayanagi’s approach takes into account, as she says, “the fact that what people usually present to the world is completely opposite of what they are.” Once smitten with John, Setsuko — or her inner Lucy — pursues him back to the United States, a foolish and courageous act she never would have undertaken before. The director cast Shinobu Terajima in the part after seeing her in Ryuichi Hiroki’s 2003 film \u003cem>Vibrator\u003c/em>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“She does this fearless, daring acting, which I don’t often see in Japanese actresses,” Hirayanagi says. “The producing partner is NHK, which is like the BBC of Japan. Because of them I was able to approach Miss Terajima. She’s an A-list actress, and when they gave me the list of actors for me to consider, I immediately thought she would be the only person who can perform this.”\u003c/p>\n\u003cfigure id=\"attachment_13827297\" class=\"wp-caption aligncenter\" style=\"max-width: 1025px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi.jpg\" alt=\"Atsuko Hirayanagi, director of 'Oh Lucy!'\" width=\"1025\" height=\"862\" class=\"size-full wp-image-13827297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-160x135.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-800x673.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-768x646.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-1020x858.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-960x807.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-240x202.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-375x315.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-520x437.jpg 520w\" sizes=\"(max-width: 1025px) 100vw, 1025px\">\u003cfigcaption class=\"wp-caption-text\">Atsuko Hirayanagi, director of ‘Oh Lucy!’ \u003ccite>(Courtesy of Film Movement)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Terajima projects Setsuko’s stifled longings as expressively as she does Lucy’s ecstatic, frenzied liberation. Hirayanagi, who also wrote the script, describes the moment when she begins to change, after the man commuting suicide brushes past her before he dies. “He happened to be behind her, but to me it’s not a coincidence,” she says. “People attract each other. Darkness, I think, attracts darkness. I’m talking here about synchronicity. And then I feel like all these five characters are basically the same people, attracted to each other on this journey.” \u003c/p>\n\u003cp>The director says that she has experienced suicide in her circle of acquaintances, even witnessing one when she lived in Singapore. “It’s not like this subject is so far from me. Everybody goes through those dark moments,” she says. “In a way the suicide is telling her, ‘I know who you are.’ That’s why he provoked her.” But the journey Setsuko makes is away from him, away from loneliness and death, and towards an unconventional, bewigged renewal.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\u003ci>‘Oh Lucy!’ opens March 16 in San Francisco, Berkeley and San Rafael.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The characters in the films of Samuel Maoz are all trapped in one way or another. His 2009 drama, \u003cem>Lebanon,\u003c/em> was a blistering critique of Israel’s 1982 invasion of its northern neighbor and an impressively sustained exercise in confinement: It unfolded entirely inside a tank, forcing us to see the devastation of war from the limited vantage of four young troops.\u003c/p>\n\u003cp>Maoz’s remarkable new movie, \u003cem>Foxtrot,\u003c/em> tells a different kind of soldier’s story, set in the present day and divided into three distinct chapters. It’s nowhere near as physically claustrophobic as \u003cem>Lebanon,\u003c/em> but its characters seem just as immobilized. The title, a reference to the three-step dance move that brings you back to your starting position, becomes a clever if heavy-handed metaphor for a nation mired in its own stasis.\u003c/p>\n\u003cp>https://youtu.be/wrBEDEmUceM\u003c/p>\n\u003cp>The first chapter begins with a couple being informed that their son, Jonathan Feldman, has been killed in the line of duty while stationed at a far-flung military outpost. The boy’s mother, Dafna (played by Sarah Adler), passes out and is immediately given tranquilizers by the attending soldiers.\u003c/p>\n\u003cp>For the next half-hour or so, the camera follows her husband, Michael (played by Lior Ashkenazi), as he moves through a kind of trance. He looks on in blank incomprehension as family members offer supportive hugs and a soldier coldly dictates funeral protocol.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Maoz evokes Michael’s shellshocked fury by keeping us visually off-balance, sometimes through brazenly theatrical formal conceits. The atmosphere feels airless but charged with suspense. The camera tracks up and down the corridors of the Feldmans’ apartment, whose oppressively stylish monochrome decor adds to the vague air of unreality.\u003c/p>\n\u003cp>Ashkenazi, perhaps the best-known Israeli actor working today, gives a tremendous performance as Michael, barely sublimating and finally unleashing his rage against the government and the military. It isn’t just the tragic news they’ve brought to his door, but the chilly, bureaucratic efficiency with which they treat the newly bereaved.\u003c/p>\n\u003cp>The second chapter brings us to a security checkpoint in the middle of the desert where, at this point in the story, Jonathan (played by Yonatan Shiray) is alive and well. He and his three soldier buddies spend most of their days goofing off in a squalid shipping container that is slowly sinking into the dirt. On those rare occasions when cars approach their checkpoint, however, the young men spring into action.\u003c/p>\n\u003cp>Maoz courts our sympathies for the quiet, nameless Arab civilians trying to pass through the checkpoint, who are forced to sit and wait for long periods of time, or even to stand outside in the pouring rain. The tension cultivated in the first act boils over in the second, ultimately erupting in tragedy.\u003c/p>\n\u003cp>The third chapter returns us to the Feldmans’ apartment sometime later to find the family utterly ravaged by grief. Michael is no longer living with Dafna, but he has dropped in on the occasion of what would have been Jonathan’s 20th birthday.\u003c/p>\n\u003cp>Adler, her character no longer sedated but fully alert and angry, matches Ashkenazi’s performance moment for furious moment. Dafna blames Michael for Jonathan’s death, railing against him for his selfishness and weakness, while giving full voice to the unceasing agony of any parent who has ever lost a child.\u003c/p>\n\u003cp>As demonstrated by past movies like \u003cem>Waltz With Bashir \u003c/em>and \u003cem>Beaufort,\u003c/em> any film that touches on the efforts of the Israel Defense Forces can expect to become a lightning rod for controversy. The nation’s minister of culture and sport, Miri Regev, has already \u003ca href=\"http://www.jpost.com/Opinion/Uncultured-minister-505041\">attacked\u003c/a> \u003cem>Foxtrot\u003c/em> for its “self-flagellation and cooperation with the anti-Israel narrative.”\u003c/p>\n\u003cp>Maoz, for his part, has said in interviews that his critique comes from a place of love. “If I criticize the place I live, I do it because I worry,” he told \u003ca href=\"https://www.timesofisrael.com/foxtrots-samuel-maoz-talks-fate-potted-meat-ministerial-controversy/\">The Times of Israel.\u003c/a>\u003c/p>\n\u003cp>The specificity of the film’s argument is unmistakable. The Feldmans, we learn, lost relatives in Auschwitz, and Maoz suggests that the horrific legacy of the Holocaust is merely the gravest of the many scars that have led his characters to their anguished present mindset. The harsh everyday reality of the occupation has played its part as well.\u003c/p>\n\u003cp>But on a deeper level, \u003cem>Foxtrot\u003c/em> resonates because the attributes we see in these characters — their bitterness, their pride, their instinctive distrust of the other — are hardly the domain of one family or one country alone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In its wrenching final moments, this bruisingly powerful movie could be taking place in any state where men and women rage against each other, where historical trauma looms large in the collective memory and where young people are sent off to a war without end. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The characters in the films of Samuel Maoz are all trapped in one way or another. His 2009 drama, \u003cem>Lebanon,\u003c/em> was a blistering critique of Israel’s 1982 invasion of its northern neighbor and an impressively sustained exercise in confinement: It unfolded entirely inside a tank, forcing us to see the devastation of war from the limited vantage of four young troops.\u003c/p>\n\u003cp>Maoz’s remarkable new movie, \u003cem>Foxtrot,\u003c/em> tells a different kind of soldier’s story, set in the present day and divided into three distinct chapters. It’s nowhere near as physically claustrophobic as \u003cem>Lebanon,\u003c/em> but its characters seem just as immobilized. The title, a reference to the three-step dance move that brings you back to your starting position, becomes a clever if heavy-handed metaphor for a nation mired in its own stasis.\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/wrBEDEmUceM'\n title='//www.youtube.com/embed/wrBEDEmUceM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first chapter begins with a couple being informed that their son, Jonathan Feldman, has been killed in the line of duty while stationed at a far-flung military outpost. The boy’s mother, Dafna (played by Sarah Adler), passes out and is immediately given tranquilizers by the attending soldiers.\u003c/p>\n\u003cp>For the next half-hour or so, the camera follows her husband, Michael (played by Lior Ashkenazi), as he moves through a kind of trance. He looks on in blank incomprehension as family members offer supportive hugs and a soldier coldly dictates funeral protocol.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Maoz evokes Michael’s shellshocked fury by keeping us visually off-balance, sometimes through brazenly theatrical formal conceits. The atmosphere feels airless but charged with suspense. The camera tracks up and down the corridors of the Feldmans’ apartment, whose oppressively stylish monochrome decor adds to the vague air of unreality.\u003c/p>\n\u003cp>Ashkenazi, perhaps the best-known Israeli actor working today, gives a tremendous performance as Michael, barely sublimating and finally unleashing his rage against the government and the military. It isn’t just the tragic news they’ve brought to his door, but the chilly, bureaucratic efficiency with which they treat the newly bereaved.\u003c/p>\n\u003cp>The second chapter brings us to a security checkpoint in the middle of the desert where, at this point in the story, Jonathan (played by Yonatan Shiray) is alive and well. He and his three soldier buddies spend most of their days goofing off in a squalid shipping container that is slowly sinking into the dirt. On those rare occasions when cars approach their checkpoint, however, the young men spring into action.\u003c/p>\n\u003cp>Maoz courts our sympathies for the quiet, nameless Arab civilians trying to pass through the checkpoint, who are forced to sit and wait for long periods of time, or even to stand outside in the pouring rain. The tension cultivated in the first act boils over in the second, ultimately erupting in tragedy.\u003c/p>\n\u003cp>The third chapter returns us to the Feldmans’ apartment sometime later to find the family utterly ravaged by grief. Michael is no longer living with Dafna, but he has dropped in on the occasion of what would have been Jonathan’s 20th birthday.\u003c/p>\n\u003cp>Adler, her character no longer sedated but fully alert and angry, matches Ashkenazi’s performance moment for furious moment. Dafna blames Michael for Jonathan’s death, railing against him for his selfishness and weakness, while giving full voice to the unceasing agony of any parent who has ever lost a child.\u003c/p>\n\u003cp>As demonstrated by past movies like \u003cem>Waltz With Bashir \u003c/em>and \u003cem>Beaufort,\u003c/em> any film that touches on the efforts of the Israel Defense Forces can expect to become a lightning rod for controversy. The nation’s minister of culture and sport, Miri Regev, has already \u003ca href=\"http://www.jpost.com/Opinion/Uncultured-minister-505041\">attacked\u003c/a> \u003cem>Foxtrot\u003c/em> for its “self-flagellation and cooperation with the anti-Israel narrative.”\u003c/p>\n\u003cp>Maoz, for his part, has said in interviews that his critique comes from a place of love. “If I criticize the place I live, I do it because I worry,” he told \u003ca href=\"https://www.timesofisrael.com/foxtrots-samuel-maoz-talks-fate-potted-meat-ministerial-controversy/\">The Times of Israel.\u003c/a>\u003c/p>\n\u003cp>The specificity of the film’s argument is unmistakable. The Feldmans, we learn, lost relatives in Auschwitz, and Maoz suggests that the horrific legacy of the Holocaust is merely the gravest of the many scars that have led his characters to their anguished present mindset. The harsh everyday reality of the occupation has played its part as well.\u003c/p>\n\u003cp>But on a deeper level, \u003cem>Foxtrot\u003c/em> resonates because the attributes we see in these characters — their bitterness, their pride, their instinctive distrust of the other — are hardly the domain of one family or one country alone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In its wrenching final moments, this bruisingly powerful movie could be taking place in any state where men and women rage against each other, where historical trauma looms large in the collective memory and where young people are sent off to a war without end. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the hands of a cynical genius like Billy Wilder or a wily craftsman like Steven Soderbergh, \u003cem>Gringo\u003c/em> might’ve become a satire for the ages, a mordant document that people of the future could study to understand this morally vacuous moment in the life of our republic. Alas, this bloody farce was directed by one Nash Edgerton — a stuntman and prolific music video director, and the big brother of star Joel Edgerton, who can currently be seen in the even-gnarlier spy drama \u003cem>Red Sparrow\u003c/em> in the theater down the hall. The elder Edgerton is a competent storyteller: \u003cem>Gringo’\u003c/em>s Byzantine plot mostly scans, and he keeps its sardonic tone consistent throughout. But just because a movie hits all the notes doesn’t mean it sings.\u003c/p>\n\u003cp>https://youtu.be/AAFRI12Cxb0\u003c/p>\n\u003cp>That’s too bad, because \u003cem>Gringo\u003c/em> has a lot going for it, including some occasionally sharp dialogue (by either Matthew Stone or Anthony Tambakis, who contributed to the bonebreaking and tearjerking Joel Edgerton /Tom Hardy MMA drama \u003cem>Warrior\u003c/em>) and a quartet of funny performances from players not primarily known for bringing the yuks: L’il Edgerton, Charlize Theron in full \u003cem>femme fatale \u003c/em>mode and beardy heavy Sharlto Copley.\u003c/p>\n\u003cp>The best and most surprising of the four is David Oyelowo, the versatile British actor who rose to the occasion to embody Martin Luther King, Jr. in \u003cem>Selma\u003c/em>. Here he plays Harold, a decent but all-too-credulous immigrant from Nigeria who works as a manager in the Chicago pharmaceuticals firm of which Edgerton and Theron are co-CEOs. (They make a habit of office trysts during business hours.) Harold is an honest man who sees the best in everyone, which in this genre means that everyone from his accountant to his bosses to his wife (Thandie Newton, in a truly thankless part) walks all over him. \u003c/p>\n\u003cp>When Harold learns he’ll soon be pushed out in a merger, he decides to extort a severance package of sorts by faking his own kidnapping, \u003cem>Fargo\u003c/em>-style. But just like hapless William H. Macy in that Coen Brothers classic, he’s unknowingly allied himself with dim-bulb crooks whose stupidity makes them \u003cem>more\u003c/em> dangerous, not less. There’s also a subplot involving Harry Treadaway and Amanda Seyfried as a small-time dealer and his pushover girlfriend who take a criminal errand to Mexico City that feels fully disposable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Did I call this thing a satire? With its ready embrace of stereotypes — Oyelowo’s hardworking immigrant, Edgerton’s sleazy Pharma bro, Theron’s backstabbing man-eater, Seyfried’s virtuous hanger-on, plus Carlos Corona as a Beatles-quoting Mexican cartel kingpin known as, um, The Black Panther — \u003cem>Gringo\u003c/em> often borders on pantomime. What redeems it, sort of, is Copley of all people. The South African actor and filmmaker has played trigger-happy psychos or gun-toting beardos in too many so-so films to list. The minor variation this time is that is that his mercenary character — the estranged brother of Edgerton’s swaggering CEO, because sure — has renounced his life of violence and dedicated himself to humanitarian relief work. So when Edgerton calls upon Copley’s Very Particular Set of Skills to try to rescue Harold rather than pony up the ransom money, \u003cem>Gringo\u003c/em> taps into its only genuine vein of suspense: Oyelowo is a fed-up, still-mostly-good man trying desperately to break bad, while Copley is a reformed killer trying to get his new leaf to stick. Whose principles shall prevail?