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"content": "\u003cp>For many, it is discomfiting to talk about the experience of migration. It can be doubly hard to expose the scar tissue that comes with being an immigrant or a refugee — the constant miscommunication and code switching, the collision of the traditional and unfamiliar, and in recent months, the exposure to white nationalist ideologies that have trickled down from the top of the American body politic.\u003c/p>\n\u003cp>San Francisco-based folk musician and songwriter Thao Nguyen, with her band the \u003ca href=\"http://www.thaoandthegetdownstaydown.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Get Down Stay Down\u003c/a>, is still learning to open up about her own experience as the daughter of Vietnamese refugees. “My career has been an ongoing experiment with being more forthright about my family and my biography,” says Nguyen.\u003c/p>\n\u003cp>\u003cem>Nobody Dies\u003c/em>, a new documentary premiering on KQED \u003ca href=\"https://www.kqed.org/tv/programs/index.jsp?pgmid=24500\" target=\"_blank\" rel=\"noopener noreferrer\">Sept. 10 at 6:30pm\u003c/a>, is perhaps the most direct of Nguyen’s ventures into first-person frankness — a profound short documentary that lays bare the bittersweet joy of returning to a homeland tarnished by personal and political loss.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13807175\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/ND5-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The film documents a trip Thao and the Get Down Stay Down took to Vietnam in the summer of 2015 — a tour timed to commemorate 20 years since the normalization of relations between the United States and Vietnam. It would be Nguyen’s first visit to Vietnam. She, in turn, invited her mother, Nhan, who hadn’t returned to her homeland since migrating to the U.S. in 1973. It took a bit of nudging to get her mother to accompany the band.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s a lot of uncertainty and fear about going back to a place that you had to leave in such a manner,” Nguyen says. “The country she loved was lost in a lot of ways.”\u003c/p>\n\u003cp>Rather than place emphasis on the band’s shows or even linger upon the impact of the Vietnam War on Nguyen’s family, \u003cem>Nobody Dies\u003c/em> plays out as a love letter to Nhan. For the first time, she says, Nguyen got to witness a lightness in her mother.\u003c/p>\n\u003cp>“My entire life, I’ve known my mom especially through the lens of a refugee and this working immigrant,” she says. “To see her navigate life the way she was in her old home and to see that kind of confidence … It was so incredible to see her have that kind of vibrancy in taking care of situations and being able to follow her lead.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13807173\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/ND3-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Director Todd Krolczyk wanders through the streets of Vietnam with the same assured eye. He’s a filmmaker who values intimacy: slow, wide shots balance against shots that focus on the faces of the two Nguyens. Nguyen’s voice, in song or conversation, accompanies each scene. Krolczyk’s close friendship with Nguyen is palpable, and \u003cem>Nobody Dies\u003c/em> benefits from his ability to imbue every shot with purpose and feeling through interviews, trip footage and songs that span the course of Nguyen’s decade-long career.\u003c/p>\n\u003cp>Importantly, \u003cem>Nobody Dies\u003c/em> also shows the understated details that are always felt but often go unseen in media representation of Asian families, and especially Southeast Asian families. It’s the small, tacit reminders of care and devotion that the documentary gets right: the elder Nguyen offering her daughter lychee fruit in their hotel room, extended family gatherings where everyone in the room somehow feels familiar. With this level of in-the-know specificity, \u003cem>Nobody Dies\u003c/em> is elevated beyond ordinary documentary fare.\u003c/p>\n\u003cp>Nguyen herself is an illuminating presence in \u003cem>Nobody Dies\u003c/em>. Even when she broaches sensitive subjects, like the matter of her largely-absent father, she’s treated like a companion in the narrative rather than its subject.\u003c/p>\n\u003cp>Nguyen’s father served in the South Vietnamese air force during the Vietnam War and met her mother, who worked for the Vietnamese government in Laos, in a Guamanian refugee camp. The two moved to Virginia, where Nguyen was born and raised with her younger brother. By the time she turned 12, her father had abandoned the family. His eyes are never shown in the pictures of him scattered throughout the film.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13807174\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/ND4-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Nguyen processed the emotions of the trip by recording her fifth album, \u003cem>\u003ca href=\"http://www.thaoandthegetdownstaydown.com/music/a-man-alive/\" target=\"_blank\" rel=\"noopener noreferrer\">A Man Alive\u003c/a>\u003c/em>. It details her relationship with her father in no uncertain terms, treating the subject with a vulnerability that was often shrouded by metaphor in her previous work. The album is buoyed by vibrant production from her friend Merrill Garbus of tUnE-yArDs. In the film, as in the album, Nguyen is empathetic and exhausted when she talks about her father.\u003c/p>\n\u003cp>“I wonder a lot more about the impact of that war on him,” Nguyen says, “and what kind of trauma and what kind of post-traumatic stress impacted him, and, in turn, impacted the rest of us. I’m trying to have a more compassionate and expansive look into what he was, and it helped to go where he was from.”\u003c/p>\n\u003cp>There’s an arresting moment in \u003cem>Nobody Dies\u003c/em> when Nguyen talks about a khaki Perry Ellis jacket her father left behind when he left the family. Nguyen tears up as she conjures her father’s memory like a specter. Despite all of her emotional directness, it’s clear that Nguyen still had so much to sift through.\u003c/p>\n\u003cp>A story like Nguyen’s doesn’t lend itself to directness, and it’s understandable that it’s taken years for her to fully offer it up for public consumption. Nguyen’s had to excise the multiple layers of intergenerational and historical grief that get brushed under the surface in family dealings.\u003c/p>\n\u003cp>For her to open up lends itself to tired stereotypes: of women who occupy the realm of first-person storytelling only to be deemed less groundbreaking than their male peers, of refugee stories such as Nguyen’s needing to be simultaneously transcendent and grounded so as to be welcomed by the masses.\u003c/p>\n\u003cp>\u003cem>Nobody Dies\u003c/em> is not a political statement, nor does it really set it out to be one. But to document this journey and share it with an audience is, in itself, an act of power and subversion.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Nobody Dies: A Film About A Musician Her Mom And Vietnam’ airs on KQED 9, Sunday, Sept. 10 at 6:30pm. \u003ca href=\"https://www.kqed.org/tv/programs/index.jsp?pgmid=24500\" target=\"_blank\" rel=\"noopener noreferrer\">Click here\u003c/a> for details.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For many, it is discomfiting to talk about the experience of migration. It can be doubly hard to expose the scar tissue that comes with being an immigrant or a refugee — the constant miscommunication and code switching, the collision of the traditional and unfamiliar, and in recent months, the exposure to white nationalist ideologies that have trickled down from the top of the American body politic.\u003c/p>\n\u003cp>San Francisco-based folk musician and songwriter Thao Nguyen, with her band the \u003ca href=\"http://www.thaoandthegetdownstaydown.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Get Down Stay Down\u003c/a>, is still learning to open up about her own experience as the daughter of Vietnamese refugees. “My career has been an ongoing experiment with being more forthright about my family and my biography,” says Nguyen.\u003c/p>\n\u003cp>\u003cem>Nobody Dies\u003c/em>, a new documentary premiering on KQED \u003ca href=\"https://www.kqed.org/tv/programs/index.jsp?pgmid=24500\" target=\"_blank\" rel=\"noopener noreferrer\">Sept. 10 at 6:30pm\u003c/a>, is perhaps the most direct of Nguyen’s ventures into first-person frankness — a profound short documentary that lays bare the bittersweet joy of returning to a homeland tarnished by personal and political loss.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13807175\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/ND5-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The film documents a trip Thao and the Get Down Stay Down took to Vietnam in the summer of 2015 — a tour timed to commemorate 20 years since the normalization of relations between the United States and Vietnam. It would be Nguyen’s first visit to Vietnam. She, in turn, invited her mother, Nhan, who hadn’t returned to her homeland since migrating to the U.S. in 1973. It took a bit of nudging to get her mother to accompany the band.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s a lot of uncertainty and fear about going back to a place that you had to leave in such a manner,” Nguyen says. “The country she loved was lost in a lot of ways.”\u003c/p>\n\u003cp>Rather than place emphasis on the band’s shows or even linger upon the impact of the Vietnam War on Nguyen’s family, \u003cem>Nobody Dies\u003c/em> plays out as a love letter to Nhan. For the first time, she says, Nguyen got to witness a lightness in her mother.\u003c/p>\n\u003cp>“My entire life, I’ve known my mom especially through the lens of a refugee and this working immigrant,” she says. “To see her navigate life the way she was in her old home and to see that kind of confidence … It was so incredible to see her have that kind of vibrancy in taking care of situations and being able to follow her lead.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13807173\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/ND3-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Director Todd Krolczyk wanders through the streets of Vietnam with the same assured eye. He’s a filmmaker who values intimacy: slow, wide shots balance against shots that focus on the faces of the two Nguyens. Nguyen’s voice, in song or conversation, accompanies each scene. Krolczyk’s close friendship with Nguyen is palpable, and \u003cem>Nobody Dies\u003c/em> benefits from his ability to imbue every shot with purpose and feeling through interviews, trip footage and songs that span the course of Nguyen’s decade-long career.\u003c/p>\n\u003cp>Importantly, \u003cem>Nobody Dies\u003c/em> also shows the understated details that are always felt but often go unseen in media representation of Asian families, and especially Southeast Asian families. It’s the small, tacit reminders of care and devotion that the documentary gets right: the elder Nguyen offering her daughter lychee fruit in their hotel room, extended family gatherings where everyone in the room somehow feels familiar. With this level of in-the-know specificity, \u003cem>Nobody Dies\u003c/em> is elevated beyond ordinary documentary fare.\u003c/p>\n\u003cp>Nguyen herself is an illuminating presence in \u003cem>Nobody Dies\u003c/em>. Even when she broaches sensitive subjects, like the matter of her largely-absent father, she’s treated like a companion in the narrative rather than its subject.\u003c/p>\n\u003cp>Nguyen’s father served in the South Vietnamese air force during the Vietnam War and met her mother, who worked for the Vietnamese government in Laos, in a Guamanian refugee camp. The two moved to Virginia, where Nguyen was born and raised with her younger brother. By the time she turned 12, her father had abandoned the family. His eyes are never shown in the pictures of him scattered throughout the film.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13807174\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/ND4-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Nguyen processed the emotions of the trip by recording her fifth album, \u003cem>\u003ca href=\"http://www.thaoandthegetdownstaydown.com/music/a-man-alive/\" target=\"_blank\" rel=\"noopener noreferrer\">A Man Alive\u003c/a>\u003c/em>. It details her relationship with her father in no uncertain terms, treating the subject with a vulnerability that was often shrouded by metaphor in her previous work. The album is buoyed by vibrant production from her friend Merrill Garbus of tUnE-yArDs. In the film, as in the album, Nguyen is empathetic and exhausted when she talks about her father.\u003c/p>\n\u003cp>“I wonder a lot more about the impact of that war on him,” Nguyen says, “and what kind of trauma and what kind of post-traumatic stress impacted him, and, in turn, impacted the rest of us. I’m trying to have a more compassionate and expansive look into what he was, and it helped to go where he was from.”\u003c/p>\n\u003cp>There’s an arresting moment in \u003cem>Nobody Dies\u003c/em> when Nguyen talks about a khaki Perry Ellis jacket her father left behind when he left the family. Nguyen tears up as she conjures her father’s memory like a specter. Despite all of her emotional directness, it’s clear that Nguyen still had so much to sift through.\u003c/p>\n\u003cp>A story like Nguyen’s doesn’t lend itself to directness, and it’s understandable that it’s taken years for her to fully offer it up for public consumption. Nguyen’s had to excise the multiple layers of intergenerational and historical grief that get brushed under the surface in family dealings.\u003c/p>\n\u003cp>For her to open up lends itself to tired stereotypes: of women who occupy the realm of first-person storytelling only to be deemed less groundbreaking than their male peers, of refugee stories such as Nguyen’s needing to be simultaneously transcendent and grounded so as to be welcomed by the masses.\u003c/p>\n\u003cp>\u003cem>Nobody Dies\u003c/em> is not a political statement, nor does it really set it out to be one. But to document this journey and share it with an audience is, in itself, an act of power and subversion.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Nobody Dies: A Film About A Musician Her Mom And Vietnam’ airs on KQED 9, Sunday, Sept. 10 at 6:30pm. \u003ca href=\"https://www.kqed.org/tv/programs/index.jsp?pgmid=24500\" target=\"_blank\" rel=\"noopener noreferrer\">Click here\u003c/a> for details.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Stylishly Gritty, This Chase Thriller Really Is A 'Good Time'",