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question of whether good or bad behavior can be transmitted by example is a truly inexhaustible one that has powered enduring works of art and forgettable diversions alike. \u003cem>Gringo\u003c/em> is the latter, a passable in-flight movie that limps home across the border with nothing much to declare. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Good+Man%27s+Moral+Compass+Points+South-Of-The-Border+In+%27Gringo%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the hands of a cynical genius like Billy Wilder or a wily craftsman like Steven Soderbergh, \u003cem>Gringo\u003c/em> might’ve become a satire for the ages, a mordant document that people of the future could study to understand this morally vacuous moment in the life of our republic. Alas, this bloody farce was directed by one Nash Edgerton — a stuntman and prolific music video director, and the big brother of star Joel Edgerton, who can currently be seen in the even-gnarlier spy drama \u003cem>Red Sparrow\u003c/em> in the theater down the hall. The elder Edgerton is a competent storyteller: \u003cem>Gringo’\u003c/em>s Byzantine plot mostly scans, and he keeps its sardonic tone consistent throughout. But just because a movie hits all the notes doesn’t mean it sings.\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/AAFRI12Cxb0'\n title='//www.youtube.com/embed/AAFRI12Cxb0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That’s too bad, because \u003cem>Gringo\u003c/em> has a lot going for it, including some occasionally sharp dialogue (by either Matthew Stone or Anthony Tambakis, who contributed to the bonebreaking and tearjerking Joel Edgerton /Tom Hardy MMA drama \u003cem>Warrior\u003c/em>) and a quartet of funny performances from players not primarily known for bringing the yuks: L’il Edgerton, Charlize Theron in full \u003cem>femme fatale \u003c/em>mode and beardy heavy Sharlto Copley.\u003c/p>\n\u003cp>The best and most surprising of the four is David Oyelowo, the versatile British actor who rose to the occasion to embody Martin Luther King, Jr. in \u003cem>Selma\u003c/em>. Here he plays Harold, a decent but all-too-credulous immigrant from Nigeria who works as a manager in the Chicago pharmaceuticals firm of which Edgerton and Theron are co-CEOs. (They make a habit of office trysts during business hours.) Harold is an honest man who sees the best in everyone, which in this genre means that everyone from his accountant to his bosses to his wife (Thandie Newton, in a truly thankless part) walks all over him. \u003c/p>\n\u003cp>When Harold learns he’ll soon be pushed out in a merger, he decides to extort a severance package of sorts by faking his own kidnapping, \u003cem>Fargo\u003c/em>-style. But just like hapless William H. Macy in that Coen Brothers classic, he’s unknowingly allied himself with dim-bulb crooks whose stupidity makes them \u003cem>more\u003c/em> dangerous, not less. There’s also a subplot involving Harry Treadaway and Amanda Seyfried as a small-time dealer and his pushover girlfriend who take a criminal errand to Mexico City that feels fully disposable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Did I call this thing a satire? With its ready embrace of stereotypes — Oyelowo’s hardworking immigrant, Edgerton’s sleazy Pharma bro, Theron’s backstabbing man-eater, Seyfried’s virtuous hanger-on, plus Carlos Corona as a Beatles-quoting Mexican cartel kingpin known as, um, The Black Panther — \u003cem>Gringo\u003c/em> often borders on pantomime. What redeems it, sort of, is Copley of all people. The South African actor and filmmaker has played trigger-happy psychos or gun-toting beardos in too many so-so films to list. The minor variation this time is that is that his mercenary character — the estranged brother of Edgerton’s swaggering CEO, because sure — has renounced his life of violence and dedicated himself to humanitarian relief work. So when Edgerton calls upon Copley’s Very Particular Set of Skills to try to rescue Harold rather than pony up the ransom money, \u003cem>Gringo\u003c/em> taps into its only genuine vein of suspense: Oyelowo is a fed-up, still-mostly-good man trying desperately to break bad, while Copley is a reformed killer trying to get his new leaf to stick. Whose principles shall prevail?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question of whether good or bad behavior can be transmitted by example is a truly inexhaustible one that has powered enduring works of art and forgettable diversions alike. \u003cem>Gringo\u003c/em> is the latter, a passable in-flight movie that limps home across the border with nothing much to declare. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Good+Man%27s+Moral+Compass+Points+South-Of-The-Border+In+%27Gringo%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "TheatreFirst's 'Between Us' Explores Complicity, Social Justice and Art",
"headTitle": "TheatreFirst’s ‘Between Us’ Explores Complicity, Social Justice and Art | KQED",
"content": "\u003cp>\u003cem>How could you have let that happen? How could you have watched? Why didn’t you intervene?\u003c/em>\u003c/p>\n\u003cp>These days, when complicity has become \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/27/566763885/complicit-is-the-word-of-the-year-in-2017-dictionary-com-says\" rel=\"noopener\" target=\"_blank\">such a potent, possibly criminal question\u003c/a> (in our government, businesses, and private lives), TheatreFirst’s two-program collection of seven one-act monologues, \u003cem>Between Us\u003c/em>, presents a group of men and women who got in the way. After witnessing the hardships they endure — psychological, familial, economic, and social — it’s hard to blame anyone who turns a blind eye and goes on their way.\u003c/p>\n\u003cp>It’s a fascinating experiment in social justice activism and art, made more so by the variety of people testifying. Two of the seven are everywoman composites, while the other five are or concern real people — renowned 19th century Voodoo priestess Marie Laveau; Philippine labor organizer Larry Itliong; a Uruguayan literature student Nibia Sabalsagaray; Aiko Herziog-Yoshinaga, an activist who uncovered crucial documents on the Japanese internment; and Major General Smedley Butler, who stymied a plot by American business interests to overthrow President Franklin Roosevelt.\u003c/p>\n\u003cfigure id=\"attachment_13826036\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826036\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-800x450.jpg\" alt=\"Voo Doo Priestess Marie Laveau (Dezi Solèy) conjures us some spells in the past and for our future present.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Voodoo Priestess Marie Laveau (Dezi Solèy) conjures us some spells in the past and for our future present. \u003ccite>(Photo: Randy Wong-Westbrooke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As information, both programs are terrific. You get a kind of running commentary on what it means to actually take a stand, to dedicate your life to not caving in under pressure. Unfortunately, as drama, five of the seven one-acts fail to come to theatrical life. The other two, though somewhat successful, are still shaky.\u003c/p>\n\u003cp>Playwrights such as Wallace Shawn (\u003cem>The Fever\u003c/em> and \u003cem>The Designated Mourner\u003c/em>) and Adrienne Kennedy (\u003cem>The Ohio St. Murders\u003c/em>) have used the one-person lecture format to devastating ends. Yet none of the plays of \u003cem>Between Us\u003c/em> have either the formal sophistication or the political and social vision necessary to testify against the world. Noelle Viñas’ \u003cem>La Profesora\u003c/em> and Jeanne Sakata’s \u003cem>Turning the Page\u003c/em> are prime examples of how difficult it is to dramatize what is essentially information.\u003c/p>\n\u003cfigure id=\"attachment_13826039\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826039\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-800x450.jpg\" alt=\"Tachi (Virginia Blanco) lectures the audience on South American geography.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tachi (Virginia Blanco) lectures the audience on South American geography. \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>La Profesora\u003c/em>, Tachi, a young teacher, is fired for a lesson she gives to her class on the Uruguayan government’s summary execution of a university student. As a fact, U.S.-backed 1970s South American death squads are a depressing commonplace. It’s hard to imagine in 2018 someone hired to bring a “South American perspective in a Literature of Human Rights class” and then fired for talking about such things.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s possible, I guess, but the drama seems ginned up to give Nibia Sabalsagaray’s story greater contemporary relevance than it has. This is not to say that mining the history of cases like these isn’t important, just that Viñas hasn’t found a way to give this case or the general situation dramatic shape. We care about the situation as an abstraction, but nothing more. You can’t compel engagement simply by declaring importance.\u003c/p>\n\u003cp>\u003cem>Turning the Page\u003c/em> suffers a similar fate. Without doubting the tremendous hardships of Aiko Herziog-Yoshinaga’s life — one moment she was anticipating her senior prom and the next she was in an interment camp in Manzanar — Jeanne Sakata hasn’t found a way to give her life, her research, or her work as a political activist any sense of occasion.\u003c/p>\n\u003cfigure id=\"attachment_13826033\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826033\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-800x450.jpg\" alt=\"Aiko Herzig-Yoshinaga (Heidi Kobra) makes a discovery that throws new light on the injustices of the Japanese internment.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aiko Herzig-Yoshinaga (Heidi Kobra) makes a discovery that throws new light on the injustices of the Japanese internment. \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Herziopg-Yoshinaga’s discovery of early drafts of internment policy, proving that there was never a military justification for the internment, is a significant achievement. It was one of the major factors that lead to an official U.S. apology and financial reparations for the injustices inflicted on the Japanese-American community. Yet, Sakata’s writing never rises above the facts of the matter, and so what should be revelatory comes off as a dry lecture, a reenactment of something we already know.\u003c/p>\n\u003cp>The two most successful plays of each program — Jeffrey Lo’s \u003cem>Seven Fingers\u003c/em> and James Tracy and Jon Tracy’s \u003cem>The Racket\u003c/em> — come to life in the vibrancy of their characters and a sense of the tremendous stakes they faced. In thinking of what TheatreFirst is trying to achieve with \u003cem>Between Us\u003c/em>, they’re interesting models for the future.\u003c/p>\n\u003cp>\u003cem>Seven Fingers\u003c/em> tells the story of Larry Itliong’s quest to organize Philippine farm workers, his conflicts with Cesar Chavez, and how he managed to convince Chavez and his own people to join forces. There’s no other way to say it: Lo’s Itliong is fun. Here is a man who revels in the minutiae of union politics and gets his kicks from maneuvering through them.\u003c/p>\n\u003cfigure id=\"attachment_13826040\" class=\"wp-caption aligncenter\" style=\"max-width: 675px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13826040\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/7FINGERS-678x1024-e1519949510169.jpg\" alt=\"Larry Itliong explains the ins and outs of his union organizing with Cesar Chavez.\" width=\"675\" height=\"386\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/7FINGERS-678x1024-e1519949510169.jpg 675w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/7FINGERS-678x1024-e1519949510169-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/7FINGERS-678x1024-e1519949510169-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/7FINGERS-678x1024-e1519949510169-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/7FINGERS-678x1024-e1519949510169-520x297.jpg 520w\" sizes=\"(max-width: 675px) 100vw, 675px\">\u003cfigcaption class=\"wp-caption-text\">Larry Itliong explains the ins and outs of his union organizing with Cesar Chavez. \u003ccite>(Photo: Randy Wong-Westbrooke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unlike much of \u003cem>Between Us\u003c/em>, we’re in a complex world and under the guidance of a daffy and quite human guide who seems perpetually unperturbed (“I got the ability to make you think I’m pretty,” he says at one point). When Itliong finally achieves a deal with Chavez and they form the United Farm Workers of America, you’re caught in another person’s vision of the world — and that has a real weight to it.\u003c/p>\n\u003cp>One shared goal of political activism and the theater is the demand to feel the pain and triumph of others. When the goofy Itliong finally says in a moment of reflection, “We got tired. We got hungry. We got beaten. We got abused. But… We stayed brave. Five long years” — you pay attention to that five years, realize the immense struggle he’s been describing, and feel the sting of having to fight for so long for such basic rights. There’s nothing abstract about it, especially since over the course of 25 minutes Itliong has been entertaining and become something of a friend.\u003c/p>\n\u003cp>These are not successful evenings of theater overall, but I would hate for TheaterFirst to give up on the notion of trying something like this again — just with better scripts.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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>‘Between Us’ runs through Saturday March 10 at the Live Oak Theater in Berkeley. For tickets and information \u003ca href=\"http://theatrefirst.com\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>How could you have let that happen? How could you have watched? Why didn’t you intervene?\u003c/em>\u003c/p>\n\u003cp>These days, when complicity has become \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/27/566763885/complicit-is-the-word-of-the-year-in-2017-dictionary-com-says\" rel=\"noopener\" target=\"_blank\">such a potent, possibly criminal question\u003c/a> (in our government, businesses, and private lives), TheatreFirst’s two-program collection of seven one-act monologues, \u003cem>Between Us\u003c/em>, presents a group of men and women who got in the way. After witnessing the hardships they endure — psychological, familial, economic, and social — it’s hard to blame anyone who turns a blind eye and goes on their way.\u003c/p>\n\u003cp>It’s a fascinating experiment in social justice activism and art, made more so by the variety of people testifying. Two of the seven are everywoman composites, while the other five are or concern real people — renowned 19th century Voodoo priestess Marie Laveau; Philippine labor organizer Larry Itliong; a Uruguayan literature student Nibia Sabalsagaray; Aiko Herziog-Yoshinaga, an activist who uncovered crucial documents on the Japanese internment; and Major General Smedley Butler, who stymied a plot by American business interests to overthrow President Franklin Roosevelt.\u003c/p>\n\u003cfigure id=\"attachment_13826036\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826036\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-800x450.jpg\" alt=\"Voo Doo Priestess Marie Laveau (Dezi Solèy) conjures us some spells in the past and for our future present.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Voodoo Priestess Marie Laveau (Dezi Solèy) conjures us some spells in the past and for our future present. \u003ccite>(Photo: Randy Wong-Westbrooke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As information, both programs are terrific. You get a kind of running commentary on what it means to actually take a stand, to dedicate your life to not caving in under pressure. Unfortunately, as drama, five of the seven one-acts fail to come to theatrical life. The other two, though somewhat successful, are still shaky.\u003c/p>\n\u003cp>Playwrights such as Wallace Shawn (\u003cem>The Fever\u003c/em> and \u003cem>The Designated Mourner\u003c/em>) and Adrienne Kennedy (\u003cem>The Ohio St. Murders\u003c/em>) have used the one-person lecture format to devastating ends. Yet none of the plays of \u003cem>Between Us\u003c/em> have either the formal sophistication or the political and social vision necessary to testify against the world. Noelle Viñas’ \u003cem>La Profesora\u003c/em> and Jeanne Sakata’s \u003cem>Turning the Page\u003c/em> are prime examples of how difficult it is to dramatize what is essentially information.\u003c/p>\n\u003cfigure id=\"attachment_13826039\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826039\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-800x450.jpg\" alt=\"Tachi (Virginia Blanco) lectures the audience on South American geography.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tachi (Virginia Blanco) lectures the audience on South American geography. \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>La Profesora\u003c/em>, Tachi, a young teacher, is fired for a lesson she gives to her class on the Uruguayan government’s summary execution of a university student. As a fact, U.S.-backed 1970s South American death squads are a depressing commonplace. It’s hard to imagine in 2018 someone hired to bring a “South American perspective in a Literature of Human Rights class” and then fired for talking about such things.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s possible, I guess, but the drama seems ginned up to give Nibia Sabalsagaray’s story greater contemporary relevance than it has. This is not to say that mining the history of cases like these isn’t important, just that Viñas hasn’t found a way to give this case or the general situation dramatic shape. We care about the situation as an abstraction, but nothing more. You can’t compel engagement simply by declaring importance.\u003c/p>\n\u003cp>\u003cem>Turning the Page\u003c/em> suffers a similar fate. Without doubting the tremendous hardships of Aiko Herziog-Yoshinaga’s life — one moment she was anticipating her senior prom and the next she was in an interment camp in Manzanar — Jeanne Sakata hasn’t found a way to give her life, her research, or her work as a political activist any sense of occasion.\u003c/p>\n\u003cfigure id=\"attachment_13826033\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826033\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-800x450.jpg\" alt=\"Aiko Herzig-Yoshinaga (Heidi Kobra) makes a discovery that throws new light on the injustices of the Japanese internment.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aiko Herzig-Yoshinaga (Heidi Kobra) makes a discovery that throws new light on the injustices of the Japanese internment. \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Herziopg-Yoshinaga’s discovery of early drafts of internment policy, proving that there was never a military justification for the internment, is a significant achievement. It was one of the major factors that lead to an official U.S. apology and financial reparations for the injustices inflicted on the Japanese-American community. Yet, Sakata’s writing never rises above the facts of the matter, and so what should be revelatory comes off as a dry lecture, a reenactment of something we already know.\u003c/p>\n\u003cp>The two most successful plays of each program — Jeffrey Lo’s \u003cem>Seven Fingers\u003c/em> and James Tracy and Jon Tracy’s \u003cem>The Racket\u003c/em> — come to life in the vibrancy of their characters and a sense of the tremendous stakes they faced. In thinking of what TheatreFirst is trying to achieve with \u003cem>Between Us\u003c/em>, they’re interesting models for the future.\u003c/p>\n\u003cp>\u003cem>Seven Fingers\u003c/em> tells the story of Larry Itliong’s quest to organize Philippine farm workers, his conflicts with Cesar Chavez, and how he managed to convince Chavez and his own people to join forces. There’s no other way to say it: Lo’s Itliong is fun. Here is a man who revels in the minutiae of union politics and gets his kicks from maneuvering through them.\u003c/p>\n\u003cfigure id=\"attachment_13826040\" class=\"wp-caption aligncenter\" style=\"max-width: 675px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13826040\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/7FINGERS-678x1024-e1519949510169.jpg\" alt=\"Larry Itliong explains the ins and outs of his union organizing with Cesar Chavez.\" width=\"675\" height=\"386\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/7FINGERS-678x1024-e1519949510169.jpg 675w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/7FINGERS-678x1024-e1519949510169-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/7FINGERS-678x1024-e1519949510169-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/7FINGERS-678x1024-e1519949510169-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/7FINGERS-678x1024-e1519949510169-520x297.jpg 520w\" sizes=\"(max-width: 675px) 100vw, 675px\">\u003cfigcaption class=\"wp-caption-text\">Larry Itliong explains the ins and outs of his union organizing with Cesar Chavez. \u003ccite>(Photo: Randy Wong-Westbrooke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unlike much of \u003cem>Between Us\u003c/em>, we’re in a complex world and under the guidance of a daffy and quite human guide who seems perpetually unperturbed (“I got the ability to make you think I’m pretty,” he says at one point). When Itliong finally achieves a deal with Chavez and they form the United Farm Workers of America, you’re caught in another person’s vision of the world — and that has a real weight to it.\u003c/p>\n\u003cp>One shared goal of political activism and the theater is the demand to feel the pain and triumph of others. When the goofy Itliong finally says in a moment of reflection, “We got tired. We got hungry. We got beaten. We got abused. But… We stayed brave. Five long years” — you pay attention to that five years, realize the immense struggle he’s been describing, and feel the sting of having to fight for so long for such basic rights. There’s nothing abstract about it, especially since over the course of 25 minutes Itliong has been entertaining and become something of a friend.\u003c/p>\n\u003cp>These are not successful evenings of theater overall, but I would hate for TheaterFirst to give up on the notion of trying something like this again — just with better scripts.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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>‘Between Us’ runs through Saturday March 10 at the Live Oak Theater in Berkeley. For tickets and information \u003ca href=\"http://theatrefirst.com\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Missing Child, A Dying Marriage And A 'Loveless' Society",
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"content": "\u003cp>Director Andrey Zvyagintsev’s \u003cem>Loveless \u003c/em>— Russia’s submission to this year’s Academy Awards, and one of the five movies up for best foreign language film come Oscar night — begins with two parents screaming at each other about their upcoming divorce.\u003c/p>\n\u003cp>They’re trying to sell their apartment, and it quickly becomes clear that their relationship is so toxic they’d probably sell their kid, too, if they could get away with it. Neither of them wants to take care of 12-year-old Aloysha (Matvey Novikov), who’s sobbing quietly in the shower as they argue.\u003c/p>\n\u003cp>They don’t see that. We do.\u003c/p>\n\u003cp>https://youtu.be/6h5GuecUU-Q\u003c/p>\n\u003cp>Once the shouting’s over, the parents go on with their now-separate lives: Each has a new partner, and their divergent choices suggest just how doomed their marriage was. Dad (Aleksey Rozin) has already shacked up with his pregnant, very traditional Russian girlfriend. Mom (Maryana Spivak) is living what you might call a capitalism-on-steroids life with a rich, older businessman — dining in expensive restaurants, frolicking in his sleek penthouse.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When she gets home that night, she goes to bed without checking on Alyosha; the next morning, seeing his bed empty, she assumes that he’s already left for school. Turns out he’s long gone.\u003c/p>\n\u003cp>The police show up, but prove useless. They point the family to a network of volunteers, and soon they’re combing forests and an abandoned, decaying Soviet-era complex that looks like something out of \u003cem>Mad Max\u003c/em>.\u003c/p>\n\u003cp>By this point in most movies, Mom and Dad would be working together out of necessity. But that’s not the story \u003cem>Loveless \u003c/em>wants to tell.\u003c/p>\n\u003cp>Director Zvyagintsev, who co-wrote the film, is intent on showing how calamity doesn’t necessarily unite people — it can push them further apart. As he did in his 2014 film \u003cem>Leviathan\u003c/em>, about a land-grab in a small town, he tells what seems to be an intimate story while calling attention to the social forces affecting it: A government bureaucracy that gets in the way when it should be helping; religion hampering; technology misleading; loyalties obstructing.\u003c/p>\n\u003cp>It’s no accident that a character in \u003cem>Loveless \u003c/em>is seen in a track suit emblazoned with the word RUSSIA in large block letters, while running-in-place on a treadmill: Effort expended, with no actual progress.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the parents trek from hospitals to morgues in search of the child they’d once talked of abandoning to an orphanage, news blares in the background about disruptions in Ukraine. What chance, wonders this bleak, devastating film, has any child in a society so loveless?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Director Andrey Zvyagintsev’s \u003cem>Loveless \u003c/em>— Russia’s submission to this year’s Academy Awards, and one of the five movies up for best foreign language film come Oscar night — begins with two parents screaming at each other about their upcoming divorce.\u003c/p>\n\u003cp>They’re trying to sell their apartment, and it quickly becomes clear that their relationship is so toxic they’d probably sell their kid, too, if they could get away with it. Neither of them wants to take care of 12-year-old Aloysha (Matvey Novikov), who’s sobbing quietly in the shower as they argue.\u003c/p>\n\u003cp>They don’t see that. We do.\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/6h5GuecUU-Q'\n title='//www.youtube.com/embed/6h5GuecUU-Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Once the shouting’s over, the parents go on with their now-separate lives: Each has a new partner, and their divergent choices suggest just how doomed their marriage was. Dad (Aleksey Rozin) has already shacked up with his pregnant, very traditional Russian girlfriend. Mom (Maryana Spivak) is living what you might call a capitalism-on-steroids life with a rich, older businessman — dining in expensive restaurants, frolicking in his sleek penthouse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When she gets home that night, she goes to bed without checking on Alyosha; the next morning, seeing his bed empty, she assumes that he’s already left for school. Turns out he’s long gone.\u003c/p>\n\u003cp>The police show up, but prove useless. They point the family to a network of volunteers, and soon they’re combing forests and an abandoned, decaying Soviet-era complex that looks like something out of \u003cem>Mad Max\u003c/em>.\u003c/p>\n\u003cp>By this point in most movies, Mom and Dad would be working together out of necessity. But that’s not the story \u003cem>Loveless \u003c/em>wants to tell.\u003c/p>\n\u003cp>Director Zvyagintsev, who co-wrote the film, is intent on showing how calamity doesn’t necessarily unite people — it can push them further apart. As he did in his 2014 film \u003cem>Leviathan\u003c/em>, about a land-grab in a small town, he tells what seems to be an intimate story while calling attention to the social forces affecting it: A government bureaucracy that gets in the way when it should be helping; religion hampering; technology misleading; loyalties obstructing.\u003c/p>\n\u003cp>It’s no accident that a character in \u003cem>Loveless \u003c/em>is seen in a track suit emblazoned with the word RUSSIA in large block letters, while running-in-place on a treadmill: Effort expended, with no actual progress.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the parents trek from hospitals to morgues in search of the child they’d once talked of abandoning to an orphanage, news blares in the background about disruptions in Ukraine. What chance, wonders this bleak, devastating film, has any child in a society so loveless?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Surprises Even at the Bathroom Sink in 'Spirited Probabilities'",
"headTitle": "Surprises Even at the Bathroom Sink in ‘Spirited Probabilities’ | KQED",
"content": "\u003cp>At \u003cem>Spirited Probabilities\u003c/em>, currently at Southern Exposure, curator Mik Gaspay has summoned a baker’s dozen of Bay Area artists for a group show in which careful consideration and “playful interventions” give way to chance encounters. Gaspay’s stated goal is to consider “the flexibility of institutional structures and their physical architectures”; the institutional structure with the starring role being Southern Exposure itself.\u003c/p>\n\u003cp>The artists use the space’s composition as a blueprint, but they don’t approach it as a limited, fixed premise. Instead, they employ all of its parts and leave no section of Southern Exposure’s available square footage undisturbed. Charlie Leese’s sculptural installation even extends into the restroom foyer in an investigation of “architectural hierarchies and overlapping physical and digital spaces.” Visitors can actually interact with Leese’s work while washing their hands at the bathroom sink.\u003c/p>\n\u003cfigure id=\"attachment_13825988\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13825988 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/CL_JR_0859-800x533.jpg\" alt=\"Installation view of Charlie Leese's 'Internal Structure' from 'Spirited Probabilities' at Southern Exposure in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Charlie Leese’s ‘Internal Structure’ from ‘Spirited Probabilities’ at Southern Exposure in San Francisco. \u003ccite>(Photo: Mik Gaspay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lisa Jonas Taylor’s piece \u003ci>Portal\u003c/i> confronts visitors as they enter the center of the exhibition. At once, folks are greeted by an obstacle course of shiny sculptures and an array of materials (Plexiglas, vinyl, gravel, confetti, plywood, and carpet) accumulated in judicious piles on the floor. Colored flood lights illuminate various parts of Taylor’s work.\u003c/p>\n\u003cp>Following the idea of a boundary-less institution, Simone Bailey stakes claim over the grand picture window facing Alabama Street. The untitled stained glass work is composed of a mixture that includes a raw form of lanolin, paprika, and activated charcoal. This piece is best witnessed in the afternoon as it manipulates the natural light that enters the space during the day. Nature’s elements, too, lend a hand in the planned happenstance of \u003cem>Spirited Probabilities\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13825990\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825990\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/LA_0794-800x533.jpg\" alt=\"Luca Antonucci, Contraction and release, 2018, video loop on CRT monitor. Installation view from 'Spirited Probabilities' at Southern Exposure in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luca Antonucci, ‘Contraction and release,’ 2018, video loop on CRT monitor. Installation view from ‘Spirited Probabilities’ at Southern Exposure in San Francisco. \u003ccite>(Photo: Mik Gaspay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luca Antonucci offers up four of his works for the show, but \u003cem>Here we are again, running out of time\u003c/em> is especially memorable for its meta quality — it is a meditation on spaces within an exhibition that meditates space. Copies of the 112-page softcover book rest within and on top of a bookshelf made of wood and neon Plexiglas. The makeshift library creates the sensibility of a hideaway nook, inviting visitors to indulge in a bit of respite and flip through a book of images procured from San Francisco-based narrative films (as well as locations scouted for their ability to serve as stand-ins for San Francisco).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>George Pfau also caters to nook-loving, alcove-seeking individuals. Resting unassumingly in a darkened corner — save for a reading light — of Southern Exposure’s front entrance, a small rectangular white table and stool invite intimate parties to sit and flip through a hefty book of black-and-white drawings of dreamscapes and imaginary settings. Each page explores how “black lines can be used to circumscribe boundaries between things; in particular, the porousness between bodies and their environment.” Viewers can see meticulous illustrations of people physically melting in the workplace or against anonymous palatial backdrops. In other drawings, Dalmatians frolic alongside whales and bears. Pfau presents a potpourri of curious, clashing surroundings that interrupt understood notions of environmental borderlines.\u003c/p>\n\u003cfigure id=\"attachment_13825991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13825991 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-800x450.jpg\" alt=\"Installation view from Maria Guzmán Capron’s 'Amadora' in 'Spirited Probabilities' at Southern Exposure in San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view from Maria Guzmán Capron’s ‘Amadora’ in ‘Spirited Probabilities’ at Southern Exposure in San Francisco. \u003ccite>(Photo: Mik Gaspay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maria Guzmán Capron’s \u003ci>Amadora\u003c/i>, scales the length of a large column at the center of the space. And in terms of vantage points, the playfully imposing textile sculpture wins in that it can be seen from just about every corner of the room. The figure, made of a colorful patchwork of fabric, batting, stuffing, and wire appears to be upside down, but grips the column in a comfortable manner that suggests it is an agile creature. A sort of elephant in the room, this work joins in on the enthusiastic pursuit of testing out unexpected locations in a larger-than-life way. What was once a nondescript structural fixture, a column, is transformed into one of the main focal points of the building’s interior.\u003c/p>\n\u003cp>\u003cem>Spirited Probabilities\u003c/em>’ exuberant probing at the possibilities of space is contagious. Once they get the hang of it, visitors become super sleuths, determined to detect even the most inconspicuous works in the show.\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>‘Spirited Probabilities’ is on view through March 31 at Southern Exposure in San Francisco. \u003ca href=\"https://www.soex.org/projects-exhibitions/spirited-probabilities\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At \u003cem>Spirited Probabilities\u003c/em>, currently at Southern Exposure, curator Mik Gaspay has summoned a baker’s dozen of Bay Area artists for a group show in which careful consideration and “playful interventions” give way to chance encounters. Gaspay’s stated goal is to consider “the flexibility of institutional structures and their physical architectures”; the institutional structure with the starring role being Southern Exposure itself.