"headTitle": "Stylishly Gritty, This Chase Thriller Really Is A ‘Good Time’ | KQED",
"content": "\u003cp>In recent years, the British heartthrob Robert Pattinson has gone out of his way to prove that there is life after \u003cem>Twilight\u003c/em>. After years spent playing a shimmery, chivalrous vampire, he went all dark and dystopian in art-house chillers like \u003cem>The Rover \u003c/em>and \u003cem>Cosmopolis,\u003c/em> and he recently popped up in a terrific supporting role in \u003cem>The Lost City of Z.\u003c/em> But Pattinson has never undergone a transformation as revelatory as the one he pulls off in \u003cem>Good Time\u003c/em>, a nerve-rattling new thriller from the sibling directors Josh and Benny Safdie.\u003c/p>\n\u003cp>Pattinson plays Connie Nikas, a scuzzy, small-time crook from Queens who saunters through much of the movie sporting a gray hoodie, diamond stud earrings and cheap blond dye job. He is somehow both a catastrophically inept criminal and a quick-thinking improvisational genius, a master at getting himself out of one hair-raising situation only to plunge himself immediately into another.\u003c/p>\n\u003cp>https://youtu.be/upsR80YmwWc\u003c/p>\n\u003cp>Connie’s undoing, as well as his sole redeeming quality, is his love for his hearing-impaired, mentally disabled brother, Nick, played — in a brief but galvanizing performance — by Ben Safdie, doing a nice job of directing himself. We first meet Nick when he is undergoing a psychiatric evaluation, and his gruff, one-line responses to the therapist’s questions are a heartbreaking testimony to years of family neglect and abuse.\u003c/p>\n\u003cp>Connie has suffered the effects of that mistreatment as well, but as played with agitated live-wire intensity by Pattinson, he has clearly chosen to rebel rather than buckle under. Shortly after dragging Nick out of that evaluation, Connie makes him his accomplice in a shockingly clumsy bank robbery, played out with a mixture of tension, dread and dark humor that twists your stomach in knots. As they flee the bank, you can sense Connie’s protectiveness toward Nick, even though it was foolish to endanger him in the first place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But when a frightened Nick draws the attention of police and winds up getting arrested, Connie is left to bust him out of jail. Over the rest of this movie’s lean 100-minute running time, the Safdies sustain a surging narrative momentum, their hand-held camera racing to keep up with the fugitive Connie as he dashes from one desperate encounter to the next.\u003c/p>\n\u003cp>What makes \u003cem>Good Time\u003c/em> such a thrilling action movie is that it’s so minutely attentive to process. We’re never allowed to get ahead of Connie because much of the time, we’re watching him think and maneuver his way out of each new predicament.\u003c/p>\n\u003cp>First, he tries to persuade his naive girlfriend, sharply played by Jennifer Jason Leigh, to post Nick’s bail. When that doesn’t work, he winds up prevailing on the hospitality of a 16-year-old stranger named Crystal, played by Taliah Webster with an amusing shrug of resignation.\u003c/p>\n\u003cp>Later Connie will find himself in reluctant cahoots with a fast-talking ex-con, Ray, played by the almost-too-perfectly named actor Buddy Duress, whose access to a stash of liquid LSD gives Connie an idea for another get-rich-quick scheme.\u003c/p>\n\u003cp>\u003cem>Good Time\u003c/em> is a swift and relentless chase thriller, a sometimes appallingly funny problem-solving exercise and an exhilarating mood piece that harks back to the gritty 1970s crime thrillers of quintessential New York filmmakers like Martin Scorsese, Sidney Lumet and Abel Ferrara. It’s a feverish and enveloping exercise in style, drenched in lurid neon reds and driven by the pure sonic adrenaline of Oneohtrix Point Never’s electronic score. The combination of jittery camerawork and tight, disorienting closeups conveys both freedom of movement and a sense of entrapment.\u003c/p>\n\u003cp>But as brilliantly directed as it is, \u003cem>Good Time\u003c/em> is more than mere flash and energy, and its air of pungent seediness is hardly just for show. In a movie that effortlessly embodies the ethnic and cultural diversity of New York City, it shouldn’t escape our attention that Connie, despite his lowly upbringing, still enjoys a measure of privilege that some of the other characters do not.\u003c/p>\n\u003cp>There’s a scene in which he and Crystal are stopped by police, and the cops proceed to target the black teenager rather than the white bank robber whose face has been plastered all over the news. The Safdie brothers don’t belabor the point. As the movie’s title suggests, they certainly want you to enjoy yourself. But they’ve made the rare genre piece that leaves you feeling more connected to the real world rather than less.\u003c/p>\n\u003cp>\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In recent years, the British heartthrob Robert Pattinson has gone out of his way to prove that there is life after \u003cem>Twilight\u003c/em>. After years spent playing a shimmery, chivalrous vampire, he went all dark and dystopian in art-house chillers like \u003cem>The Rover \u003c/em>and \u003cem>Cosmopolis,\u003c/em> and he recently popped up in a terrific supporting role in \u003cem>The Lost City of Z.\u003c/em> But Pattinson has never undergone a transformation as revelatory as the one he pulls off in \u003cem>Good Time\u003c/em>, a nerve-rattling new thriller from the sibling directors Josh and Benny Safdie.\u003c/p>\n\u003cp>Pattinson plays Connie Nikas, a scuzzy, small-time crook from Queens who saunters through much of the movie sporting a gray hoodie, diamond stud earrings and cheap blond dye job. He is somehow both a catastrophically inept criminal and a quick-thinking improvisational genius, a master at getting himself out of one hair-raising situation only to plunge himself immediately into another.\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/upsR80YmwWc'\n title='//www.youtube.com/embed/upsR80YmwWc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Connie’s undoing, as well as his sole redeeming quality, is his love for his hearing-impaired, mentally disabled brother, Nick, played — in a brief but galvanizing performance — by Ben Safdie, doing a nice job of directing himself. We first meet Nick when he is undergoing a psychiatric evaluation, and his gruff, one-line responses to the therapist’s questions are a heartbreaking testimony to years of family neglect and abuse.\u003c/p>\n\u003cp>Connie has suffered the effects of that mistreatment as well, but as played with agitated live-wire intensity by Pattinson, he has clearly chosen to rebel rather than buckle under. Shortly after dragging Nick out of that evaluation, Connie makes him his accomplice in a shockingly clumsy bank robbery, played out with a mixture of tension, dread and dark humor that twists your stomach in knots. As they flee the bank, you can sense Connie’s protectiveness toward Nick, even though it was foolish to endanger him in the first place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But when a frightened Nick draws the attention of police and winds up getting arrested, Connie is left to bust him out of jail. Over the rest of this movie’s lean 100-minute running time, the Safdies sustain a surging narrative momentum, their hand-held camera racing to keep up with the fugitive Connie as he dashes from one desperate encounter to the next.\u003c/p>\n\u003cp>What makes \u003cem>Good Time\u003c/em> such a thrilling action movie is that it’s so minutely attentive to process. We’re never allowed to get ahead of Connie because much of the time, we’re watching him think and maneuver his way out of each new predicament.\u003c/p>\n\u003cp>First, he tries to persuade his naive girlfriend, sharply played by Jennifer Jason Leigh, to post Nick’s bail. When that doesn’t work, he winds up prevailing on the hospitality of a 16-year-old stranger named Crystal, played by Taliah Webster with an amusing shrug of resignation.\u003c/p>\n\u003cp>Later Connie will find himself in reluctant cahoots with a fast-talking ex-con, Ray, played by the almost-too-perfectly named actor Buddy Duress, whose access to a stash of liquid LSD gives Connie an idea for another get-rich-quick scheme.\u003c/p>\n\u003cp>\u003cem>Good Time\u003c/em> is a swift and relentless chase thriller, a sometimes appallingly funny problem-solving exercise and an exhilarating mood piece that harks back to the gritty 1970s crime thrillers of quintessential New York filmmakers like Martin Scorsese, Sidney Lumet and Abel Ferrara. It’s a feverish and enveloping exercise in style, drenched in lurid neon reds and driven by the pure sonic adrenaline of Oneohtrix Point Never’s electronic score. The combination of jittery camerawork and tight, disorienting closeups conveys both freedom of movement and a sense of entrapment.\u003c/p>\n\u003cp>But as brilliantly directed as it is, \u003cem>Good Time\u003c/em> is more than mere flash and energy, and its air of pungent seediness is hardly just for show. In a movie that effortlessly embodies the ethnic and cultural diversity of New York City, it shouldn’t escape our attention that Connie, despite his lowly upbringing, still enjoys a measure of privilege that some of the other characters do not.\u003c/p>\n\u003cp>There’s a scene in which he and Crystal are stopped by police, and the cops proceed to target the black teenager rather than the white bank robber whose face has been plastered all over the news. The Safdie brothers don’t belabor the point. As the movie’s title suggests, they certainly want you to enjoy yourself. But they’ve made the rare genre piece that leaves you feeling more connected to the real world rather than less.\u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>",
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"title": "ICA's 'Detritus' Looks at What Artists Leave Behind",
"headTitle": "ICA’s ‘Detritus’ Looks at What Artists Leave Behind | KQED",