\u003c/p>\n\u003cp>The artists use the space’s composition as a blueprint, but they don’t approach it as a limited, fixed premise. Instead, they employ all of its parts and leave no section of Southern Exposure’s available square footage undisturbed. Charlie Leese’s sculptural installation even extends into the restroom foyer in an investigation of “architectural hierarchies and overlapping physical and digital spaces.” Visitors can actually interact with Leese’s work while washing their hands at the bathroom sink.\u003c/p>\n\u003cfigure id=\"attachment_13825988\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13825988 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/CL_JR_0859-800x533.jpg\" alt=\"Installation view of Charlie Leese's 'Internal Structure' from 'Spirited Probabilities' at Southern Exposure in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Charlie Leese’s ‘Internal Structure’ from ‘Spirited Probabilities’ at Southern Exposure in San Francisco. \u003ccite>(Photo: Mik Gaspay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lisa Jonas Taylor’s piece \u003ci>Portal\u003c/i> confronts visitors as they enter the center of the exhibition. At once, folks are greeted by an obstacle course of shiny sculptures and an array of materials (Plexiglas, vinyl, gravel, confetti, plywood, and carpet) accumulated in judicious piles on the floor. Colored flood lights illuminate various parts of Taylor’s work.\u003c/p>\n\u003cp>Following the idea of a boundary-less institution, Simone Bailey stakes claim over the grand picture window facing Alabama Street. The untitled stained glass work is composed of a mixture that includes a raw form of lanolin, paprika, and activated charcoal. This piece is best witnessed in the afternoon as it manipulates the natural light that enters the space during the day. Nature’s elements, too, lend a hand in the planned happenstance of \u003cem>Spirited Probabilities\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13825990\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825990\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/LA_0794-800x533.jpg\" alt=\"Luca Antonucci, Contraction and release, 2018, video loop on CRT monitor. Installation view from 'Spirited Probabilities' at Southern Exposure in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luca Antonucci, ‘Contraction and release,’ 2018, video loop on CRT monitor. Installation view from ‘Spirited Probabilities’ at Southern Exposure in San Francisco. \u003ccite>(Photo: Mik Gaspay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luca Antonucci offers up four of his works for the show, but \u003cem>Here we are again, running out of time\u003c/em> is especially memorable for its meta quality — it is a meditation on spaces within an exhibition that meditates space. Copies of the 112-page softcover book rest within and on top of a bookshelf made of wood and neon Plexiglas. The makeshift library creates the sensibility of a hideaway nook, inviting visitors to indulge in a bit of respite and flip through a book of images procured from San Francisco-based narrative films (as well as locations scouted for their ability to serve as stand-ins for San Francisco).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>George Pfau also caters to nook-loving, alcove-seeking individuals. Resting unassumingly in a darkened corner — save for a reading light — of Southern Exposure’s front entrance, a small rectangular white table and stool invite intimate parties to sit and flip through a hefty book of black-and-white drawings of dreamscapes and imaginary settings. Each page explores how “black lines can be used to circumscribe boundaries between things; in particular, the porousness between bodies and their environment.” Viewers can see meticulous illustrations of people physically melting in the workplace or against anonymous palatial backdrops. In other drawings, Dalmatians frolic alongside whales and bears. Pfau presents a potpourri of curious, clashing surroundings that interrupt understood notions of environmental borderlines.\u003c/p>\n\u003cfigure id=\"attachment_13825991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13825991 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-800x450.jpg\" alt=\"Installation view from Maria Guzmán Capron’s 'Amadora' in 'Spirited Probabilities' at Southern Exposure in San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view from Maria Guzmán Capron’s ‘Amadora’ in ‘Spirited Probabilities’ at Southern Exposure in San Francisco. \u003ccite>(Photo: Mik Gaspay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maria Guzmán Capron’s \u003ci>Amadora\u003c/i>, scales the length of a large column at the center of the space. And in terms of vantage points, the playfully imposing textile sculpture wins in that it can be seen from just about every corner of the room. The figure, made of a colorful patchwork of fabric, batting, stuffing, and wire appears to be upside down, but grips the column in a comfortable manner that suggests it is an agile creature. A sort of elephant in the room, this work joins in on the enthusiastic pursuit of testing out unexpected locations in a larger-than-life way. What was once a nondescript structural fixture, a column, is transformed into one of the main focal points of the building’s interior.\u003c/p>\n\u003cp>\u003cem>Spirited Probabilities\u003c/em>’ exuberant probing at the possibilities of space is contagious. Once they get the hang of it, visitors become super sleuths, determined to detect even the most inconspicuous works in the show.\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>‘Spirited Probabilities’ is on view through March 31 at Southern Exposure in San Francisco. \u003ca href=\"https://www.soex.org/projects-exhibitions/spirited-probabilities\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Non-Player Character' Puts Gamergate on the Theater Stage",
"headTitle": "‘Non-Player Character’ Puts Gamergate on the Theater Stage | KQED",
"content": "\u003cp>Over the past week, teenage survivors of a mass shooting, perpetrated by a former classmate, were attacked online by self-proclaimed patriots; Russian twitter-bots were purged by the thousands; and social media pile-ons continued to rule the public discourse — all scenarios foreshadowed by the roiling 2014 controversy that was Gamergate.\u003c/p>\n\u003cp>Ostensibly a movement decrying “access journalism” between video-game developers and video-game reporters, Gamergate first focused on one female developer, Zoë Quinn, whose relationship with a journalist fueled suspicion that she’d gained favorable coverage for her games during the course of said relationship (a claim which later proved to be untrue). But it quickly spiraled outward, far beyond the gaming community, becoming an object lesson in both the act of online trolling and in the combating of same.\u003c/p>\n\u003cp>That’s an awful lot of baggage for one play to unpack, particularly a play written before the election of our Troller-in-Chief, so if Walt McGough’s San Francisco Playhouse premiere \u003cem>Non-Player Character\u003c/em> doesn’t quite empty the suitcase, it doesn’t feel like a deliberate omission. At its core, \u003cem>Non-Player Character\u003c/em> is just one of many possible stories that might illuminate the unintended consequences of revenge gone viral.\u003c/p>\n\u003cfigure id=\"attachment_13825728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/048A7750-2-800x533.jpg\" alt=\"Katja (Emily Radosevich, left) shows Naomi (Charisse Loriaux) the game she is creating.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13825728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katja (Emily Radosevich, left) shows Naomi (Charisse Loriaux) the game she is creating. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upon entering the theater, the audience encounters a simple yet effective stage designed by Jacquelyn Scott, reminiscent of an old Atari game console: a glowing perspective grid delineates the floorspace, stretching into a flat where a single portal gapes; ambient 8-bit music blooping softly in the background.\u003c/p>\n\u003cp>From the first moment of the play, under the direction of Lauren English, we’re immersed in the world of Katja (Emily Radosevich), an aspiring video-game developer. She draws with a stylus into thin air, and on the “computer” screen behind her (projections and sound both superbly designed by Theodore J.H. Hulsker), a digital tree grows — the first of many iterations she’ll work on during the course of the play.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She breaks her design session to spend virtual time with an old high school buddy, Trent (Devin O’Brien). They haven’t really hung out in person in years, but they make regular dates to play role-playing computer games online. The playfulness of their relationship is further enhanced by their Ren Faire-worthy “quest” attire (courtesy of Leandra Watson) and their mock battle moves, as they sashay across the stage taking out virtual enemies by the dozens.\u003c/p>\n\u003cp>You don’t have to be a video-game aficionado to pick up on the basics: they’re good at this game, and equally good at the game of banter. They thrust and parry with their words, letting drop bits about their personal lives — hers in Seattle, his “stuck” in Lancaster, PA — then nimbly deflecting the other’s attempts to dig deeper. It’s an awkwardly familiar dance for anyone who’s ever outgrown a childhood friend, and both Radosevich and O’Brien play it with nuanced believability.\u003c/p>\n\u003cfigure id=\"attachment_13825727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/048A7784-2-800x533.jpg\" alt=\"The in-game avatars of Trent (Devin O’Brien), Morwyn (Annemaria Rajala), Feldrick (Tyler McKenna), and Katja (Emily Radosevich).\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13825727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The in-game avatars of Trent (Devin O’Brien), Morwyn (Annemaria Rajala), Feldrick (Tyler McKenna), and Katja (Emily Radosevich). \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much less nuanced are the other characters populating this mostly virtual world, in particular a blustering barbarian named Feldrick (Tyler McKenna), who is by turns sexist, violent, and willfully obtuse, and seemingly without any redeeming characteristics. In game-speak, a non-player character is a character written into the game and not controlled by any player, but rather by the programming; in theatrical parlance, it’s a character written solely to advance the storyline.\u003c/p>\n\u003cp>In McGough’s play, the non-player character is definitely Feldrick, whose misogynistic jargon and childish impatience fuels Trent’s sudden transformation from an introvert with an unrequited crush to a remorseless cyberbully who sets out to humiliate Katja, and sabotage her reputation with her new game-industry connections, accusing her via video feed, in possibly the most unintentionally hilarious line of the play, of being a “serial careerist.”\u003c/p>\n\u003cp>This sets a Gamergate-style situation into motion, in which Katja is stalked, doxxed, and threatened by a relentless mob of anonymous harassers. This wasn’t Trent’s intention, as he struggles to explain in subsequent videos. He only wanted things to be “fair,” but it’s too late to take it all back.\u003c/p>\n\u003cfigure id=\"attachment_13825729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/048A7684-2-800x533.jpg\" alt=\"Katja (Emily Radosevich) is taunted over video chat.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13825729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katja (Emily Radosevich) is taunted over video chat. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even more frustrating for Katja is that from the moment Trent turns on her, she’s never given a chance to confront him, or even her now-complicated memories of him, and when she’s at last given an outraged speech of her own, she delivers it to the one character whose actions are merely pathetic rather than outright contemptible, sapping it of much of its impact. To those who followed the 4chan-fueled death threats made to feminist commentators like Anita Sarkeesian during Gamergate’s zenith, this will all seem too familiar. \u003c/p>\n\u003cp>Fortunately the play ends on a more transformative note, but it’s not transformative enough to entirely make up for the script’s reliance on a support system of two-dimensional characters without backstories, who undermine the creatively multi-layered world-building that dominates the first half of the piece.\u003c/p>\n\u003cp>As a part of SF Playhouse’s Sandbox series, a program designed to give new works an extra development push, \u003cem>Non-Player Character\u003c/em> displays a lot of potential. But the best plays, like the best video games, can take a number of iterations to get just right, and McGough’s feels like it could use a bit more beta-testing before it breaks out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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>‘Non-Player Character’ runs through Saturday, March 3, at the Creativity Theater in San Francisco. \u003ca href=\"https://www.sfplayhouse.org/sfph/2017-2018-season/non-player-character/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Yes, there's a play about Gamergate, examining the pitfalls of being a woman in the video game world.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the past week, teenage survivors of a mass shooting, perpetrated by a former classmate, were attacked online by self-proclaimed patriots; Russian twitter-bots were purged by the thousands; and social media pile-ons continued to rule the public discourse — all scenarios foreshadowed by the roiling 2014 controversy that was Gamergate.\u003c/p>\n\u003cp>Ostensibly a movement decrying “access journalism” between video-game developers and video-game reporters, Gamergate first focused on one female developer, Zoë Quinn, whose relationship with a journalist fueled suspicion that she’d gained favorable coverage for her games during the course of said relationship (a claim which later proved to be untrue). But it quickly spiraled outward, far beyond the gaming community, becoming an object lesson in both the act of online trolling and in the combating of same.\u003c/p>\n\u003cp>That’s an awful lot of baggage for one play to unpack, particularly a play written before the election of our Troller-in-Chief, so if Walt McGough’s San Francisco Playhouse premiere \u003cem>Non-Player Character\u003c/em> doesn’t quite empty the suitcase, it doesn’t feel like a deliberate omission. At its core, \u003cem>Non-Player Character\u003c/em> is just one of many possible stories that might illuminate the unintended consequences of revenge gone viral.\u003c/p>\n\u003cfigure id=\"attachment_13825728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/048A7750-2-800x533.jpg\" alt=\"Katja (Emily Radosevich, left) shows Naomi (Charisse Loriaux) the game she is creating.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13825728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katja (Emily Radosevich, left) shows Naomi (Charisse Loriaux) the game she is creating. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upon entering the theater, the audience encounters a simple yet effective stage designed by Jacquelyn Scott, reminiscent of an old Atari game console: a glowing perspective grid delineates the floorspace, stretching into a flat where a single portal gapes; ambient 8-bit music blooping softly in the background.\u003c/p>\n\u003cp>From the first moment of the play, under the direction of Lauren English, we’re immersed in the world of Katja (Emily Radosevich), an aspiring video-game developer. She draws with a stylus into thin air, and on the “computer” screen behind her (projections and sound both superbly designed by Theodore J.H. Hulsker), a digital tree grows — the first of many iterations she’ll work on during the course of the play.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She breaks her design session to spend virtual time with an old high school buddy, Trent (Devin O’Brien). They haven’t really hung out in person in years, but they make regular dates to play role-playing computer games online. The playfulness of their relationship is further enhanced by their Ren Faire-worthy “quest” attire (courtesy of Leandra Watson) and their mock battle moves, as they sashay across the stage taking out virtual enemies by the dozens.\u003c/p>\n\u003cp>You don’t have to be a video-game aficionado to pick up on the basics: they’re good at this game, and equally good at the game of banter. They thrust and parry with their words, letting drop bits about their personal lives — hers in Seattle, his “stuck” in Lancaster, PA — then nimbly deflecting the other’s attempts to dig deeper. It’s an awkwardly familiar dance for anyone who’s ever outgrown a childhood friend, and both Radosevich and O’Brien play it with nuanced believability.\u003c/p>\n\u003cfigure id=\"attachment_13825727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/048A7784-2-800x533.jpg\" alt=\"The in-game avatars of Trent (Devin O’Brien), Morwyn (Annemaria Rajala), Feldrick (Tyler McKenna), and Katja (Emily Radosevich).\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13825727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The in-game avatars of Trent (Devin O’Brien), Morwyn (Annemaria Rajala), Feldrick (Tyler McKenna), and Katja (Emily Radosevich). \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much less nuanced are the other characters populating this mostly virtual world, in particular a blustering barbarian named Feldrick (Tyler McKenna), who is by turns sexist, violent, and willfully obtuse, and seemingly without any redeeming characteristics. In game-speak, a non-player character is a character written into the game and not controlled by any player, but rather by the programming; in theatrical parlance, it’s a character written solely to advance the storyline.\u003c/p>\n\u003cp>In McGough’s play, the non-player character is definitely Feldrick, whose misogynistic jargon and childish impatience fuels Trent’s sudden transformation from an introvert with an unrequited crush to a remorseless cyberbully who sets out to humiliate Katja, and sabotage her reputation with her new game-industry connections, accusing her via video feed, in possibly the most unintentionally hilarious line of the play, of being a “serial careerist.”\u003c/p>\n\u003cp>This sets a Gamergate-style situation into motion, in which Katja is stalked, doxxed, and threatened by a relentless mob of anonymous harassers. This wasn’t Trent’s intention, as he struggles to explain in subsequent videos. He only wanted things to be “fair,” but it’s too late to take it all back.\u003c/p>\n\u003cfigure id=\"attachment_13825729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/048A7684-2-800x533.jpg\" alt=\"Katja (Emily Radosevich) is taunted over video chat.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13825729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katja (Emily Radosevich) is taunted over video chat. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even more frustrating for Katja is that from the moment Trent turns on her, she’s never given a chance to confront him, or even her now-complicated memories of him, and when she’s at last given an outraged speech of her own, she delivers it to the one character whose actions are merely pathetic rather than outright contemptible, sapping it of much of its impact. To those who followed the 4chan-fueled death threats made to feminist commentators like Anita Sarkeesian during Gamergate’s zenith, this will all seem too familiar. \u003c/p>\n\u003cp>Fortunately the play ends on a more transformative note, but it’s not transformative enough to entirely make up for the script’s reliance on a support system of two-dimensional characters without backstories, who undermine the creatively multi-layered world-building that dominates the first half of the piece.\u003c/p>\n\u003cp>As a part of SF Playhouse’s Sandbox series, a program designed to give new works an extra development push, \u003cem>Non-Player Character\u003c/em> displays a lot of potential. But the best plays, like the best video games, can take a number of iterations to get just right, and McGough’s feels like it could use a bit more beta-testing before it breaks out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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>‘Non-Player Character’ runs through Saturday, March 3, at the Creativity Theater in San Francisco. \u003ca href=\"https://www.sfplayhouse.org/sfph/2017-2018-season/non-player-character/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Everything We Loved at Noise Pop 2018",
"headTitle": "Everything We Loved at Noise Pop 2018 | KQED",
"content": "\u003cp>The only unfortunate thing about Noise Pop is that it’s impossible to be everywhere at once throughout the week-long fest. With over eight shows happening per night in different corners of the Bay — and major headliners like Superchunk and Ty Dolla $ign playing at the same time — festival-goers have to make some tough calls. Everyone who chose another show over Madlib’s DJ set at the Mezzanine on Feb. 22, for instance, probably felt major FOMO when they found out Dave Chappelle and Yasiin Bey showed up on stage. (I know I did.)\u003c/p>\n\u003cp>Noise Pop has evolved considerably over the past 25 years. What started in 1993 as a one-day lineup now encompasses intimate club gigs with local musicians, chart-toppers in major concert halls, and underground legends in shows all around the Bay Area. This year’s edition continued Noise Pop’s \u003ca href=\"https://ww2.kqed.org/arts/2018/01/05/complete-noise-pop-lineup-is-here-now-with-extra-rap-and-rb/\" target=\"_blank\" rel=\"noopener\">embrace of hip-hop, R&B, and pop\u003c/a>, and even included some experimental and world music. Probably the most off-kilter event this year was the “sleep concert” by new age composer Robert Rich, where showgoers in sleeping bags spent the night at Gray Area while lulled into slumber with ambient electronics.\u003c/p>\n\u003cfigure id=\"attachment_13825544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825544\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_8981-800x533.jpg\" alt=\"The crowd gets ready for Robert Rich's Sleep Concert at the Gray Area in San Fransisco. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd gets ready for Robert Rich’s Sleep Concert at the Gray Area in San Fransisco. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003cp>Along with KQED Arts’ senior editor Gabe Meline, contributor Montse Reyes, and photographer Estefany Gonzalez, I went to as many shows as I could handle this year. These are our highlights.\u003c/p>\n\u003cfigure id=\"attachment_13825591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825591\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_9551-800x533.jpg\" alt=\"Ty Dollar $ign plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dollar $ign plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Ty Dolla $ign Breaking Hearts with His Angelic Voice and Guitar Solo\u003c/h3>\n\u003cp>Ty Dolla $ign can turn up a club rapping about money and sex just as easily as he can move listeners to tears with his raspy, gospel-tinged falsetto, and he did both at the UC Theatre on Feb. 24. His high-energy performance showed why he’s one of the West Coast’s reigning hitmakers, bouncing from funky tracks like “Ex” to sweet serenades like “Don’t Judge Me,” nostalgic Top 40 hits like “Toot It and Boot It” and “Saved,” and club bangers like “Blase” and “Only Right.” As if his acrobatic voice alone wasn’t enough to prove his versatility, during a particularly sweet, emotional point in the show, Dolla climbed to the top of his stage setup and delivered a bluesy guitar solo as couples swayed and girls screamed. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825617\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Superchunk-800x556.jpg\" alt=\"Superchunk plays at the Great American Music Hall as part of the 2018 Noise Pop festival.\" width=\"800\" height=\"556\" class=\"size-medium wp-image-13825617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-960x668.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-520x362.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Superchunk plays at the Great American Music Hall as part of the 2018 Noise Pop festival. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Superchunk Finding the Fountain of Youth in Political Dissent\u003c/h3>\n\u003cp>Superchunk was \u003cem>on their game\u003c/em> at the Great American Music Hall. As he pogoed, kicked, soloed, dragged the mic stand around, banged his head and shouted to the ceiling, frontman Mac McCaughan made his case as the Dick Clark of indie rock, just an ageless ball of energy. The set drew heavily from the band’s new album \u003cem>What a Time to Be Alive\u003c/em> — directed at the current administration and “this f—king disaster of a country,” as MacCaughan said — while including blasts from the Clinton era like “Detroit Has a Skyline” and “Water Wings.” Just when it couldn’t get any better, Waxahatchee’s Katie Crutchfield showed up for a gorgeous duet on “Erasure,” and then it got even \u003cem>better\u003c/em> after that, with fan favorites “Driveway to Driveway,” “Cast Iron,” “The First Part,” “Mower” and more. The whole thing had a unifying feel to it; as McCaughan said at one point, “People living in glorious cities like San Francisco have the right idea about how people from all cultures can exist together.” \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825292\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_7760-800x533.jpg\" alt=\"Shabazz Palaces plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shabazz Palaces plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Shabazz Palaces Beaming Their Audience into a Futuristic Dimension\u003c/h3>\n\u003cp>With distance, one often sees more clearly. On Feb. 21 at The Chapel, Shabazz Palaces and their disorienting, experimental hip-hop beamed the audience away from the terrestrial to get a better look at what is on the ground. Before the duo launched into “Gunbeat Falls,” a warning of “disturbing content ahead” flashed on screen, followed by clips of war, tanks, and missiles exploding in the sky. The song is a sprawling critique of capitalism and its ills — violence, imperialism, and ritualistic consumption. But like in the rest of their set, Ishmael Butler and Tendai Maraire weren’t employing their futuristic sensibilities to help the audience escape. Rather, they were patching in from their world to encourage attendees to reflect on the ugliness of our own. Still, in the end the song returned to why we were there in the first place, “the beat will always save us.” \u003cem>— Montse Reyes\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825529\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_8785-800x533.jpg\" alt=\"Tune-Yards plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tune-Yards plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Tune-Yards’ Merrill Garbus Commanding a Forceful Presence\u003c/h3>\n\u003cp>Tune-Yards’ Merrill Garbus just \u003cem>moves\u003c/em> with a visceral musicality. At the Fox Theater on Feb. 23, she sang with a deep, resonant confidence, commanding her loop pedals and sample pads as if they were extensions of her body. Accompanied by a bassist and drummer, she delivered a funkified set imbued with a deep groove that had the audience moving the entire time. On “Powa,” one of her earlier tracks, she even hit a chill-inducing, Mariah-worthy falsetto. The only detraction from the performance’s fluidity was Garbus’ \u003ca href=\"https://www.npr.org/sections/allsongs/2018/01/19/578822264/tune-yards-merrill-garbus-pierces-her-own-privilege\" target=\"_blank\" rel=\"noopener\">cringeworthy track about being white\u003c/a>, “Colonizer.” I wished she had given a shout out to Black Lives Matter — or said something in solidarity with the anti-racist movement — instead of subjecting the audience to its navel-gazing, Macklemore-esque self-inquiry. \u003cem>— NV\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[gallery type=\"slideshow\" link=\"file\" ids=\"13825278,13825589,13825593,13825581,13825573,13825572,13825570,13825566,13825551,13825543,13825542,13825530,13825516,13825515,13825439,13825433,13825423,13825538,13825428,13825418,13825291,13825296,13825290,13825287,13825285,13825276\" orderby=\"rand\"]\u003c/p>\n\u003ch3>Shamir Making Millennials Forget Their Generational Woes\u003c/h3>\n\u003cp>Shamir’s lo-fi guitar rock is as self-aware and incisive as it is dreamy and personal. In the middle of his Feb. 24 set at the Rickshaw Stop, the Las Vegas musician started into his cheeky ode to the ever-scrutinized millennials, “90s Kids.” \u003cem>We talk with vocal fry / We watch our futures die\u003c/em>, he sang in deceptively dulcet tones before railing against misconceptions of the generation, that millennials are “gross and vain,” cold, greedy, and dramatic. The audience, full of his peers, seemed to agree. They raised beer bottles and glasses for a toast in an endearing show of camaraderie. For now at least, any creeping dread about insurmountable student loans, living up to parental expectations, and making rent could be quelled by Shamir’s charm. \u003cem>— MR\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825616\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/DougMartsch-800x492.jpg\" alt=\"Doug Martsch plays the Swedish American Hall as part of the 2018 Noise Pop festival.\" width=\"800\" height=\"492\" class=\"size-medium wp-image-13825616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-800x492.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-1020x627.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-960x590.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-240x147.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-375x230.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-520x320.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doug Martsch plays the Swedish American Hall as part of the 2018 Noise Pop festival. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Hearing a Pin Drop During Doug Martsch’s Solo Set\u003c/h3>\n\u003cp>Built to Spill had played \u003cem>Keep It Like a Secret\u003c/em> in its entirety to a sold-out Fillmore crowd the night before, but frontman Doug Martsch wasn’t done yet: his Feb. 21 solo acoustic set at the wood-paneled Swedish American Hall served as a nice afterglow. Along with folksy-bluesy numbers from his 2002 solo album \u003cem>Now You Know\u003c/em>, the show included Built to Spill favorites like “Big Dipper” and “Made-Up Dreams,” and the always-affable Martsch ended things with Wye Oak’s “Civilian,” performed with guest vocalist Kylee Swenson. Average Age of the Audience: 39. Most Common Place to See the Reflection of Overhead Lights: Doug Martsch’s balding crown. Relief in the Crowd That the Show Was Over Before 9:30pm: palpable. Chances That Indie Rock Will Age With Grace Instead of Entitlement and Crankiness: looking pretty good, actually. \u003cem>— GM\u003c/em>\u003c/p>\n\u003cdiv class=\"aligncenter\">\nhttps://www.instagram.com/p/BfjSVjiBKxR/?taken-by=imaneurope\n\u003c/div>\n\u003ch3>Iman Europe Stealing the Show at Cornerstone\u003c/h3>\n\u003cp>On Feb. 22, Caleborate packed Berkeley’s Cornerstone — the newly remodeled former pool hall — for an intimate set, performing his latest and most introspective album, \u003cem>Real Person\u003c/em>, in full. Caleborate is a masterful lyricist who makes his personal experiences feel vivid and relatable just as easily as he surprises listeners with clever turns of phrase. While Caleborate was warm and engaging with the audience, shouting out family members in attendance and even a performing a duet with his brother, Cash Campaign, who opened for him earlier, his set of \u003cem>Real Person\u003c/em>’s deep reflections had the pensive mood of sitting at home and writing in a journal. Performing before Caleborate, L.A. rapper-singer Iman Europe stole the show with her upbeat stage presence, infectious smile, and voice — rich, smoky, and an acquired taste, like a cup of good espresso. Europe seduced listeners with sexy R&B and then stopped them in their tracks with an a cappella freestyle, ending her set with “Oakland,” an homage to her favorite East Bay city. \u003cem>— NV\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825429\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825429\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_8438-800x533.jpg\" alt=\"Jay Som plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jay Som plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Jay Som Recreating the Comfort and Solitude of Our Bedrooms\u003c/h3>\n\u003cp>There are few spaces as quiet and sacred as one’s bedroom. At Gray Area on Feb. 22, openers lo-fi indie rockers Hand Habits brought the tender solitude a bedroom offers when one needs space to unravel. With Michelle Zauner of Japanese Breakfast’s sprightly energy, the stuccoed venue became an unfettered playground, the way your bedroom brings the comfort to exist without judgement. And the quiet, crushing vulnerability of Jay Som’s set brought to mind the way our bedrooms function like a museum of our lives — full of relics, secrets and baubles tied to distinct memories, both sweet and sad. \u003cem>— MR\u003c/em>\u003c/p>\n\u003cdiv class=\"aligncenter\">\nhttps://www.instagram.com/p/BflslTmFo7m/?hl=en&taken-by=cirrus_oxide\n\u003c/div>\n\u003ch3>Chuck Johnson, on Lap Steel, Putting Listeners in a Trance\u003c/h3>\n\u003cp>On Feb. 21 at Oakland’s Starline Social Club, Portland rockers Grails delivered an all-instrumental, guitar-driven set that was dark, psychedelic, and even a little funky, in the vein of Roger Waters’ playing on Pink Floyd’s \u003cem>The Wall\u003c/em>. But their stoic, bespectacled opener, Chuck Johnson, had the audience transfixed without so much as saying a single word on stage. At first, it was unclear what Johnson was doing when he gently tapped the strings of his lap steel and activated several delay and loop pedals. But as he created a cloud of shimmering reverb, he began to play a swaying, wistful melody that recalled the glitter of twinkling stars in a desert sky. It was a single composition from start to finish, and listeners were entranced. \u003cem>— NV\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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\n",