"content": "\u003cp>It’s a group exhibition of Bay Area artists with a twist: instead of showing artworks, \u003cem>Detritus\u003c/em> displays the byproducts of making. By “byproducts,” I mean objects that might, in some cases, be considered trash — or archival materials worth saving. To the artists of \u003cem>Detritus\u003c/em>, on view at the \u003ca href=\"http://sanjoseica.weebly.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Institute of Contemporary Art\u003c/a> (ICA) through Sept. 10, the latter is a safe bet.\u003c/p>\n\u003cp>With byproducts from more than 100 Bay Area artists, \u003cem>Detritus\u003c/em> represents a hefty survey of regional creatives from multiple career levels. The exhibition shows a substantial commitment to diversity of medium, though the abstract expression-ish paint splatterings get extra attention in a digital slideshow of studio floors.\u003c/p>\n\u003cfigure id=\"attachment_13806962\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200.jpg\" alt=\"Sheila Ghidini, pencil shavings from various drawing projects, 2015-present.\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13806962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-150x150.jpg 150w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sheila Ghidini, pencil shavings from various drawing projects, 2015-present. \u003ccite>(Courtesy of the San Jose Institute of Contemporary Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The art-making leftovers range from amassed pencil shavings to foam-core prototypes, from blooper reels to stacked notebooks, all presented in varying degrees of aestheticized display. However, when surveying the gallery for the first time, it’s not necessarily obvious that this is an exhibition of not-art.\u003c/p>\n\u003cp>\u003cem>Detritus\u003c/em> could easily pass for a contemporary group show. This ambiguity is partially because art audiences are used to blurring the lines between everyday objects and art. Who hasn’t seen a stack of folded clothes placed on a pedestal (courtesy of \u003ca href=\"http://www.surabhisaraf.net\" target=\"_blank\" rel=\"noopener noreferrer\">Surabhi Saraf\u003c/a>) or a pile of lightbulbs on the floor (from \u003ca href=\"http://www.jimcampbell.tv\" target=\"_blank\" rel=\"noopener noreferrer\">Jim Campbell\u003c/a>) in an art institution before?\u003c/p>\n\u003cfigure id=\"attachment_13806967\" class=\"wp-caption alignright\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Install3_1200.jpg\" alt=\"Installation view of 'Detritus.'\" width=\"801\" height=\"1200\" class=\"size-full wp-image-13806967\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install3_1200.jpg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install3_1200-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install3_1200-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install3_1200-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install3_1200-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install3_1200-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install3_1200-520x779.jpg 520w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Detritus.’ \u003ccite>(Courtesy of San Jose Institute of Contemporary Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The other reason \u003cem>Detritus\u003c/em> reads like artwork is because the installation displays its objects like works of art. They benefit from institutional presentation: good lighting, white walls, careful display and labels.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Elevating the artists’ refuse — as a curatorial gesture — could point to the power of art institutions to declare what is or isn’t art, but that topic is more like a curatorial byproduct, if you will. Nor is the sentiment cheeky in nature: \u003cem>Detritus\u003c/em> isn’t trying to pull a fast one on us.\u003c/p>\n\u003cp>Instead, the curatorial statement wonders aloud why artists might save their debris the way they do — though the exhibition doesn’t answer its own question — and considers how to foreground art as labor by de-emphasizing the valued end-product.\u003c/p>\n\u003cp>Only a few of the displays in \u003cem>Detritus\u003c/em> include representation of a final artwork or in-depth written context for the debris. The exhibition brochure also includes nine photographs of finished artworks as an in-gallery scavenger hunt, but which ones seems arbitrary. Without the artists’ actual artworks on view, are viewers missing out?\u003c/p>\n\u003cp>The exhibition brochure, too, makes sure to include all of the artists’ websites, which presumably offers viewers an entryway to pursue further research. But printed URLs are akin telling someone to simply Google a name.\u003c/p>\n\u003cp>At the same time, it’s hard to determine if knowing the artists’ work beforehand changes that much, anyway. In some areas of the gallery, the mass groupings of detritus eliminated a sense of unique authorship. The rows of spray paint cans (\u003ca href=\"http://www.theapexer.com\" target=\"_blank\" rel=\"noopener\">Ricardo Richey\u003c/a>’s), that mound of pencil shavings (from \u003ca href=\"http://www.sheilaghidini.com\" target=\"_blank\" rel=\"noopener\">Sheila Ghidini\u003c/a> and, elsewhere, \u003ca href=\"https://robinkandel.com/\" target=\"_blank\" rel=\"noopener\">Robin Kandel\u003c/a>), and a cylinder of X-Acto blades (\u003ca href=\"http://www.adam5100.com\" target=\"_blank\" rel=\"noopener\">Adam Fiebelman\u003c/a>) all merge together. At best, this display formed a communal identity of “maker.” However, the display also reduced the scraps to purely aesthetic objects, devoid of specificity to the artists and their actual practices.\u003c/p>\n\u003cfigure id=\"attachment_13806964\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Install2_1200.jpg\" alt=\"Installation view of 'Detritus.'\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13806964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Detritus.’ \u003ccite>(Courtesy of the San Jose Institute of Contemporary Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Don’t get me wrong: There’s pleasure in looking at the textures, colors and shapes of art-making materials. Who doesn’t love a giant vial of black glitter, courtesy of \u003ca href=\"http://www.jamievasta.com\" target=\"_blank\" rel=\"noopener\">Jamie Vasta\u003c/a>? Some of the included objects are irresistibly fun, too, like \u003ca href=\"http://www.leahrosenberg.com\" target=\"_blank\" rel=\"noopener\">Leah Rosenberg\u003c/a>’s giant paint-swatch paper. But the weight of any message around art as labor gets lost along the way. Because intrinsic to acknowledging that labor is knowing what’s at stake for the artists.\u003c/p>\n\u003cp>What’s missing from \u003cem>Detritus\u003c/em> is the weight of \u003cem>why\u003c/em> these 100-plus creatives make their art. Why they spend hours upon hours drawing, painting, peeling back blue tape from canvases, saving their twist-ties from clay shipments, and poring through reel after reel of video outtakes. Seeing the pencil shavings from a drawing actually erases the artist’s identity as a maker with a message.\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>\u003cem>‘Detritus’ is on view through Sept. 10, 2017 at the San Jose Institute of Contemporary Art in San Jose. For more information, \u003ca href=\"http://sanjoseica.weebly.com/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A show of 100-plus Bay Area artists displays not their artworks, but the residue of those objects' making, prompting questions about the feasibility of exhibiting artists' labor.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a group exhibition of Bay Area artists with a twist: instead of showing artworks, \u003cem>Detritus\u003c/em> displays the byproducts of making. By “byproducts,” I mean objects that might, in some cases, be considered trash — or archival materials worth saving. To the artists of \u003cem>Detritus\u003c/em>, on view at the \u003ca href=\"http://sanjoseica.weebly.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Institute of Contemporary Art\u003c/a> (ICA) through Sept. 10, the latter is a safe bet.\u003c/p>\n\u003cp>With byproducts from more than 100 Bay Area artists, \u003cem>Detritus\u003c/em> represents a hefty survey of regional creatives from multiple career levels. The exhibition shows a substantial commitment to diversity of medium, though the abstract expression-ish paint splatterings get extra attention in a digital slideshow of studio floors.\u003c/p>\n\u003cfigure id=\"attachment_13806962\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200.jpg\" alt=\"Sheila Ghidini, pencil shavings from various drawing projects, 2015-present.\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13806962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/04_ICA_Detritus_Sheila-Ghidini_1200-150x150.jpg 150w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sheila Ghidini, pencil shavings from various drawing projects, 2015-present. \u003ccite>(Courtesy of the San Jose Institute of Contemporary Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The art-making leftovers range from amassed pencil shavings to foam-core prototypes, from blooper reels to stacked notebooks, all presented in varying degrees of aestheticized display. However, when surveying the gallery for the first time, it’s not necessarily obvious that this is an exhibition of not-art.\u003c/p>\n\u003cp>\u003cem>Detritus\u003c/em> could easily pass for a contemporary group show. This ambiguity is partially because art audiences are used to blurring the lines between everyday objects and art. Who hasn’t seen a stack of folded clothes placed on a pedestal (courtesy of \u003ca href=\"http://www.surabhisaraf.net\" target=\"_blank\" rel=\"noopener noreferrer\">Surabhi Saraf\u003c/a>) or a pile of lightbulbs on the floor (from \u003ca href=\"http://www.jimcampbell.tv\" target=\"_blank\" rel=\"noopener noreferrer\">Jim Campbell\u003c/a>) in an art institution before?\u003c/p>\n\u003cfigure id=\"attachment_13806967\" class=\"wp-caption alignright\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Install3_1200.jpg\" alt=\"Installation view of 'Detritus.'\" width=\"801\" height=\"1200\" class=\"size-full wp-image-13806967\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install3_1200.jpg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install3_1200-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install3_1200-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install3_1200-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install3_1200-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install3_1200-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install3_1200-520x779.jpg 520w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Detritus.’ \u003ccite>(Courtesy of San Jose Institute of Contemporary Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The other reason \u003cem>Detritus\u003c/em> reads like artwork is because the installation displays its objects like works of art. They benefit from institutional presentation: good lighting, white walls, careful display and labels.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Elevating the artists’ refuse — as a curatorial gesture — could point to the power of art institutions to declare what is or isn’t art, but that topic is more like a curatorial byproduct, if you will. Nor is the sentiment cheeky in nature: \u003cem>Detritus\u003c/em> isn’t trying to pull a fast one on us.\u003c/p>\n\u003cp>Instead, the curatorial statement wonders aloud why artists might save their debris the way they do — though the exhibition doesn’t answer its own question — and considers how to foreground art as labor by de-emphasizing the valued end-product.\u003c/p>\n\u003cp>Only a few of the displays in \u003cem>Detritus\u003c/em> include representation of a final artwork or in-depth written context for the debris. The exhibition brochure also includes nine photographs of finished artworks as an in-gallery scavenger hunt, but which ones seems arbitrary. Without the artists’ actual artworks on view, are viewers missing out?\u003c/p>\n\u003cp>The exhibition brochure, too, makes sure to include all of the artists’ websites, which presumably offers viewers an entryway to pursue further research. But printed URLs are akin telling someone to simply Google a name.\u003c/p>\n\u003cp>At the same time, it’s hard to determine if knowing the artists’ work beforehand changes that much, anyway. In some areas of the gallery, the mass groupings of detritus eliminated a sense of unique authorship. The rows of spray paint cans (\u003ca href=\"http://www.theapexer.com\" target=\"_blank\" rel=\"noopener\">Ricardo Richey\u003c/a>’s), that mound of pencil shavings (from \u003ca href=\"http://www.sheilaghidini.com\" target=\"_blank\" rel=\"noopener\">Sheila Ghidini\u003c/a> and, elsewhere, \u003ca href=\"https://robinkandel.com/\" target=\"_blank\" rel=\"noopener\">Robin Kandel\u003c/a>), and a cylinder of X-Acto blades (\u003ca href=\"http://www.adam5100.com\" target=\"_blank\" rel=\"noopener\">Adam Fiebelman\u003c/a>) all merge together. At best, this display formed a communal identity of “maker.” However, the display also reduced the scraps to purely aesthetic objects, devoid of specificity to the artists and their actual practices.\u003c/p>\n\u003cfigure id=\"attachment_13806964\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Install2_1200.jpg\" alt=\"Installation view of 'Detritus.'\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13806964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Install2_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Detritus.’ \u003ccite>(Courtesy of the San Jose Institute of Contemporary Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Don’t get me wrong: There’s pleasure in looking at the textures, colors and shapes of art-making materials. Who doesn’t love a giant vial of black glitter, courtesy of \u003ca href=\"http://www.jamievasta.com\" target=\"_blank\" rel=\"noopener\">Jamie Vasta\u003c/a>? Some of the included objects are irresistibly fun, too, like \u003ca href=\"http://www.leahrosenberg.com\" target=\"_blank\" rel=\"noopener\">Leah Rosenberg\u003c/a>’s giant paint-swatch paper. But the weight of any message around art as labor gets lost along the way. Because intrinsic to acknowledging that labor is knowing what’s at stake for the artists.\u003c/p>\n\u003cp>What’s missing from \u003cem>Detritus\u003c/em> is the weight of \u003cem>why\u003c/em> these 100-plus creatives make their art. Why they spend hours upon hours drawing, painting, peeling back blue tape from canvases, saving their twist-ties from clay shipments, and poring through reel after reel of video outtakes. Seeing the pencil shavings from a drawing actually erases the artist’s identity as a maker with a message.\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>\u003cem>‘Detritus’ is on view through Sept. 10, 2017 at the San Jose Institute of Contemporary Art in San Jose. For more information, \u003ca href=\"http://sanjoseica.weebly.com/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Patti Cake$' i$ $weet But $light",