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"excerpt": "Photos and highlights from this year's festival, including Ty Dolla $ign, tUnE-yArDs, Shabazz Palaces, Superchunk, and more. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The only unfortunate thing about Noise Pop is that it’s impossible to be everywhere at once throughout the week-long fest. With over eight shows happening per night in different corners of the Bay — and major headliners like Superchunk and Ty Dolla $ign playing at the same time — festival-goers have to make some tough calls. Everyone who chose another show over Madlib’s DJ set at the Mezzanine on Feb. 22, for instance, probably felt major FOMO when they found out Dave Chappelle and Yasiin Bey showed up on stage. (I know I did.)\u003c/p>\n\u003cp>Noise Pop has evolved considerably over the past 25 years. What started in 1993 as a one-day lineup now encompasses intimate club gigs with local musicians, chart-toppers in major concert halls, and underground legends in shows all around the Bay Area. This year’s edition continued Noise Pop’s \u003ca href=\"https://ww2.kqed.org/arts/2018/01/05/complete-noise-pop-lineup-is-here-now-with-extra-rap-and-rb/\" target=\"_blank\" rel=\"noopener\">embrace of hip-hop, R&B, and pop\u003c/a>, and even included some experimental and world music. Probably the most off-kilter event this year was the “sleep concert” by new age composer Robert Rich, where showgoers in sleeping bags spent the night at Gray Area while lulled into slumber with ambient electronics.\u003c/p>\n\u003cfigure id=\"attachment_13825544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825544\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_8981-800x533.jpg\" alt=\"The crowd gets ready for Robert Rich's Sleep Concert at the Gray Area in San Fransisco. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd gets ready for Robert Rich’s Sleep Concert at the Gray Area in San Fransisco. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003cp>Along with KQED Arts’ senior editor Gabe Meline, contributor Montse Reyes, and photographer Estefany Gonzalez, I went to as many shows as I could handle this year. These are our highlights.\u003c/p>\n\u003cfigure id=\"attachment_13825591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825591\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_9551-800x533.jpg\" alt=\"Ty Dollar $ign plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dollar $ign plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Ty Dolla $ign Breaking Hearts with His Angelic Voice and Guitar Solo\u003c/h3>\n\u003cp>Ty Dolla $ign can turn up a club rapping about money and sex just as easily as he can move listeners to tears with his raspy, gospel-tinged falsetto, and he did both at the UC Theatre on Feb. 24. His high-energy performance showed why he’s one of the West Coast’s reigning hitmakers, bouncing from funky tracks like “Ex” to sweet serenades like “Don’t Judge Me,” nostalgic Top 40 hits like “Toot It and Boot It” and “Saved,” and club bangers like “Blase” and “Only Right.” As if his acrobatic voice alone wasn’t enough to prove his versatility, during a particularly sweet, emotional point in the show, Dolla climbed to the top of his stage setup and delivered a bluesy guitar solo as couples swayed and girls screamed. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825617\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Superchunk-800x556.jpg\" alt=\"Superchunk plays at the Great American Music Hall as part of the 2018 Noise Pop festival.\" width=\"800\" height=\"556\" class=\"size-medium wp-image-13825617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-960x668.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-520x362.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Superchunk plays at the Great American Music Hall as part of the 2018 Noise Pop festival. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Superchunk Finding the Fountain of Youth in Political Dissent\u003c/h3>\n\u003cp>Superchunk was \u003cem>on their game\u003c/em> at the Great American Music Hall. As he pogoed, kicked, soloed, dragged the mic stand around, banged his head and shouted to the ceiling, frontman Mac McCaughan made his case as the Dick Clark of indie rock, just an ageless ball of energy. The set drew heavily from the band’s new album \u003cem>What a Time to Be Alive\u003c/em> — directed at the current administration and “this f—king disaster of a country,” as MacCaughan said — while including blasts from the Clinton era like “Detroit Has a Skyline” and “Water Wings.” Just when it couldn’t get any better, Waxahatchee’s Katie Crutchfield showed up for a gorgeous duet on “Erasure,” and then it got even \u003cem>better\u003c/em> after that, with fan favorites “Driveway to Driveway,” “Cast Iron,” “The First Part,” “Mower” and more. The whole thing had a unifying feel to it; as McCaughan said at one point, “People living in glorious cities like San Francisco have the right idea about how people from all cultures can exist together.” \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825292\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_7760-800x533.jpg\" alt=\"Shabazz Palaces plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shabazz Palaces plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Shabazz Palaces Beaming Their Audience into a Futuristic Dimension\u003c/h3>\n\u003cp>With distance, one often sees more clearly. On Feb. 21 at The Chapel, Shabazz Palaces and their disorienting, experimental hip-hop beamed the audience away from the terrestrial to get a better look at what is on the ground. Before the duo launched into “Gunbeat Falls,” a warning of “disturbing content ahead” flashed on screen, followed by clips of war, tanks, and missiles exploding in the sky. The song is a sprawling critique of capitalism and its ills — violence, imperialism, and ritualistic consumption. But like in the rest of their set, Ishmael Butler and Tendai Maraire weren’t employing their futuristic sensibilities to help the audience escape. Rather, they were patching in from their world to encourage attendees to reflect on the ugliness of our own. Still, in the end the song returned to why we were there in the first place, “the beat will always save us.” \u003cem>— Montse Reyes\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825529\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_8785-800x533.jpg\" alt=\"Tune-Yards plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tune-Yards plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Tune-Yards’ Merrill Garbus Commanding a Forceful Presence\u003c/h3>\n\u003cp>Tune-Yards’ Merrill Garbus just \u003cem>moves\u003c/em> with a visceral musicality. At the Fox Theater on Feb. 23, she sang with a deep, resonant confidence, commanding her loop pedals and sample pads as if they were extensions of her body. Accompanied by a bassist and drummer, she delivered a funkified set imbued with a deep groove that had the audience moving the entire time. On “Powa,” one of her earlier tracks, she even hit a chill-inducing, Mariah-worthy falsetto. The only detraction from the performance’s fluidity was Garbus’ \u003ca href=\"https://www.npr.org/sections/allsongs/2018/01/19/578822264/tune-yards-merrill-garbus-pierces-her-own-privilege\" target=\"_blank\" rel=\"noopener\">cringeworthy track about being white\u003c/a>, “Colonizer.” I wished she had given a shout out to Black Lives Matter — or said something in solidarity with the anti-racist movement — instead of subjecting the audience to its navel-gazing, Macklemore-esque self-inquiry. \u003cem>— NV\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>Shamir Making Millennials Forget Their Generational Woes\u003c/h3>\n\u003cp>Shamir’s lo-fi guitar rock is as self-aware and incisive as it is dreamy and personal. In the middle of his Feb. 24 set at the Rickshaw Stop, the Las Vegas musician started into his cheeky ode to the ever-scrutinized millennials, “90s Kids.” \u003cem>We talk with vocal fry / We watch our futures die\u003c/em>, he sang in deceptively dulcet tones before railing against misconceptions of the generation, that millennials are “gross and vain,” cold, greedy, and dramatic. The audience, full of his peers, seemed to agree. They raised beer bottles and glasses for a toast in an endearing show of camaraderie. For now at least, any creeping dread about insurmountable student loans, living up to parental expectations, and making rent could be quelled by Shamir’s charm. \u003cem>— MR\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825616\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/DougMartsch-800x492.jpg\" alt=\"Doug Martsch plays the Swedish American Hall as part of the 2018 Noise Pop festival.\" width=\"800\" height=\"492\" class=\"size-medium wp-image-13825616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-800x492.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-1020x627.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-960x590.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-240x147.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-375x230.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-520x320.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doug Martsch plays the Swedish American Hall as part of the 2018 Noise Pop festival. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Hearing a Pin Drop During Doug Martsch’s Solo Set\u003c/h3>\n\u003cp>Built to Spill had played \u003cem>Keep It Like a Secret\u003c/em> in its entirety to a sold-out Fillmore crowd the night before, but frontman Doug Martsch wasn’t done yet: his Feb. 21 solo acoustic set at the wood-paneled Swedish American Hall served as a nice afterglow. Along with folksy-bluesy numbers from his 2002 solo album \u003cem>Now You Know\u003c/em>, the show included Built to Spill favorites like “Big Dipper” and “Made-Up Dreams,” and the always-affable Martsch ended things with Wye Oak’s “Civilian,” performed with guest vocalist Kylee Swenson. Average Age of the Audience: 39. Most Common Place to See the Reflection of Overhead Lights: Doug Martsch’s balding crown. Relief in the Crowd That the Show Was Over Before 9:30pm: palpable. Chances That Indie Rock Will Age With Grace Instead of Entitlement and Crankiness: looking pretty good, actually. \u003cem>— GM\u003c/em>\u003c/p>\n\u003cdiv class=\"aligncenter\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/div>\n\u003ch3>Iman Europe Stealing the Show at Cornerstone\u003c/h3>\n\u003cp>On Feb. 22, Caleborate packed Berkeley’s Cornerstone — the newly remodeled former pool hall — for an intimate set, performing his latest and most introspective album, \u003cem>Real Person\u003c/em>, in full. Caleborate is a masterful lyricist who makes his personal experiences feel vivid and relatable just as easily as he surprises listeners with clever turns of phrase. While Caleborate was warm and engaging with the audience, shouting out family members in attendance and even a performing a duet with his brother, Cash Campaign, who opened for him earlier, his set of \u003cem>Real Person\u003c/em>’s deep reflections had the pensive mood of sitting at home and writing in a journal. Performing before Caleborate, L.A. rapper-singer Iman Europe stole the show with her upbeat stage presence, infectious smile, and voice — rich, smoky, and an acquired taste, like a cup of good espresso. Europe seduced listeners with sexy R&B and then stopped them in their tracks with an a cappella freestyle, ending her set with “Oakland,” an homage to her favorite East Bay city. \u003cem>— NV\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825429\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825429\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_8438-800x533.jpg\" alt=\"Jay Som plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jay Som plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Jay Som Recreating the Comfort and Solitude of Our Bedrooms\u003c/h3>\n\u003cp>There are few spaces as quiet and sacred as one’s bedroom. At Gray Area on Feb. 22, openers lo-fi indie rockers Hand Habits brought the tender solitude a bedroom offers when one needs space to unravel. With Michelle Zauner of Japanese Breakfast’s sprightly energy, the stuccoed venue became an unfettered playground, the way your bedroom brings the comfort to exist without judgement. And the quiet, crushing vulnerability of Jay Som’s set brought to mind the way our bedrooms function like a museum of our lives — full of relics, secrets and baubles tied to distinct memories, both sweet and sad. \u003cem>— MR\u003c/em>\u003c/p>\n\u003cdiv class=\"aligncenter\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/div>\n\u003ch3>Chuck Johnson, on Lap Steel, Putting Listeners in a Trance\u003c/h3>\n\u003cp>On Feb. 21 at Oakland’s Starline Social Club, Portland rockers Grails delivered an all-instrumental, guitar-driven set that was dark, psychedelic, and even a little funky, in the vein of Roger Waters’ playing on Pink Floyd’s \u003cem>The Wall\u003c/em>. But their stoic, bespectacled opener, Chuck Johnson, had the audience transfixed without so much as saying a single word on stage. At first, it was unclear what Johnson was doing when he gently tapped the strings of his lap steel and activated several delay and loop pedals. But as he created a cloud of shimmering reverb, he began to play a swaying, wistful melody that recalled the glitter of twinkling stars in a desert sky. It was a single composition from start to finish, and listeners were entranced. \u003cem>— NV\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>There is a moment in women’s lives I think about a lot — the turning from girlhood to womanhood. This becoming is an urgent transition, but it is more damaging for some than others. Even the smallest sign of crossing into female adulthood can trigger the age-old treatment of women as if they were goods.\u003c/p>\n\u003cp>\u003cem>Girls Burn Brighter\u003c/em> is the kind of book you open and fall into. This is the confident, assured debut from San Francisco-based Shobha Rao. Taking place in India, \u003cem>Girls Burn Brighter \u003c/em>is about a fast and easy friendship between two girls, Poornima and Savitha; the terrible and wide-ranging binds of caste and misogyny; and all the ways female ambition and friendship can tear a hole in the fabric of the patriarchy.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13825079\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/GirlsBurnBrighter_Bookshot_WEB.jpg\" alt=\"\" width=\"400\" height=\"675\">\u003c/p>\n\u003cp>Savitha works the loom at Poornima’s father’s workshop. The girls get together before and in between Savitha’s work to chat, to eat together, be together — they are inseparable. They dream of a place Savitha once heard described by an older woman at the market; a place where a flute plays everywhere you go.\u003c/p>\n\u003cblockquote>\u003cp>“You know how Krishna plays the flute for his Radha, wooing her at twilight…? That is the sound of the island. Flute song. Everywhere you go there are [fruit], and there is flute song. Following you like a lover.”\u003c/p>\n\u003cp>“That’s what she said?”\u003c/p>\n\u003cp>“Yes.”\u003c/p>\n\u003cp>Poornima was silent. “What’s the name of the island?”\u003c/p>\n\u003cp>“Majuli.”\u003c/p>\n\u003cp>“Majuli,” Poornima said out loud, slowly, as if tasting the word on her tongue.\u003c/p>\u003c/blockquote>\n\u003cp>Their reality, however, is starkly different. There is a passage I cannot get out of my head. In it, Poornima overhears her father telling a story to a matchmaker about when she was just one year old:\u003c/p>\n\u003cblockquote>\u003cp>It had been the day of her mundane, the offering of a baby’s hair to the gods, and afterward, they’d found a covered spot, a fisherman’s palm frond shelter, on the shores of the Krishna. According to her father, while they had been busy laying out the lunch, Poornima had squirmed away. Straight into the water, her father said… Within seconds, he continued, she was up to her neck. Her mother panicked. I jumped up and ran as fast as I could. It was only a few steps, but it seemed to take ages. Ages…\u003c/p>\n\u003caside class=\"pullquote alignright\">Even the smallest sign of crossing into female adulthood can trigger the age-old treatment of women as if they were goods.\u003cbr>\n\u003c/aside>\n\u003cp>When I got near the waterline though, he said, I stopped. I know I should’ve plucked her up and given her a slap, but I couldn’t. You see, he said, she looked like she was nothing. Just a piece of debris… I was standing there, and I was thinking. I was thinking: She’s just a girl. Let her go. By then, her mother had come up from behind me, and she’d snatched her out. Poornima was crying, he said, her mother was crying, too. Maybe they both knew what I had thought… And then her father let out a little laugh. “That’s the thing with girls, isn’t it?” he said. “Whenever they stand on the edge of something, you can’t help it, you can’t. You think, Push. That’s all it would take. Just one little push.”\u003c/p>\u003c/blockquote>\n\u003cp>In \u003cem>Girls Burn Brighter,\u003c/em> girls are negative goods one must get rid of, and in order to do so, a father must pay a high price for the favor of being able to unload his daughter onto someone else. Savitha and Poornima seek to survive, and they survive through each other in this beautifully written page-turner of a novel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For all its incandescence, this book is one where the fall-out is too neat. The last chunk offers a narrative where plot pieces fall into place too predictably, which grinds against the free chaos present in the rest of the book.\u003c/p>\n\u003cp>Be that as it may, Rao’s debut is a high achievement. These that follow are the thoughts of Savitha, but they describe how aptly Rao has portrayed patriarchal societies: “Every moment in a woman’s life was a deal, a deal for her body: first for its blooming and then for its wilting; first for her bleeding and then for her virginity and then for her bearing (counting only the sons) and then for her widowing.”