"headTitle": "‘Patti Cake$’ i$ $weet But $light | KQED",
"content": "\u003cp>The production notes for \u003cem>Patti Cake$\u003c/em> describe the movie’s heroine as “plain and plus-sized.” Plus-sized she may be, but neither Patti Dombrowski, an aspiring rapper in her 20s, nor Danielle Macdonald, the gifted non-rapper who plays her, is plain in any sense unless your definition of beauty begins and ends with Angelina Jolie. The Australian actress, who by the way has expressive green eyes, a fetchingly unruly tangle of blonde curls and a relaxed ease in her own skin, was the best thing about Amy Berg’s nerveless 2015 thriller, \u003cem>Every Secret Thing\u003c/em>, in which she played an acerbic piece of teenaged work. And she’s easily the best thing about \u003cem>Patti Cake$\u003c/em>, a sweet, conventional dramedy gussied up in the grit of New Jersey rap.\u003c/p>\n\u003cp>We meet Patti tending bar, sweeping floors, and fielding an overload of other adult burdens in a working class suburb of New Jersey. Her mother, Barb, played with slatternly brio by cabaret artist and comedian Bridget Everett, is a former rocker who sings like an angel but is drowning in bitterness and booze, and she’s too jealous and dismissive of Patti’s chosen medium to be of any use. The deck is fully stacked against Patti, or Killa P as she means to call herself when she finally breaks into the mostly male, mostly black, mostly inhospitable rap scene whose incumbents — including a nasty specimen she has a crush on — see nothing wrong in calling her Dumbo.\u003c/p>\n\u003cp>https://youtu.be/L-591Dqa48g\u003c/p>\n\u003cp>Team Patti, alas, is cobbled together from a bunch of crudely constructed counter-intuitive types who rarely flesh out into plausible humans. The great Cathy Moriarty surely deserves better than Patti’s unconditionally supportive but ailing Nana, who’s little more than a visual gag in a slightly skewed wig, bellowing ballsy epithets from a wheelchair. The same goes for Patti’s producing partner Jheri, a Southeast-Asian R&B singer and drugstore employee amiably mugged by non-pro actor Siddharth Dhananjay. Not for nothing does Patti, on a disconsolate but mythic wander through thorny woods, stumble on a cabin cluttered with the creative projects of Basterd (Mamoudou Athie), a shy and alienated scion of much wealthier suburbia who styles himself an anarchist and, it turns out, makes music too.\u003c/p>\n\u003cp>Director Geremy Jasper, a music video producer, keeps sidetracking us into fantasy sequences meant to signal Patti’s dreams of upward mobility and a more glittering life than the crushingly mundane world she’s marooned in by class and bad luck. They’re fine, but the director’s strongest impulses are solidly realist, in the loving, rough and ready sense of place he shows for the hometown which he, too, dreamed of escaping and which now feeds his imagination.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For all its jittery attitude and outsider milieu, though, the movie is too bent on pleasing crowds to cohere into a point of view. Indeed the most transgressive thing about \u003cem>Patti Cake$\u003c/em> is the whiteness of its heroine in a black world. While the bit parts are manned by local rappers, this is a story more about gender than it is about race, and Jasper ventures only a little way out on a ledge with that. When all seems lost for Patti, help comes from a black female rapper who has known rejection herself. And such is Macdonald’s range — all the way from vulnerable to mouthy to indomitable (she’s pretty good with Jasper’s feminist rap lyrics too) — that she rises above type to make us wish both Patti, and the versatile actor who plays her, the success they both deserve.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The production notes for \u003cem>Patti Cake$\u003c/em> describe the movie’s heroine as “plain and plus-sized.” Plus-sized she may be, but neither Patti Dombrowski, an aspiring rapper in her 20s, nor Danielle Macdonald, the gifted non-rapper who plays her, is plain in any sense unless your definition of beauty begins and ends with Angelina Jolie. The Australian actress, who by the way has expressive green eyes, a fetchingly unruly tangle of blonde curls and a relaxed ease in her own skin, was the best thing about Amy Berg’s nerveless 2015 thriller, \u003cem>Every Secret Thing\u003c/em>, in which she played an acerbic piece of teenaged work. And she’s easily the best thing about \u003cem>Patti Cake$\u003c/em>, a sweet, conventional dramedy gussied up in the grit of New Jersey rap.\u003c/p>\n\u003cp>We meet Patti tending bar, sweeping floors, and fielding an overload of other adult burdens in a working class suburb of New Jersey. Her mother, Barb, played with slatternly brio by cabaret artist and comedian Bridget Everett, is a former rocker who sings like an angel but is drowning in bitterness and booze, and she’s too jealous and dismissive of Patti’s chosen medium to be of any use. The deck is fully stacked against Patti, or Killa P as she means to call herself when she finally breaks into the mostly male, mostly black, mostly inhospitable rap scene whose incumbents — including a nasty specimen she has a crush on — see nothing wrong in calling her Dumbo.\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/L-591Dqa48g'\n title='//www.youtube.com/embed/L-591Dqa48g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Team Patti, alas, is cobbled together from a bunch of crudely constructed counter-intuitive types who rarely flesh out into plausible humans. The great Cathy Moriarty surely deserves better than Patti’s unconditionally supportive but ailing Nana, who’s little more than a visual gag in a slightly skewed wig, bellowing ballsy epithets from a wheelchair. The same goes for Patti’s producing partner Jheri, a Southeast-Asian R&B singer and drugstore employee amiably mugged by non-pro actor Siddharth Dhananjay. Not for nothing does Patti, on a disconsolate but mythic wander through thorny woods, stumble on a cabin cluttered with the creative projects of Basterd (Mamoudou Athie), a shy and alienated scion of much wealthier suburbia who styles himself an anarchist and, it turns out, makes music too.\u003c/p>\n\u003cp>Director Geremy Jasper, a music video producer, keeps sidetracking us into fantasy sequences meant to signal Patti’s dreams of upward mobility and a more glittering life than the crushingly mundane world she’s marooned in by class and bad luck. They’re fine, but the director’s strongest impulses are solidly realist, in the loving, rough and ready sense of place he shows for the hometown which he, too, dreamed of escaping and which now feeds his imagination.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For all its jittery attitude and outsider milieu, though, the movie is too bent on pleasing crowds to cohere into a point of view. Indeed the most transgressive thing about \u003cem>Patti Cake$\u003c/em> is the whiteness of its heroine in a black world. While the bit parts are manned by local rappers, this is a story more about gender than it is about race, and Jasper ventures only a little way out on a ledge with that. When all seems lost for Patti, help comes from a black female rapper who has known rejection herself. And such is Macdonald’s range — all the way from vulnerable to mouthy to indomitable (she’s pretty good with Jasper’s feminist rap lyrics too) — that she rises above type to make us wish both Patti, and the versatile actor who plays her, the success they both deserve.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Campo Santo Channels Banksy and Descartes in 'Ethos de Masquerade'",
"headTitle": "Campo Santo Channels Banksy and Descartes in ‘Ethos de Masquerade’ | KQED",
"content": "\u003cp>Campo Santo’s beautiful, straightforward, and oblique performance piece \u003ca href=\"https://www.facebook.com/camposantosf/?hc_ref=ART40FT36mTKczAoR-BAgokIB_Bdz961OarpLzrJPVRVTHUIogF3T9T8M08k0lwxsrQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ethos de Masquerade\u003c/em>\u003c/a> begins with choreographer Rashad Pridgen slithering on stage in a costume that makes him resemble something between a street bum and the infamous graffiti artist and anarchist Banksy.\u003c/p>\n\u003cp>That Pridgen’s face is masked, that he seems full of bonhomie with a sly hint of outlaw danger — he’s got a cigar and offers swigs of alcohol to the audience — only adds to the allure. In a show that directly addresses contemporary, hot-button issues such as gentrification, feminism, racial inequality, and AIDS, the thing that dances before our eyes is a mystery.\u003c/p>\n\u003cp>Right from the start, there is a\u003cem> \u003c/em>serious tension between the symbolic and the singular facts of the street that gives \u003cem>Ethos de Masquerade\u003c/em> a strange realism.\u003c/p>\n\u003cfigure id=\"attachment_13806179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806179\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-800x449.jpg\" alt=\"Rashad Pridgen opens the show masked and armed with a cigar and liquor.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rashad Pridgen opens the show masked and armed with a cigar and liquor. \u003ccite>(Photo: Destiny Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You can feel it in the way the excellent six dancer-actors perform. They seem both an abstraction — dressed alike and almost militaristic in their precision and movements — and a group of friends just casually talking about the world as they stroll through the city. They point to all the ways the city around them has changed and we feel as if we are with them, that they are just friendly guides — “Look up: things are gone.”\u003c/p>\n\u003cp>The performers’ lament isn’t so much an anti-gentrification screed as it is the wonder of a world ripped right out from under them. The delivery is stylized, but it has the feel of casual talk. And that tonal control allows the performers to get away with polemical lines like, “We don’t bury our dead, we build over them,” as well as references to Japanese internment camps and Jonestown.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Part of the pleasure of \u003cem>Ethos de Masquerade\u003c/em> is how it sneaks up on you, how you find yourself in conversation with the piece without the kind of windup you might have in a more traditional play.\u003c/p>\n\u003cp>Pridgen and co-directors Sean San José and Star Finch just let everything move along. And yet, from the performers to the choreography to the design, the production is so self-assured that it seems as if it isn’t happening. Or put another way, the subject matter of the show is one of extreme distress, but the aesthetic is as sly as a Bossa Nova tune.\u003c/p>\n\u003cfigure id=\"attachment_13806162\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806162\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-800x449.jpg\" alt=\"(L to R) Britney Frazier, Dezi Soley, and Delina Patrice Brooks.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Britney Frazier, Dezi Soléy, and Delina Patrice Brooks. \u003ccite>(Photo: Destiny Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Pridgen conceived of and choreographed the piece, the script is the product of what seems an army of authors — Luis Alfaro, Colman Domingo, co-directors Finch and San José, Chinaka Hodge, A.M. Smiley, and Pridgen. And that’s not even mentioning the fine videography (Joan Osato) and sound design (Juan Wonway Posibul Amador), as well as costumes (Pridgen and Mary Hougue) that literally seem to rise out of the set and the performers’ bodies. If there ever were a piece that challenges forms of authorship and authority, this is it. The collective speaking in concert is what shines here.\u003c/p>\n\u003cp>In the last section, San José tells a story about his mother’s death from AIDS that is as offhand and harrowing as you could imagine. I could devote an entire essay just to the intensity of San José’s eyes; I’m not sure his pupils ever moved. At first, the shift in focus is off-putting. What we’re hearing feels too specific, too much one man’s story. But that story soon encompasses others (patient zero, Sylvester, Reza Abdoh), just as the disease eventually made its way through to the whole of the world.\u003c/p>\n\u003cfigure id=\"attachment_13806182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806182\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-800x453.jpg\" alt=\"Britney Frazier clothed for a causal and unusual nightclub.\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157.jpg 1984w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Britney Frazier clothed for a causal and unusual nightclub. \u003ccite>(Photo: Destiny Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then we’re invited to a giant nightclub in the sky. Pridgen, in the last of many unbelievable costumes, leads the way, followed and supported by the talented cast, and finally members of the audience. Audience participation is rarely natural. But the night I experienced the show, we weren’t even asked to join; people just spontaneously started dancing.\u003c/p>\n\u003cp>The almost classical construction of \u003cem>Ethos de Masquerade\u003c/em>, its balance of intellectual distance and in-the-moment heat, allows for the seemingly impossible — a nightclub of respect, order, and joy. It’s as if René Descartes had written a dance poem in the form of a beautiful equation: “We think therefore we are.”\u003c/p>\n\u003cp>And the thing that dances, that appears to be us, too.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Ethos de Masquerade’ runs Friday, Aug. 25 through Sunday, Aug. 27 at the Strand Theater in San Francisco. For tickets and information \u003ca href=\"http://ethosdemasquerade.brownpapertickets.com\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A serious tension between the symbolic and the singular facts of the street gives this brilliant show about gentrification and other hot-button issues a strange realism.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Campo Santo’s beautiful, straightforward, and oblique performance piece \u003ca href=\"https://www.facebook.com/camposantosf/?hc_ref=ART40FT36mTKczAoR-BAgokIB_Bdz961OarpLzrJPVRVTHUIogF3T9T8M08k0lwxsrQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ethos de Masquerade\u003c/em>\u003c/a> begins with choreographer Rashad Pridgen slithering on stage in a costume that makes him resemble something between a street bum and the infamous graffiti artist and anarchist Banksy.\u003c/p>\n\u003cp>That Pridgen’s face is masked, that he seems full of bonhomie with a sly hint of outlaw danger — he’s got a cigar and offers swigs of alcohol to the audience — only adds to the allure. In a show that directly addresses contemporary, hot-button issues such as gentrification, feminism, racial inequality, and AIDS, the thing that dances before our eyes is a mystery.\u003c/p>\n\u003cp>Right from the start, there is a\u003cem> \u003c/em>serious tension between the symbolic and the singular facts of the street that gives \u003cem>Ethos de Masquerade\u003c/em> a strange realism.\u003c/p>\n\u003cfigure id=\"attachment_13806179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806179\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-800x449.jpg\" alt=\"Rashad Pridgen opens the show masked and armed with a cigar and liquor.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rashad Pridgen opens the show masked and armed with a cigar and liquor. \u003ccite>(Photo: Destiny Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You can feel it in the way the excellent six dancer-actors perform. They seem both an abstraction — dressed alike and almost militaristic in their precision and movements — and a group of friends just casually talking about the world as they stroll through the city. They point to all the ways the city around them has changed and we feel as if we are with them, that they are just friendly guides — “Look up: things are gone.”\u003c/p>\n\u003cp>The performers’ lament isn’t so much an anti-gentrification screed as it is the wonder of a world ripped right out from under them. The delivery is stylized, but it has the feel of casual talk. And that tonal control allows the performers to get away with polemical lines like, “We don’t bury our dead, we build over them,” as well as references to Japanese internment camps and Jonestown.\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 pleasure of \u003cem>Ethos de Masquerade\u003c/em> is how it sneaks up on you, how you find yourself in conversation with the piece without the kind of windup you might have in a more traditional play.\u003c/p>\n\u003cp>Pridgen and co-directors Sean San José and Star Finch just let everything move along. And yet, from the performers to the choreography to the design, the production is so self-assured that it seems as if it isn’t happening. Or put another way, the subject matter of the show is one of extreme distress, but the aesthetic is as sly as a Bossa Nova tune.\u003c/p>\n\u003cfigure id=\"attachment_13806162\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806162\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-800x449.jpg\" alt=\"(L to R) Britney Frazier, Dezi Soley, and Delina Patrice Brooks.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Britney Frazier, Dezi Soléy, and Delina Patrice Brooks. \u003ccite>(Photo: Destiny Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Pridgen conceived of and choreographed the piece, the script is the product of what seems an army of authors — Luis Alfaro, Colman Domingo, co-directors Finch and San José, Chinaka Hodge, A.M. Smiley, and Pridgen. And that’s not even mentioning the fine videography (Joan Osato) and sound design (Juan Wonway Posibul Amador), as well as costumes (Pridgen and Mary Hougue) that literally seem to rise out of the set and the performers’ bodies. If there ever were a piece that challenges forms of authorship and authority, this is it. The collective speaking in concert is what shines here.\u003c/p>\n\u003cp>In the last section, San José tells a story about his mother’s death from AIDS that is as offhand and harrowing as you could imagine. I could devote an entire essay just to the intensity of San José’s eyes; I’m not sure his pupils ever moved. At first, the shift in focus is off-putting. What we’re hearing feels too specific, too much one man’s story. But that story soon encompasses others (patient zero, Sylvester, Reza Abdoh), just as the disease eventually made its way through to the whole of the world.\u003c/p>\n\u003cfigure id=\"attachment_13806182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806182\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-800x453.jpg\" alt=\"Britney Frazier clothed for a causal and unusual nightclub.\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157.jpg 1984w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Britney Frazier clothed for a causal and unusual nightclub. \u003ccite>(Photo: Destiny Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then we’re invited to a giant nightclub in the sky. Pridgen, in the last of many unbelievable costumes, leads the way, followed and supported by the talented cast, and finally members of the audience. Audience participation is rarely natural. But the night I experienced the show, we weren’t even asked to join; people just spontaneously started dancing.\u003c/p>\n\u003cp>The almost classical construction of \u003cem>Ethos de Masquerade\u003c/em>, its balance of intellectual distance and in-the-moment heat, allows for the seemingly impossible — a nightclub of respect, order, and joy. It’s as if René Descartes had written a dance poem in the form of a beautiful equation: “We think therefore we are.”\u003c/p>\n\u003cp>And the thing that dances, that appears to be us, too.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Ethos de Masquerade’ runs Friday, Aug. 25 through Sunday, Aug. 27 at the Strand Theater in San Francisco. For tickets and information \u003ca href=\"http://ethosdemasquerade.brownpapertickets.com\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'What Carter Lost' Tells The True Story Of 'Friday Night Lights' Football Rivals",
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"content": "\u003cp>A lot of people already know the story of \u003cem>Friday Night Lights\u003c/em>, in which a West Texas high school fights for the state football title. It started as \u003ca href=\"http://www.npr.org/2015/08/03/428085798/reflecting-on-football-and-addiction-as-friday-night-lights-turns-25\" target=\"_blank\" rel=\"noopener\">a nonfiction book\u003c/a>, then it became a movie (with Billy Bob Thornton as the coach) and finally a TV series. In the film, Thornton tells his team that to win state, they’ll have to beat “a team of monsters” from Carter High School in Dallas (which they fail to do). \u003c/p>\n\u003cp>Carter High School is really an afterthought in \u003cem>Friday Night Lights —\u003c/em> the evil, thug-like team that stole a championship. But if you look at the real team’s journey to the 1988 state title, you’ll find a story about race and the pressures young athletes face — a story Adam Hootnick explores in his documentary \u003cem>What Carter Lost\u003c/em>.\u003c/p>\n\u003cp>“The number of scholarships they got, the number of guys who went on to play some form of professional football — by every measure this was one of the greats,” Hootnick says of the school’s reputation. \u003c/p>\n\u003cp>Carter served a black, middle-class neighborhood in Dallas. According to Hootnick, it was “mostly two-parent families, mostly professionals. … The joke was the student parking lot was a heck of a lot nicer than the teacher parking lot.”\u003c/p>\n\u003cp>But there was trouble during that season’s playoffs when questions arose about a Carter player’s algebra grade. The other, mostly white schools fought a legal battle to kick Carter out of the playoffs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There is no question that if Carter had been one of the predominantly white schools that was always there, everything would have been handled differently,” Hootnick says.\u003c/p>\n\u003cp>Parents, teachers and school officials fought back, and in the end Carter was allowed to play. Carter won the state title — but the story doesn’t end there.\u003c/p>\n\u003cp>“After the roller coaster of this season and postseason,” Hootnick explains, “you had a few guys on that team really, to my mind, inexplicably going and joining an armed robbery ring for pretty much no reason. You know, they were middle-class kids, they had cars, they had all the clothes they want. But I think they weren’t ready for the adventure to be done. … I think at some level they were chasing a rush.”\u003c/p>\n\u003cp>The players were arrested, tried and convicted. \u003c/p>\n\u003cp>“I don’t think you can fall much further,” Hootnick says, “and I say that in part because of the level of the pedestal that, as a Texas high school football star, that’s almost as big as it gets.”\u003c/p>\n\u003cp>In the film, Hootnick interviews Texas high school football stars who went on to play professionally. He says, “These guys talk about the fact that no matter how far they went after playing big time Texas high school football, there was no crowd that felt more intense, there was no game that felt bigger than their biggest games in their Texas high school careers. So the level of attention and adoration and intensity around that experience — for a lot of people, that’s the top. And so to fall from grace like that, that’s a long way down.”\u003c/p>\n\u003cp>In the end, six Carter players served time in prison. Many of them talk in the documentary about how much they lost and how they’ve tried to rebuild their lives. \u003c/p>\n\u003cp>Carter was ultimately stripped of its 1988 state title, and there’s no doubt that the Carter community’s fight to defend its reputation got a lot harder because of what those young men did. To Hootnick, some of the story’s unsung heroes are the parents who fought to keep the team in the playoffs.\u003c/p>\n\u003cp>“I think that fight for them was not just about wanting to see their football team win, but about resisting being caricatured in a way, and saying, ‘We’re not cheaters. We’re not thugs.’ … So the way that those parents were undercut after everything they did to keep that team on the field and to try to put forward their version of who they were — to have that all undone, you know, I think that’s the story that’s never been told.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Emily Ochsenschlager and Jessica Smith produced and edited this interview for broadcast, and Nicole Cohen adapted it for the Web.