\u003c/p>\n\u003cp>In \u003cem>Girls Burn Brighter \u003c/em>two friends rail in every small way they are able against such patriarchal structures. \u003cem>And\u003c/em> they save themselves.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Shobha Rao celebrates the release of ‘Girls Burn Brighter’ at City Lights (261 Columbus Ave., San Francisco) on March 6 at 7pm. \u003ca href=\"http://www.citylights.com/info/?fa=event&event_id=3121\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Spine is a biweekly column. Catch us back here in two weeks.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a moment in women’s lives I think about a lot — the turning from girlhood to womanhood. This becoming is an urgent transition, but it is more damaging for some than others. Even the smallest sign of crossing into female adulthood can trigger the age-old treatment of women as if they were goods.\u003c/p>\n\u003cp>\u003cem>Girls Burn Brighter\u003c/em> is the kind of book you open and fall into. This is the confident, assured debut from San Francisco-based Shobha Rao. Taking place in India, \u003cem>Girls Burn Brighter \u003c/em>is about a fast and easy friendship between two girls, Poornima and Savitha; the terrible and wide-ranging binds of caste and misogyny; and all the ways female ambition and friendship can tear a hole in the fabric of the patriarchy.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13825079\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/GirlsBurnBrighter_Bookshot_WEB.jpg\" alt=\"\" width=\"400\" height=\"675\">\u003c/p>\n\u003cp>Savitha works the loom at Poornima’s father’s workshop. The girls get together before and in between Savitha’s work to chat, to eat together, be together — they are inseparable. They dream of a place Savitha once heard described by an older woman at the market; a place where a flute plays everywhere you go.\u003c/p>\n\u003cblockquote>\u003cp>“You know how Krishna plays the flute for his Radha, wooing her at twilight…? That is the sound of the island. Flute song. Everywhere you go there are [fruit], and there is flute song. Following you like a lover.”\u003c/p>\n\u003cp>“That’s what she said?”\u003c/p>\n\u003cp>“Yes.”\u003c/p>\n\u003cp>Poornima was silent. “What’s the name of the island?”\u003c/p>\n\u003cp>“Majuli.”\u003c/p>\n\u003cp>“Majuli,” Poornima said out loud, slowly, as if tasting the word on her tongue.\u003c/p>\u003c/blockquote>\n\u003cp>Their reality, however, is starkly different. There is a passage I cannot get out of my head. In it, Poornima overhears her father telling a story to a matchmaker about when she was just one year old:\u003c/p>\n\u003cblockquote>\u003cp>It had been the day of her mundane, the offering of a baby’s hair to the gods, and afterward, they’d found a covered spot, a fisherman’s palm frond shelter, on the shores of the Krishna. According to her father, while they had been busy laying out the lunch, Poornima had squirmed away. Straight into the water, her father said… Within seconds, he continued, she was up to her neck. Her mother panicked. I jumped up and ran as fast as I could. It was only a few steps, but it seemed to take ages. Ages…\u003c/p>\n\u003caside class=\"pullquote alignright\">Even the smallest sign of crossing into female adulthood can trigger the age-old treatment of women as if they were goods.\u003cbr>\n\u003c/aside>\n\u003cp>When I got near the waterline though, he said, I stopped. I know I should’ve plucked her up and given her a slap, but I couldn’t. You see, he said, she looked like she was nothing. Just a piece of debris… I was standing there, and I was thinking. I was thinking: She’s just a girl. Let her go. By then, her mother had come up from behind me, and she’d snatched her out. Poornima was crying, he said, her mother was crying, too. Maybe they both knew what I had thought… And then her father let out a little laugh. “That’s the thing with girls, isn’t it?” he said. “Whenever they stand on the edge of something, you can’t help it, you can’t. You think, Push. That’s all it would take. Just one little push.”\u003c/p>\u003c/blockquote>\n\u003cp>In \u003cem>Girls Burn Brighter,\u003c/em> girls are negative goods one must get rid of, and in order to do so, a father must pay a high price for the favor of being able to unload his daughter onto someone else. Savitha and Poornima seek to survive, and they survive through each other in this beautifully written page-turner of a novel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For all its incandescence, this book is one where the fall-out is too neat. The last chunk offers a narrative where plot pieces fall into place too predictably, which grinds against the free chaos present in the rest of the book.\u003c/p>\n\u003cp>Be that as it may, Rao’s debut is a high achievement. These that follow are the thoughts of Savitha, but they describe how aptly Rao has portrayed patriarchal societies: “Every moment in a woman’s life was a deal, a deal for her body: first for its blooming and then for its wilting; first for her bleeding and then for her virginity and then for her bearing (counting only the sons) and then for her widowing.”\u003c/p>\n\u003cp>In \u003cem>Girls Burn Brighter \u003c/em>two friends rail in every small way they are able against such patriarchal structures. \u003cem>And\u003c/em> they save themselves.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Shobha Rao celebrates the release of ‘Girls Burn Brighter’ at City Lights (261 Columbus Ave., San Francisco) on March 6 at 7pm. \u003ca href=\"http://www.citylights.com/info/?fa=event&event_id=3121\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Spine is a biweekly column. Catch us back here in two weeks.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Masterful Glimpse Of Humanity's Physical — And Emotional — 'Annihilation'",
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"content": "\u003cp>The alien dome they call “The Shimmer” stretches for several miles, radiating from a lighthouse in the middle of a national park. Its border is pulsating and translucent with shades of purple, like a soap bubble; it’s so alive it seems to moan, or at the least to breathe. No messages from within can reach the outside world. Those who enter don’t come back out, or not the same, anyway. And the first time one expedition sets up camp, they awake to find that they have already been there for days, with no memory of what transpired in-between.\u003c/p>\n\u003cp>Actually, when all is said and done, the unaccounted-for time winds up being the least consequential Weird Thing that happens in the new sci-fi/horror movie \u003cem>Annihilation\u003c/em>. But it might haunt the longest, because the dazed and disoriented state that greets Natalie Portman’s hero when she wakes up to this gap in her memory is a pretty good account of what watching \u003cem>Annihilation\u003c/em> is like. Writer-director Alex Garland has made an atom bomb of a movie, fiery and all-consuming and quite unnatural. It fills every inch of our heads with its beautiful terrors. Sure, its power is nearly all sensory, but its cells keep dividing regardless.\u003c/p>\n\u003cp>Garland was heralded in film circles for his 2014 robotics experiment \u003cem>Ex Machina\u003c/em>, a film whose grand ideas often seemed the wrong match for its own tech-bro mindset. But here his ambition actually matches his environment. Working from the bestselling 2014 novel by Jeff VanderMeer, Garland hasn’t so much adapted the source as mutated it: same basic building blocks, deconstructed and rebuilt in new and horrifying ways.\u003c/p>\n\u003caside class=\"pullquote alignright\">What ‘Annihilation’ lacks in subtlety, it makes up for in meditations on fatalism: The more it reveals, the more acutely we become aware of bodies, minds and organisms powerless to their own environments.\u003c/aside>\n\u003cp>A biologist named Lena (Portman) who specializes in cellular cancers is summoned to the site of The Shimmer, which the government has been keeping under wraps for three years as it’s tried and failed to peep inside the ever-expanding void. Lena’s husband Kane (Oscar Isaac) was one of the Army folk on the last attempted mission, and disappeared for a year before re-emerging on her doorstep with a serious illness and no memory of who he is. So when the opportunity comes to join the latest expedition into the void — an all-but-certain suicide mission, which the film underlines in a way that’s different from how other movies define that term — Lena goes, out of a sense of duty or maybe just hopelessness.\u003c/p>\n\u003cp>This latest team is all women, dispatched into the unknown only once too many men have been lost. (Though the film barely has a political bone in its body, it’s hard not to think of the world today all the same.) Led by a pithy psychologist (Jennifer Jason Leigh), Lena joins three other devil-may-care specialists (\u003cem>Jane the Virgin\u003c/em>‘s Gina Rodriguez, \u003cem>A War\u003c/em>‘s Tuva Novotny and soon-to-be superstar Tessa Thompson). As in \u003cem>Sunshine\u003c/em>, a film Garland wrote, all five accept that they likely won’t emerge alive. But is their sacrifice out of nobility, or something else? “All humans self-destruct in some way,” Leigh’s psychologist says, and the actors walk a careful line of nuance in their performances that allows the self-destruction to blot out easy heroism. Most action-movie cowboys are told they will die, yet their bullheadedness keeps them alive. But Portman, working with only broad strokes of a background and doing a lot of work in her face and gaze, seems to be surviving only on the strength of her pain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Beyond the Shimmer lie spoilers, but know that the film presents all the frights with a mesmerizing air that makes them more than just cheap thrills. Even when we’re holding our breath over some creature in the shadows or a horribly mangled corpse, we’re in awe of the pastel color schemes, the sweeping forestry, and the careful, precise rendering of biological nightmares. More than anything else, \u003cem>Annihilation\u003c/em> is a triumph of technique. Geoff Barrow and Ben Salisbury’s industrial-strength dissonant score uproots us (though it dips into quiet, acoustic tones for the truly shocking moments) while Mark Digby’s production design and Rob Hardy’s cinematography seem to always position us so that there is nowhere to plunge but deep into the most terrifying part of the landscape.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It would be wrong to say we’ve never seen anything like \u003cem>Annihilation \u003c/em>before. Truth be told, the film owes a massive debt to Andrei Tarkovsky’s \u003cem>Stalker\u003c/em>, another descent into the unknown that used quiet beauty as an instrument of terror. Tarkovsky benefitted far more from powers of suggestion than Garland even attempts (this film stages an explicit, uncut digital video sequence that might leave you feeling sick and used). But what \u003cem>Annihilation\u003c/em> lacks in subtlety, it makes up for in meditations on fatalism: The more it reveals, the more acutely we become aware of bodies, minds and organisms powerless to their own environments, always breaking down, never at peace. It’s enough to lose track of time, and maybe of Earth, too. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Masterful+Glimpse+Of+Humanity%27s+Physical+%E2%80%94+And+Emotional+%E2%80%94+%27Annihilation%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The alien dome they call “The Shimmer” stretches for several miles, radiating from a lighthouse in the middle of a national park. Its border is pulsating and translucent with shades of purple, like a soap bubble; it’s so alive it seems to moan, or at the least to breathe. No messages from within can reach the outside world. Those who enter don’t come back out, or not the same, anyway. And the first time one expedition sets up camp, they awake to find that they have already been there for days, with no memory of what transpired in-between.\u003c/p>\n\u003cp>Actually, when all is said and done, the unaccounted-for time winds up being the least consequential Weird Thing that happens in the new sci-fi/horror movie \u003cem>Annihilation\u003c/em>. But it might haunt the longest, because the dazed and disoriented state that greets Natalie Portman’s hero when she wakes up to this gap in her memory is a pretty good account of what watching \u003cem>Annihilation\u003c/em> is like. Writer-director Alex Garland has made an atom bomb of a movie, fiery and all-consuming and quite unnatural. It fills every inch of our heads with its beautiful terrors. Sure, its power is nearly all sensory, but its cells keep dividing regardless.\u003c/p>\n\u003cp>Garland was heralded in film circles for his 2014 robotics experiment \u003cem>Ex Machina\u003c/em>, a film whose grand ideas often seemed the wrong match for its own tech-bro mindset. But here his ambition actually matches his environment. Working from the bestselling 2014 novel by Jeff VanderMeer, Garland hasn’t so much adapted the source as mutated it: same basic building blocks, deconstructed and rebuilt in new and horrifying ways.\u003c/p>\n\u003caside class=\"pullquote alignright\">What ‘Annihilation’ lacks in subtlety, it makes up for in meditations on fatalism: The more it reveals, the more acutely we become aware of bodies, minds and organisms powerless to their own environments.\u003c/aside>\n\u003cp>A biologist named Lena (Portman) who specializes in cellular cancers is summoned to the site of The Shimmer, which the government has been keeping under wraps for three years as it’s tried and failed to peep inside the ever-expanding void. Lena’s husband Kane (Oscar Isaac) was one of the Army folk on the last attempted mission, and disappeared for a year before re-emerging on her doorstep with a serious illness and no memory of who he is. So when the opportunity comes to join the latest expedition into the void — an all-but-certain suicide mission, which the film underlines in a way that’s different from how other movies define that term — Lena goes, out of a sense of duty or maybe just hopelessness.\u003c/p>\n\u003cp>This latest team is all women, dispatched into the unknown only once too many men have been lost. (Though the film barely has a political bone in its body, it’s hard not to think of the world today all the same.) Led by a pithy psychologist (Jennifer Jason Leigh), Lena joins three other devil-may-care specialists (\u003cem>Jane the Virgin\u003c/em>‘s Gina Rodriguez, \u003cem>A War\u003c/em>‘s Tuva Novotny and soon-to-be superstar Tessa Thompson). As in \u003cem>Sunshine\u003c/em>, a film Garland wrote, all five accept that they likely won’t emerge alive. But is their sacrifice out of nobility, or something else? “All humans self-destruct in some way,” Leigh’s psychologist says, and the actors walk a careful line of nuance in their performances that allows the self-destruction to blot out easy heroism. Most action-movie cowboys are told they will die, yet their bullheadedness keeps them alive. But Portman, working with only broad strokes of a background and doing a lot of work in her face and gaze, seems to be surviving only on the strength of her pain.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Beyond the Shimmer lie spoilers, but know that the film presents all the frights with a mesmerizing air that makes them more than just cheap thrills. Even when we’re holding our breath over some creature in the shadows or a horribly mangled corpse, we’re in awe of the pastel color schemes, the sweeping forestry, and the careful, precise rendering of biological nightmares. More than anything else, \u003cem>Annihilation\u003c/em> is a triumph of technique. Geoff Barrow and Ben Salisbury’s industrial-strength dissonant score uproots us (though it dips into quiet, acoustic tones for the truly shocking moments) while Mark Digby’s production design and Rob Hardy’s cinematography seem to always position us so that there is nowhere to plunge but deep into the most terrifying part of the landscape.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It would be wrong to say we’ve never seen anything like \u003cem>Annihilation \u003c/em>before. Truth be told, the film owes a massive debt to Andrei Tarkovsky’s \u003cem>Stalker\u003c/em>, another descent into the unknown that used quiet beauty as an instrument of terror. Tarkovsky benefitted far more from powers of suggestion than Garland even attempts (this film stages an explicit, uncut digital video sequence that might leave you feeling sick and used). But what \u003cem>Annihilation\u003c/em> lacks in subtlety, it makes up for in meditations on fatalism: The more it reveals, the more acutely we become aware of bodies, minds and organisms powerless to their own environments, always breaking down, never at peace. It’s enough to lose track of time, and maybe of Earth, too. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Masterful+Glimpse+Of+Humanity%27s+Physical+%E2%80%94+And+Emotional+%E2%80%94+%27Annihilation%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Railing Against Fascism and Complacency, 'Howl' Relevant as Ever",