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=%27What+Carter+Lost%27+Tells+The+True+Story+Of+%27Friday+Night+Lights%27+Football+Rivals&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of people already know the story of \u003cem>Friday Night Lights\u003c/em>, in which a West Texas high school fights for the state football title. It started as \u003ca href=\"http://www.npr.org/2015/08/03/428085798/reflecting-on-football-and-addiction-as-friday-night-lights-turns-25\" target=\"_blank\" rel=\"noopener\">a nonfiction book\u003c/a>, then it became a movie (with Billy Bob Thornton as the coach) and finally a TV series. In the film, Thornton tells his team that to win state, they’ll have to beat “a team of monsters” from Carter High School in Dallas (which they fail to do). \u003c/p>\n\u003cp>Carter High School is really an afterthought in \u003cem>Friday Night Lights —\u003c/em> the evil, thug-like team that stole a championship. But if you look at the real team’s journey to the 1988 state title, you’ll find a story about race and the pressures young athletes face — a story Adam Hootnick explores in his documentary \u003cem>What Carter Lost\u003c/em>.\u003c/p>\n\u003cp>“The number of scholarships they got, the number of guys who went on to play some form of professional football — by every measure this was one of the greats,” Hootnick says of the school’s reputation. \u003c/p>\n\u003cp>Carter served a black, middle-class neighborhood in Dallas. According to Hootnick, it was “mostly two-parent families, mostly professionals. … The joke was the student parking lot was a heck of a lot nicer than the teacher parking lot.”\u003c/p>\n\u003cp>But there was trouble during that season’s playoffs when questions arose about a Carter player’s algebra grade. The other, mostly white schools fought a legal battle to kick Carter out of the playoffs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There is no question that if Carter had been one of the predominantly white schools that was always there, everything would have been handled differently,” Hootnick says.\u003c/p>\n\u003cp>Parents, teachers and school officials fought back, and in the end Carter was allowed to play. Carter won the state title — but the story doesn’t end there.\u003c/p>\n\u003cp>“After the roller coaster of this season and postseason,” Hootnick explains, “you had a few guys on that team really, to my mind, inexplicably going and joining an armed robbery ring for pretty much no reason. You know, they were middle-class kids, they had cars, they had all the clothes they want. But I think they weren’t ready for the adventure to be done. … I think at some level they were chasing a rush.”\u003c/p>\n\u003cp>The players were arrested, tried and convicted. \u003c/p>\n\u003cp>“I don’t think you can fall much further,” Hootnick says, “and I say that in part because of the level of the pedestal that, as a Texas high school football star, that’s almost as big as it gets.”\u003c/p>\n\u003cp>In the film, Hootnick interviews Texas high school football stars who went on to play professionally. He says, “These guys talk about the fact that no matter how far they went after playing big time Texas high school football, there was no crowd that felt more intense, there was no game that felt bigger than their biggest games in their Texas high school careers. So the level of attention and adoration and intensity around that experience — for a lot of people, that’s the top. And so to fall from grace like that, that’s a long way down.”\u003c/p>\n\u003cp>In the end, six Carter players served time in prison. Many of them talk in the documentary about how much they lost and how they’ve tried to rebuild their lives. \u003c/p>\n\u003cp>Carter was ultimately stripped of its 1988 state title, and there’s no doubt that the Carter community’s fight to defend its reputation got a lot harder because of what those young men did. To Hootnick, some of the story’s unsung heroes are the parents who fought to keep the team in the playoffs.\u003c/p>\n\u003cp>“I think that fight for them was not just about wanting to see their football team win, but about resisting being caricatured in a way, and saying, ‘We’re not cheaters. We’re not thugs.’ … So the way that those parents were undercut after everything they did to keep that team on the field and to try to put forward their version of who they were — to have that all undone, you know, I think that’s the story that’s never been told.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Emily Ochsenschlager and Jessica Smith produced and edited this interview for broadcast, and Nicole Cohen adapted it for the Web.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=%27What+Carter+Lost%27+Tells+The+True+Story+Of+%27Friday+Night+Lights%27+Football+Rivals&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Pamela Adlon Started Working at Age 9, But 'Better Things' Happened at 50",
"headTitle": "Pamela Adlon Started Working at Age 9, But ‘Better Things’ Happened at 50 | KQED",
"content": "\u003cp>Actress Pamela Adlon has grown a successful TV career over decades, without ever becoming the stereotype of a tabloid starlet hounded by paparazzi. She starred in \u003cem>Californication,\u003c/em> co-created \u003cem>Louie\u003c/em> with comedian Louis C.K., and won an Emmy for her voice-over work as 12-year-old Bobby Hill on the animated show \u003cem>King of the Hill.\u003c/em> Now she’s doing the most personal work of her life, with the comedy, \u003cem>Better Things.\u003c/em>\u003c/p>\n\u003cp>On the show, Adlon plays Sam, a single mom raising three daughters, with a mother who lives across the street. In real life, Adlon has raised three daughters on her own, and her mother lives across the street. In the credits of \u003cem>Better Things,\u003c/em> Adlon has four titles: actress, writer, director, producer.\u003c/p>\n\u003cp>While some TV programs seem created by committee with a team of network executives, \u003cem>Better Things\u003c/em> is 100 percent Adlon. “This show came out of my vagina!” she shouts in her familiar raspy voice.\u003c/p>\n\u003cp>When we meet Adlon, she is dressed exactly like her character on the show. Her team is doing the final touch-ups on season two, which airs on FX in mid-September. The first season won a Peabody, and Adlon just received an Emmy nomination for Outstanding Leading Actress in a Comedy Series. Her post-production offices are in a nondescript, brutalist concrete building that looks like it was suddenly abandoned 20 years ago. On the floor where Adlon works, there are half-dismantled cubicles and floppy disks scattered on the stained carpet.\u003c/p>\n\u003cp>“I’ve done photo shoots in here. I take people over and I threw the disks at the photographer,” she says. But it’s not as lowbrow as it looks. “Seth Rogen’s right down the hall!”\u003c/p>\n\u003cfigure id=\"attachment_13806149\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-800x534.jpg\" alt=\"Some of the scenes in 'Better Things' were inspired by experiences Adlon had with her own daughters. Adlon is pictured above with Olivia Edward, who plays Duke.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13806149\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some of the scenes in ‘Better Things’ were inspired by experiences Adlon had with her own daughters. Adlon is pictured above with Olivia Edward, who plays Duke. \u003ccite>(Colleen Hayes/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She leads us into the room where she’s reviewing the season two premiere. As the episode begins, she explains the personal significance of each camera shot. Some reflect memories of her own daughters, scenes that she recreated with the actresses playing her TV daughters. Even the opening credits are in her own handwriting. “That’s my favorite color, green,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If the show feels authentic, that’s because even the set decorations come from Adlon’s real life. She points out art on the walls painted by her real-life handy man. Characters hold vintage glasses that Adlon collected over the years. After a line of dialogue from Adlon’s TV mother gets a laugh, Adlon says, “That’s what my mother says about my dad … I’m really a fraud, because all I do is just document what my mother says.”\u003c/p>\n\u003cp>Scene by scene, Adlon notes where the sound of a party should be louder, or when the music in a scene hits the wrong emotional note. She also provides a running commentary on the characters’ inner lives. “There should be drinking games for my show that every time Sam takes a deep breath, when she gets a foot to her stomach, take a shot!”\u003c/p>\n\u003cp>When bagels arrive, Adlon insists that everybody stop and eat. Most of the people on her team are women. So are all of the leading actors on \u003cem>Better Things.\u003c/em> That’s still unusual in Hollywood. “I’m the boss of everything on my show and I still feel that weird woman thing,” she says.\u003c/p>\n\u003cp>“Patty Scanlon who plays one of my friends in the show gave me a T-shirt last year that says ‘CEO’ and I was wearing it one day,” says Adlon, “And some guy came up and was like are you the CEO? And I was like, ‘Yes! What are you talking about?’ ”\u003c/p>\n\u003cp>Adlon is defying Hollywood expectations in other ways, too. “Why am I not on the scrap heap, why did everything start happening for me at 50?” she asks. “Isn’t that crazy? You have to work very, very hard. I’ve been working since I’m 9 years old.”\u003c/p>\n\u003cp>\u003cem>Better Things\u003c/em> deals with the realities of aging, and motherhood, and friendship, in a subtle way. There are no cliffhangers, and few dramatic plot twists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I want to elevate the mundane,” Adlon says. “That’s what you’re seeing. This is the way I live my life.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Pamela+Adlon+Started+Working+At+Age+9%2C+But+%27Better+Things%27+Happened+At+50&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Adlon has four titles in the credits of the FX comedy series 'Better Things:' actress, writer, director and producer. \"I want to elevate the mundane ...\" she says. \"This is the way I live my life.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actress Pamela Adlon has grown a successful TV career over decades, without ever becoming the stereotype of a tabloid starlet hounded by paparazzi. She starred in \u003cem>Californication,\u003c/em> co-created \u003cem>Louie\u003c/em> with comedian Louis C.K., and won an Emmy for her voice-over work as 12-year-old Bobby Hill on the animated show \u003cem>King of the Hill.\u003c/em> Now she’s doing the most personal work of her life, with the comedy, \u003cem>Better Things.\u003c/em>\u003c/p>\n\u003cp>On the show, Adlon plays Sam, a single mom raising three daughters, with a mother who lives across the street. In real life, Adlon has raised three daughters on her own, and her mother lives across the street. In the credits of \u003cem>Better Things,\u003c/em> Adlon has four titles: actress, writer, director, producer.\u003c/p>\n\u003cp>While some TV programs seem created by committee with a team of network executives, \u003cem>Better Things\u003c/em> is 100 percent Adlon. “This show came out of my vagina!” she shouts in her familiar raspy voice.\u003c/p>\n\u003cp>When we meet Adlon, she is dressed exactly like her character on the show. Her team is doing the final touch-ups on season two, which airs on FX in mid-September. The first season won a Peabody, and Adlon just received an Emmy nomination for Outstanding Leading Actress in a Comedy Series. Her post-production offices are in a nondescript, brutalist concrete building that looks like it was suddenly abandoned 20 years ago. On the floor where Adlon works, there are half-dismantled cubicles and floppy disks scattered on the stained carpet.\u003c/p>\n\u003cp>“I’ve done photo shoots in here. I take people over and I threw the disks at the photographer,” she says. But it’s not as lowbrow as it looks. “Seth Rogen’s right down the hall!”\u003c/p>\n\u003cfigure id=\"attachment_13806149\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-800x534.jpg\" alt=\"Some of the scenes in 'Better Things' were inspired by experiences Adlon had with her own daughters. Adlon is pictured above with Olivia Edward, who plays Duke.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13806149\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some of the scenes in ‘Better Things’ were inspired by experiences Adlon had with her own daughters. Adlon is pictured above with Olivia Edward, who plays Duke. \u003ccite>(Colleen Hayes/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She leads us into the room where she’s reviewing the season two premiere. As the episode begins, she explains the personal significance of each camera shot. Some reflect memories of her own daughters, scenes that she recreated with the actresses playing her TV daughters. Even the opening credits are in her own handwriting. “That’s my favorite color, green,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If the show feels authentic, that’s because even the set decorations come from Adlon’s real life. She points out art on the walls painted by her real-life handy man. Characters hold vintage glasses that Adlon collected over the years. After a line of dialogue from Adlon’s TV mother gets a laugh, Adlon says, “That’s what my mother says about my dad … I’m really a fraud, because all I do is just document what my mother says.”