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"content": "\u003cp>“Hold back the edges of your gowns, Ladies, we are going through hell.”\u003c/p>\n\u003cp>This is how William Carlos Williams introduced “Howl,” the landmark work by Allen Ginsberg, in its November 1956 printing by Lawrence Ferlinghetti’s City Lights. The tiny book marked the first time its title poem — which famously went on to be the center of a 1957 obscenity trial in California State Superior Court — had been published. But “Howl” was already the stuff of legends, thanks to Ginsberg’s powerful live performances of the piece. After the first reading in 1955, at San Francisco’s Six Gallery (immortalized in Jack Kerouac’s \u003cem>Dharma Bums\u003c/em>), Ginsberg’s March 1956 performance of the poem at Berkeley’s Town Hall Theater was packed to the gills with fans.\u003c/p>\n\u003cp>“Ginsberg was a magnificent reader, even back then [in the early stages of his career],” says Garrett Caples, City Lights’ poetry editor. “He knew what he was doing in terms of oration, and he was obviously heavily influenced by jazz. He was just a marvelous performer.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WkNp56UZax4\u003c/p>\n\u003cp>If you’re not lucky enough to have ever seen Ginsberg live, however, there’s the next best thing: recordings. In early 1959, the poet read his famous piece and others at a benefit for a new literary magazine that had been born out of censorship at the University of Chicago. Later that year, Berkeley’s Fantasy Records pressed the recording to translucent red vinyl and released it as \u003cem>HOWL and Other Poems\u003c/em>. And nearly 60 years later, at a time when the poem’s impassioned cry against fascism and complacency is as relevant as ever, the poet is getting a posthumous reissue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Out Feb. 23 on Craft Recordings and feted with a Feb. 22 reception at City Lights’ iconic North Beach bookstore, the set includes Ginsberg’s readings on, yes, translucent red vinyl; a replica of the original Pocket Poets’ edition of \u003cem>Howl\u003c/em> — Caples notes it’s the first staple-bound book the publisher has put out in quite a while; a reproduction of the original City Lights invite to the 1956 reading; and a black-and-white photo of Ginsberg at his typewriter. (\u003ca href=\"https://en.wikipedia.org/wiki/Record_Store_Day\" target=\"_blank\" rel=\"noopener\">Record Store Day\u003c/a> is still a couple months away, but when you’re one of the most influential poets of the 20th century, you can apparently get your own deluxe reissue box set any day of the year.)\u003c/p>\n\u003cp>New, too, are liner notes by poet Anne Waldman, a peer of Ginsberg’s who was at his bedside when he died, and Ann Charters, a Beat scholar who writes of attending Ginsberg’s Berkeley reading of the title poem as a 19-year-old freshman at Cal.\u003c/p>\n\u003cfigure id=\"attachment_13824756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Pack-Shot.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824756\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Pack-Shot-800x615.jpg\" alt=\"\" width=\"800\" height=\"615\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-800x615.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-768x591.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-1020x785.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-1920x1477.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-1180x908.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-960x738.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-240x185.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-375x288.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-520x400.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The new HOWL box set.\u003c/figcaption>\u003c/figure>\n\u003cp>But the audio itself, once you get it on a turntable, really needs no window dressing. In each poem — “Howl” is the centerpiece, but “Supermarket In California,” “America,” “Kaddish” and others are all searing — Ginsberg’s cadence, which has been compared to that of a cantor, is at once soothing and invigorating. His skill as a performer comes as no surprise, of course, to those aware of his impact on music: Bob Dylan, Patti Smith, the Clash, U2, and other musical icons have long cited Ginsberg’s work as an influence. In 1990, Philip Glass composed a chamber opera titled \u003cem>Hydrogen Jukebox\u003c/em> that was built around the poem.\u003c/p>\n\u003cp>In more recent years, the poem’s impact has hardly faded from pop culture. The 2010 movie \u003cem>Howl\u003c/em> explored the Six Gallery reading and obscenity trial, with James Franco portraying the poet. In 2015, at a \u003ca href=\"https://www.npr.org/2015/04/12/399159190/i-saw-the-all-stars-of-our-generation-honor-allen-ginsbergs-howl\" target=\"_blank\" rel=\"noopener\">Los Angeles event celebrating the poem’s 50th anniversary\u003c/a>, Courtney Love, Peaches, Devendra Banhart, and Nick Cave all performed in tribute, while Amy Poehler and Chris Parnell collaborated with producer Mocean Worker to turn Ginsberg’s “Ballad of the Skeletons” into a hip-hop song. (The lineage between rhythmically performed spoken-word poetry and modern-day rap has, of course, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=131125923\">been well-documented\u003c/a>.)\u003c/p>\n\u003cp>It’s not hard to see why the poet’s work has held up, to say the least: On the 1959 recording, Ginsberg’s empathy comes across in stereo. His words are bold and unflinching, yet simultaneously self-effacing and humble. Which is to say, his poetry is terrifically human; not to mention brave, even before one considers the implications of writing about gay sex, drugs, and communism in the height of red scare-America.\u003c/p>\n\u003cp>“If you had to reduce the 20th century to two English poems it’d be [T.S. Eliot’s] ‘The Waste Land’ in the first half and ‘Howl’ in the second,” says Caples. “It was epoch-shifting. How seldom that a work of art’s influence is this thoroughgoing… and we’re still reaping the benefits.”\u003c/p>\n\u003cfigure id=\"attachment_13824758\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Image-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824758\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Image-1.png\" alt=\"\" width=\"750\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-1.png 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-1-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-1-240x149.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-1-375x233.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-1-520x323.png 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A reprint of the original invitation to the first reading of HOWL in San Francisco.\u003c/figcaption>\u003c/figure>\n\u003cp>The other poems on the record weren’t actually published until 1961, he notes, meaning they existed as part of an “oral audio object” for mass consumption before they were available to read — and provided a peek into where Ginsberg’s writing was going at the time, as well.\u003c/p>\n\u003cp>Ginsberg’s death in 1997 from liver cancer wasn’t just a loss for the poetry world, says Caples, when I mention wishing the writer were around to respond to our current political moment.\u003c/p>\n\u003cp>“It was a loss to American culture,” he says, noting he actually takes some comfort in the persistent germaneness of the poem’s themes — it shows that what we’re dealing with isn’t entirely new. “There aren’t many poets in America that people would bother to turn to for their take on world events.”\u003c/p>\n\u003cp>Caples will speak at the City Lights event, alongside Charters, San Francisco Poet Laureate Kim Schuck, poet Neeli Cherkovski, and Bill Belmont, who produced the box set. Present in the air in the bookstore and in the spaces between the words of “Howl,” of course, will be \u003ca href=\"https://ww2.kqed.org/news/2015/03/03/at-95-lawrence-ferlinghetti-recounts-more-than-six-decades-of-life-in-san-francisco/\" target=\"_blank\" rel=\"noopener\">Lawrence Ferlinghetti\u003c/a>, who provided a physical center for Beat writers with his bookshop and a platform with his publishing house. Ferlinghetti was the one arrested in 1957 on charges of printing and selling lewd and indecent material; at 98, he’s one of the few members of the Beat generation who can tell its stories firsthand.\u003c/p>\n\u003cp>“We are kind of spoiled in that sense,” says Caples. “We still have Lawrence Ferlinghetti.”\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A reception for the reissue of ‘Howl’ on vinyl takes place at 7pm on Thursday, Feb. 22 at City Lights Bookstore, 261 Columbus Ave. in San Francisco. Free; \u003ca href=\"http://www.citylights.com/info/?fa=event&event_id=3132\" target=\"_blank\" rel=\"noopener\">click here for more info\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Hold back the edges of your gowns, Ladies, we are going through hell.”\u003c/p>\n\u003cp>This is how William Carlos Williams introduced “Howl,” the landmark work by Allen Ginsberg, in its November 1956 printing by Lawrence Ferlinghetti’s City Lights. The tiny book marked the first time its title poem — which famously went on to be the center of a 1957 obscenity trial in California State Superior Court — had been published. But “Howl” was already the stuff of legends, thanks to Ginsberg’s powerful live performances of the piece. After the first reading in 1955, at San Francisco’s Six Gallery (immortalized in Jack Kerouac’s \u003cem>Dharma Bums\u003c/em>), Ginsberg’s March 1956 performance of the poem at Berkeley’s Town Hall Theater was packed to the gills with fans.\u003c/p>\n\u003cp>“Ginsberg was a magnificent reader, even back then [in the early stages of his career],” says Garrett Caples, City Lights’ poetry editor. “He knew what he was doing in terms of oration, and he was obviously heavily influenced by jazz. He was just a marvelous performer.”\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/WkNp56UZax4'\n title='//www.youtube.com/embed/WkNp56UZax4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you’re not lucky enough to have ever seen Ginsberg live, however, there’s the next best thing: recordings. In early 1959, the poet read his famous piece and others at a benefit for a new literary magazine that had been born out of censorship at the University of Chicago. Later that year, Berkeley’s Fantasy Records pressed the recording to translucent red vinyl and released it as \u003cem>HOWL and Other Poems\u003c/em>. And nearly 60 years later, at a time when the poem’s impassioned cry against fascism and complacency is as relevant as ever, the poet is getting a posthumous reissue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Out Feb. 23 on Craft Recordings and feted with a Feb. 22 reception at City Lights’ iconic North Beach bookstore, the set includes Ginsberg’s readings on, yes, translucent red vinyl; a replica of the original Pocket Poets’ edition of \u003cem>Howl\u003c/em> — Caples notes it’s the first staple-bound book the publisher has put out in quite a while; a reproduction of the original City Lights invite to the 1956 reading; and a black-and-white photo of Ginsberg at his typewriter. (\u003ca href=\"https://en.wikipedia.org/wiki/Record_Store_Day\" target=\"_blank\" rel=\"noopener\">Record Store Day\u003c/a> is still a couple months away, but when you’re one of the most influential poets of the 20th century, you can apparently get your own deluxe reissue box set any day of the year.)\u003c/p>\n\u003cp>New, too, are liner notes by poet Anne Waldman, a peer of Ginsberg’s who was at his bedside when he died, and Ann Charters, a Beat scholar who writes of attending Ginsberg’s Berkeley reading of the title poem as a 19-year-old freshman at Cal.\u003c/p>\n\u003cfigure id=\"attachment_13824756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Pack-Shot.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824756\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Pack-Shot-800x615.jpg\" alt=\"\" width=\"800\" height=\"615\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-800x615.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-768x591.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-1020x785.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-1920x1477.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-1180x908.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-960x738.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-240x185.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-375x288.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-520x400.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The new HOWL box set.\u003c/figcaption>\u003c/figure>\n\u003cp>But the audio itself, once you get it on a turntable, really needs no window dressing. In each poem — “Howl” is the centerpiece, but “Supermarket In California,” “America,” “Kaddish” and others are all searing — Ginsberg’s cadence, which has been compared to that of a cantor, is at once soothing and invigorating. His skill as a performer comes as no surprise, of course, to those aware of his impact on music: Bob Dylan, Patti Smith, the Clash, U2, and other musical icons have long cited Ginsberg’s work as an influence. In 1990, Philip Glass composed a chamber opera titled \u003cem>Hydrogen Jukebox\u003c/em> that was built around the poem.\u003c/p>\n\u003cp>In more recent years, the poem’s impact has hardly faded from pop culture. The 2010 movie \u003cem>Howl\u003c/em> explored the Six Gallery reading and obscenity trial, with James Franco portraying the poet. In 2015, at a \u003ca href=\"https://www.npr.org/2015/04/12/399159190/i-saw-the-all-stars-of-our-generation-honor-allen-ginsbergs-howl\" target=\"_blank\" rel=\"noopener\">Los Angeles event celebrating the poem’s 50th anniversary\u003c/a>, Courtney Love, Peaches, Devendra Banhart, and Nick Cave all performed in tribute, while Amy Poehler and Chris Parnell collaborated with producer Mocean Worker to turn Ginsberg’s “Ballad of the Skeletons” into a hip-hop song. (The lineage between rhythmically performed spoken-word poetry and modern-day rap has, of course, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=131125923\">been well-documented\u003c/a>.)\u003c/p>\n\u003cp>It’s not hard to see why the poet’s work has held up, to say the least: On the 1959 recording, Ginsberg’s empathy comes across in stereo. His words are bold and unflinching, yet simultaneously self-effacing and humble. Which is to say, his poetry is terrifically human; not to mention brave, even before one considers the implications of writing about gay sex, drugs, and communism in the height of red scare-America.\u003c/p>\n\u003cp>“If you had to reduce the 20th century to two English poems it’d be [T.S. Eliot’s] ‘The Waste Land’ in the first half and ‘Howl’ in the second,” says Caples. “It was epoch-shifting. How seldom that a work of art’s influence is this thoroughgoing… and we’re still reaping the benefits.”\u003c/p>\n\u003cfigure id=\"attachment_13824758\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Image-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824758\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Image-1.png\" alt=\"\" width=\"750\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-1.png 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-1-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-1-240x149.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-1-375x233.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-1-520x323.png 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A reprint of the original invitation to the first reading of HOWL in San Francisco.\u003c/figcaption>\u003c/figure>\n\u003cp>The other poems on the record weren’t actually published until 1961, he notes, meaning they existed as part of an “oral audio object” for mass consumption before they were available to read — and provided a peek into where Ginsberg’s writing was going at the time, as well.\u003c/p>\n\u003cp>Ginsberg’s death in 1997 from liver cancer wasn’t just a loss for the poetry world, says Caples, when I mention wishing the writer were around to respond to our current political moment.\u003c/p>\n\u003cp>“It was a loss to American culture,” he says, noting he actually takes some comfort in the persistent germaneness of the poem’s themes — it shows that what we’re dealing with isn’t entirely new. “There aren’t many poets in America that people would bother to turn to for their take on world events.”\u003c/p>\n\u003cp>Caples will speak at the City Lights event, alongside Charters, San Francisco Poet Laureate Kim Schuck, poet Neeli Cherkovski, and Bill Belmont, who produced the box set. Present in the air in the bookstore and in the spaces between the words of “Howl,” of course, will be \u003ca href=\"https://ww2.kqed.org/news/2015/03/03/at-95-lawrence-ferlinghetti-recounts-more-than-six-decades-of-life-in-san-francisco/\" target=\"_blank\" rel=\"noopener\">Lawrence Ferlinghetti\u003c/a>, who provided a physical center for Beat writers with his bookshop and a platform with his publishing house. Ferlinghetti was the one arrested in 1957 on charges of printing and selling lewd and indecent material; at 98, he’s one of the few members of the Beat generation who can tell its stories firsthand.\u003c/p>\n\u003cp>“We are kind of spoiled in that sense,” says Caples. “We still have Lawrence Ferlinghetti.”\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A reception for the reissue of ‘Howl’ on vinyl takes place at 7pm on Thursday, Feb. 22 at City Lights Bookstore, 261 Columbus Ave. in San Francisco. Free; \u003ca href=\"http://www.citylights.com/info/?fa=event&event_id=3132\" target=\"_blank\" rel=\"noopener\">click here for more info\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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},
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"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
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