\u003c/p>\n\u003cp>Scene by scene, Adlon notes where the sound of a party should be louder, or when the music in a scene hits the wrong emotional note. She also provides a running commentary on the characters’ inner lives. “There should be drinking games for my show that every time Sam takes a deep breath, when she gets a foot to her stomach, take a shot!”\u003c/p>\n\u003cp>When bagels arrive, Adlon insists that everybody stop and eat. Most of the people on her team are women. So are all of the leading actors on \u003cem>Better Things.\u003c/em> That’s still unusual in Hollywood. “I’m the boss of everything on my show and I still feel that weird woman thing,” she says.\u003c/p>\n\u003cp>“Patty Scanlon who plays one of my friends in the show gave me a T-shirt last year that says ‘CEO’ and I was wearing it one day,” says Adlon, “And some guy came up and was like are you the CEO? And I was like, ‘Yes! What are you talking about?’ ”\u003c/p>\n\u003cp>Adlon is defying Hollywood expectations in other ways, too. “Why am I not on the scrap heap, why did everything start happening for me at 50?” she asks. “Isn’t that crazy? You have to work very, very hard. I’ve been working since I’m 9 years old.”\u003c/p>\n\u003cp>\u003cem>Better Things\u003c/em> deals with the realities of aging, and motherhood, and friendship, in a subtle way. There are no cliffhangers, and few dramatic plot twists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I want to elevate the mundane,” Adlon says. “That’s what you’re seeing. This is the way I live my life.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Pamela+Adlon+Started+Working+At+Age+9%2C+But+%27Better+Things%27+Happened+At+50&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In Kogonada’s 'Columbus,' a Humanist’s Ode to Modern Architecture",
"headTitle": "In Kogonada’s ‘Columbus,’ a Humanist’s Ode to Modern Architecture | KQED",
"content": "\u003cp>The American Dream collides with the American Nightmare in \u003ca href=\"http://kogonada.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kogonada\u003c/a>‘s feature film debut \u003cem>Columbus\u003c/em>. That’s Columbus, Indiana — not Ohio. If you’re not a self-professed “architecture nerd” like the director, maybe you’ve never heard of this Midwestern town with a population of approximately 46,000 inhabitants. If you are, you know some of the 20th century’s greatest modernist architects designed schools, houses, office buildings and churches in Columbus, Indiana, making it an unexpected mecca for the medium.\u003c/p>\n\u003cp>Kogonada films these structures reverently. His camera lingers on their facades, often for minutes at a time. He wants the viewer to take them in, to appreciate the achievements of modernists like Eliel and Eero Saarinen, Robert A.M. Stern, I. M. Pei, Gunnar Birkerts and Harry Weese. But \u003cem>Columbus\u003c/em> isn’t a documentary or a biopic about any of these towering figures. Nor does it expand much on the history or motivations of J. Irwin Miller, the local industrialist who encouraged the architects to build there.\u003c/p>\n\u003cfigure id=\"attachment_13804890\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804890\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field.jpg\" alt=\"Haley Lu Richardson and John Cho in 'Columbus.'\" width=\"1200\" height=\"649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Haley Lu Richardson and John Cho in ‘Columbus.’ \u003ccite>(Photo by Elisha Christian; Courtesy of Superlative Films, Depth of Field)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, Kogonada — also responsible for the screenplay — places two characters, like living chess pieces, inside and against the visual riches of this skyline. Jin (John Cho) and Casey (Haley Lu Richardson), both adrift for different reasons, warm their backdrops — environments made of glass, steel and concrete. Thematically, the filmmaker draws inspiration from the Japanese director Yasujirō Ozu. There’s an epigraph from Ozu’s \u003cem>Tokyo Story\u003c/em> that applies to both filmmakers: “As long as life goes on, relationships between parents and children will bring boundless joy and endless grief.”\u003c/p>\n\u003cp>Jin arrives in town after his father, a visiting architect giving a lecture, unexpectedly falls ill. Father and son haven’t been close, and this trip only further dislocates Jin as a stranger in a strange land. In a phone interview, the director talked about Cho’s reaction to his script, “I remember him saying to me, ‘As I get older, I just want to play quiet more.’ I want for him to have that chance to show us that range, which is so important. Most Asian American males that I know are really thoughtful, reflective, existential people who have these kind of conversations. And some of us know martial arts as well but we’re also mostly wrestling with what it means to be human. And I hardly ever see us having that kind of conversation. I want to see that more.”\u003c/p>\n\u003cfigure id=\"attachment_13804892\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804892\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field1.jpg\" alt=\"Haley Lu Richardson and John Cho in 'Columbus.'\" width=\"600\" height=\"325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field1.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field1-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field1-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field1-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field1-520x282.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Haley Lu Richardson and John Cho in ‘Columbus.’ \u003ccite>(Photo by Elisha Christian; Courtesy of Superlative Films, Depth of Field)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Casey spots Jin outside the hospital. After they share a cigarette, the symbol of a lighted spark, she offers to be his tour guide on an architectural odyssey through the town. Both characters are facing down damaged relationships with a parent. For her part, Casey is a recent high school graduate working in a library while she figures out what, if anything, comes next for her. She’s comfortable in Columbus, but she’s also holding herself back from venturing beyond its borders and away from her mother.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The mirroring drama that plays out between Casey and Jin is hushed. Despite the grandeur of these architectural monuments to human achievement, something forlorn and melancholy pervades the landscape. Kogonada addressed this unspoken contradiction: “There is something about the city of Columbus that really embodies both the hope and the limits of the fact that it’s not a dream fulfilled. That it didn’t create a sort of utopian town. It has its problems.” The director captures one exquisite exterior after another, yet he also includes portraits of the inner working life of the city: maids, factory workers and one character with a dispiriting backstory of methamphetamine addiction.\u003c/p>\n\u003cfigure id=\"attachment_13804891\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804891\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field.jpg\" alt=\"John Cho in 'Columbus.' \" width=\"960\" height=\"519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field-520x281.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">John Cho in ‘Columbus.’ \u003ccite>(Photo by Elisha Christian; Courtesy of Superlative Films, Depth of Field)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kogonada includes this story-line without a trace of melodrama. Before \u003ci>Columbus\u003c/i>, the director was known for his short film collages for the Criterion Collection and \u003ci>Sight & Sound\u003c/i>, including homages to \u003ca href=\"http://kogonada.com/portfolio/linklater/on-cinema-time\" target=\"_blank\" rel=\"noopener noreferrer\">Richard Linklater\u003c/a> and Ozu, directors he admires and, with this first film, emulates. More than a film nerd, he’s a devoted cinephile: “Most films are an escape from everyday life and when you walk back out into the world … sometimes everyday life feels unbearable. It feels so slow and feels so undramatic that you just want to see another movie. But the thing about Ozu is after I would leave one of his films, I would walk back into the world of everyday life, and that world would feel actually more meaningful, and almost more poetic.”\u003c/p>\n\u003cp>Jin and Casey carry that cinematic somnolence with them, even when they meet during daylight hours. It’s the kind of leisurely discourse Jim Jarmusch’s characters share, as if the hurried present can’t find a way to intrude inside the film’s moving frames or the theater itself. To achieve this effect, the director said, “I knew that we were going to shoot wider, but it felt really important to me that it didn’t feel like an alienating film.” Instead, \u003cem>Columbus\u003c/em> is comforting, familiar.\u003c/p>\n\u003cp>To get the film\u003cem> \u003c/em>produced, Kogonada made an unassuming pitch: “I said, ‘I want to make a bowl of ramen.’ That might seem modest. That might not even seem like it should be a meal, or a film, but it’s the kind of meal that hopefully will stay with you and you’ll just want to have it again.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Columbus’ is showing at Landmark’s Opera Plaza and Shattuck Cinemas. It opens Friday, Aug. 18 at San Jose’s Camera 3.\u003c/i>\u003c/p>\n\n",
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"excerpt": "The directorial debut from Kogonada stars John Cho and Haley Lu Richardson as characters adrift against a backdrop of glass, steel and concrete. ",
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"description": "The directorial debut from Kogonada stars John Cho and Haley Lu Richardson as characters adrift against a backdrop of glass, steel and concrete. ",
"title": "In Kogonada’s 'Columbus,' a Humanist’s Ode to Modern Architecture | KQED",
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"headline": "In Kogonada’s 'Columbus,' a Humanist’s Ode to Modern Architecture",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The American Dream collides with the American Nightmare in \u003ca href=\"http://kogonada.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kogonada\u003c/a>‘s feature film debut \u003cem>Columbus\u003c/em>. That’s Columbus, Indiana — not Ohio. If you’re not a self-professed “architecture nerd” like the director, maybe you’ve never heard of this Midwestern town with a population of approximately 46,000 inhabitants. If you are, you know some of the 20th century’s greatest modernist architects designed schools, houses, office buildings and churches in Columbus, Indiana, making it an unexpected mecca for the medium.\u003c/p>\n\u003cp>Kogonada films these structures reverently. His camera lingers on their facades, often for minutes at a time. He wants the viewer to take them in, to appreciate the achievements of modernists like Eliel and Eero Saarinen, Robert A.M. Stern, I. M. Pei, Gunnar Birkerts and Harry Weese. But \u003cem>Columbus\u003c/em> isn’t a documentary or a biopic about any of these towering figures. Nor does it expand much on the history or motivations of J. Irwin Miller, the local industrialist who encouraged the architects to build there.\u003c/p>\n\u003cfigure id=\"attachment_13804890\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804890\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field.jpg\" alt=\"Haley Lu Richardson and John Cho in 'Columbus.'\" width=\"1200\" height=\"649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Haley Lu Richardson and John Cho in ‘Columbus.’ \u003ccite>(Photo by Elisha Christian; Courtesy of Superlative Films, Depth of Field)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, Kogonada — also responsible for the screenplay — places two characters, like living chess pieces, inside and against the visual riches of this skyline. Jin (John Cho) and Casey (Haley Lu Richardson), both adrift for different reasons, warm their backdrops — environments made of glass, steel and concrete. Thematically, the filmmaker draws inspiration from the Japanese director Yasujirō Ozu. There’s an epigraph from Ozu’s \u003cem>Tokyo Story\u003c/em> that applies to both filmmakers: “As long as life goes on, relationships between parents and children will bring boundless joy and endless grief.”\u003c/p>\n\u003cp>Jin arrives in town after his father, a visiting architect giving a lecture, unexpectedly falls ill. Father and son haven’t been close, and this trip only further dislocates Jin as a stranger in a strange land. In a phone interview, the director talked about Cho’s reaction to his script, “I remember him saying to me, ‘As I get older, I just want to play quiet more.’ I want for him to have that chance to show us that range, which is so important. Most Asian American males that I know are really thoughtful, reflective, existential people who have these kind of conversations. And some of us know martial arts as well but we’re also mostly wrestling with what it means to be human. And I hardly ever see us having that kind of conversation. I want to see that more.”\u003c/p>\n\u003cfigure id=\"attachment_13804892\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804892\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field1.jpg\" alt=\"Haley Lu Richardson and John Cho in 'Columbus.'\" width=\"600\" height=\"325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field1.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field1-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field1-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field1-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field1-520x282.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Haley Lu Richardson and John Cho in ‘Columbus.’ \u003ccite>(Photo by Elisha Christian; Courtesy of Superlative Films, Depth of Field)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Casey spots Jin outside the hospital. After they share a cigarette, the symbol of a lighted spark, she offers to be his tour guide on an architectural odyssey through the town. Both characters are facing down damaged relationships with a parent. For her part, Casey is a recent high school graduate working in a library while she figures out what, if anything, comes next for her. She’s comfortable in Columbus, but she’s also holding herself back from venturing beyond its borders and away from her mother.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The mirroring drama that plays out between Casey and Jin is hushed. Despite the grandeur of these architectural monuments to human achievement, something forlorn and melancholy pervades the landscape. Kogonada addressed this unspoken contradiction: “There is something about the city of Columbus that really embodies both the hope and the limits of the fact that it’s not a dream fulfilled. That it didn’t create a sort of utopian town. It has its problems.” The director captures one exquisite exterior after another, yet he also includes portraits of the inner working life of the city: maids, factory workers and one character with a dispiriting backstory of methamphetamine addiction.\u003c/p>\n\u003cfigure id=\"attachment_13804891\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804891\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field.jpg\" alt=\"John Cho in 'Columbus.' \" width=\"960\" height=\"519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field-520x281.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">John Cho in ‘Columbus.’ \u003ccite>(Photo by Elisha Christian; Courtesy of Superlative Films, Depth of Field)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kogonada includes this story-line without a trace of melodrama. Before \u003ci>Columbus\u003c/i>, the director was known for his short film collages for the Criterion Collection and \u003ci>Sight & Sound\u003c/i>, including homages to \u003ca href=\"http://kogonada.com/portfolio/linklater/on-cinema-time\" target=\"_blank\" rel=\"noopener noreferrer\">Richard Linklater\u003c/a> and Ozu, directors he admires and, with this first film, emulates. More than a film nerd, he’s a devoted cinephile: “Most films are an escape from everyday life and when you walk back out into the world … sometimes everyday life feels unbearable. It feels so slow and feels so undramatic that you just want to see another movie. But the thing about Ozu is after I would leave one of his films, I would walk back into the world of everyday life, and that world would feel actually more meaningful, and almost more poetic.”\u003c/p>\n\u003cp>Jin and Casey carry that cinematic somnolence with them, even when they meet during daylight hours. It’s the kind of leisurely discourse Jim Jarmusch’s characters share, as if the hurried present can’t find a way to intrude inside the film’s moving frames or the theater itself. To achieve this effect, the director said, “I knew that we were going to shoot wider, but it felt really important to me that it didn’t feel like an alienating film.” Instead, \u003cem>Columbus\u003c/em> is comforting, familiar.\u003c/p>\n\u003cp>To get the film\u003cem> \u003c/em>produced, Kogonada made an unassuming pitch: “I said, ‘I want to make a bowl of ramen.’ That might seem modest. That might not even seem like it should be a meal, or a film, but it’s the kind of meal that hopefully will stay with you and you’ll just want to have it again.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Columbus’ is showing at Landmark’s Opera Plaza and Shattuck Cinemas. It opens Friday, Aug. 18 at San Jose’s Camera 3.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Black Odyssey' Evokes Emmett Till, Hurricane Katrina... and Homer",
"headTitle": "‘Black Odyssey’ Evokes Emmett Till, Hurricane Katrina… and Homer | KQED",
"content": "\u003cp>The \u003ca href=\"http://www.calshakes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Shakespeare Theater\u003c/a>’s West Coast premiere of Marcus Gardley’s \u003cem>Black Odyssey\u003c/em> is a cause for double celebration: one, for the company’s commitment to a Shakespearian tradition that I wish were a vital part of contemporary American theater and isn’t; and, two, for bringing to full life Gardley’s rather astonishing play, which has the scope, breadth, and vision of Shakespeare’s late romances — \u003cem>The Winter’s Tale\u003c/em>, \u003cem>Cymbeline\u003c/em>, and \u003cem>Pericles\u003c/em>.\u003c/p>\n\u003cp>The play’s power derives principally from the fact that Gardley creates a world of high stakes. And as recent events keep on proving, there is no higher stake than being black in America. Without a hint of didacticism, the play lets us see what is both the principal story of our country, and, strangely, the one we keep on missing.\u003c/p>\n\u003cfigure id=\"attachment_13805516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805516\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-800x450.jpg\" alt=\"(L to R) Great Grand Daddy Deus (Lamont Thompson) and Paw Sidin (Aldo Billingslea) play chess with Ulysses Lincoln's fate.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Great Grand Daddy Deus (Lamont Thompson) and Paw Sidin (Aldo Billingslea) play chess with Ulysses Lincoln’s fate. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paying an obvious debt to Homer,\u003cem> Black Odyssey\u003c/em> begins with Ulysses Lincoln (a subtle and assured J. Alphonse Nicholson) drumming on those plastic paint buckets of which BART buskers are so fond. Before we know it, Lincoln is swept off the deck of a ship transporting American soldiers from Afghanistan, the victim of the god Paw Sidin’s wrath for killing one of his many sons. Gardley’s ability to write with a swiftness of purpose and focus is striking. Scenes go by with lightning speed, and yet even his most minor characters are vivid and alive, including the gods.\u003c/p>\n\u003cp>As Lincoln struggles to stay alive, his wife Nella Pell — two months pregnant when he leaves for a six-month tour of duty — waits. Even when informed of Lincoln’s disappearance and obvious death, she refuses to lose faith in her husband’s eventual return. Nella Pell will wait many years, struggling to raise their son Malachai with help from Lincoln’s Aunt Tina, who’s really the goddess Athena in disguise, risking her life and good looks to live among mortals.\u003c/p>\n\u003cp>Lincoln’s journey, which follows Odysseus’ so thoroughly, differs from its source in one striking aspect: Odysseus is a product of the elite, a general and head of state, struggling to regain his rightful return to power. Lincoln, along with his beloved Nella Pell, is an orphan and outcaste whose life is an afterthought to the dramas of the state. One might say that before Lincoln even begins his journey he is lost, both to himself and the world around him. And that for him to be saved and return, he must right the myth that he’s living.\u003c/p>\n\u003cfigure id=\"attachment_13805517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805517\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-800x450.jpg\" alt=\"The family that Ulysses Lincoln must return to -- Great Aunt Tina (Margo Hall), Nella Pell (Omoze Idehenre) and Malachai (Michael Curry) -- is threatened by the unscrupulous Johnny Suitor (Aldo Billingslea).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The family that Ulysses Lincoln must return to — Great Aunt Tina (Margo Hall), Nella Pell (Omozé Idehenre) and Malachai (Michael Curry) — is threatened by the unscrupulous Johnny Suitor (Aldo Billingslea). \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For all the pagan gods running around \u003cem>Black Odyssey\u003c/em>, the play is suffused with a stringent and embracing vision of Christian redemption. We will be brought back to a loving god and a world of sense when we give ourselves to the truth and our sins. Lincoln is an epic hero, and a victim of all sorts of situations beyond his control. But, more powerfully, he is flawed and capable of great cruelty. He is not an abstraction, but rather a man. And in that insight, Gardley’s drama always soars.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Lincoln finds himself lost in an underworld of African-American history unmoored from time — a place where Emmett Till still whistles, Hurricane Katrina never stops flooding New Orleans, the blood of Martin Luther King and Malcolm X hasn’t dried, the Scottsboro boys sit and wait for justice, and the four little girls slaughtered in the 1963 Birmingham church bombing sleep in peace — it is the practical need to make sense of disorder that propels him forward, along with the simple desire that he must return to his family at all costs.\u003c/p>\n\u003cp>The nature of that order is personal, political, and right down to the way the characters speak. After all, language is essential to making sense and locating an authentic self. For a multitude of political reasons, black English is often treated as a derivation of a white standard, but that misses the diversity of black speech itself. In \u003cem>Black Odyssey\u003c/em> you hear all the tenors and rhythms of what one might describe as the polyglot nature of black life in America. Not a derivation, but instead a stunning array of related languages that even African-Americans must at times struggle to navigate.\u003c/p>\n\u003cfigure id=\"attachment_13805519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805519\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-800x450.jpg\" alt=\"(L to R) Nella Pell (Omozé Idehenre) and Ulysses Lincoln (J. Alphonse Nicholson) start together but will they end together?\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Nella Pell (Omozé Idehenre) and Ulysses Lincoln (J. Alphonse Nicholson) start together but will they end together? \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so strewn throughout \u003cem>Black Odyssey\u003c/em>, Gardley gives us several languages: those of the church and street, outrage and moral instruction, and finally a language of dreams that imagines a way out of the long nightmare of racial injustice. They all have different qualities and registers and are sometimes in opposition to each other. But it’s Lincoln’s ability to keep all of these languages going at once that finally frees him to rejoin his family and the world.\u003c/p>\n\u003cp>Gardley’s play is a highly unusual triumph. Buoyed by Eric Ting’s sharp, resourceful direction, an amazing cast, and fluid design work, it’s clear that Cal Shakes has found the Shakespearian spirit in our troubling times.\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>\u003cem>California Shakespeare Theater’s ‘Black Odyssey’ runs through Sunday, Sep. 3 at the Bruns Amphitheater in Orinda. For tickets and information, \u003ca href=\"http://calshakes.org\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Marcus Gardley's powerful play creates a world of high stakes. And as recent events prove, there is no higher stake than being black in America.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.calshakes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Shakespeare Theater\u003c/a>’s West Coast premiere of Marcus Gardley’s \u003cem>Black Odyssey\u003c/em> is a cause for double celebration: one, for the company’s commitment to a Shakespearian tradition that I wish were a vital part of contemporary American theater and isn’t; and, two, for bringing to full life Gardley’s rather astonishing play, which has the scope, breadth, and vision of Shakespeare’s late romances — \u003cem>The Winter’s Tale\u003c/em>, \u003cem>Cymbeline\u003c/em>, and \u003cem>Pericles\u003c/em>.\u003c/p>\n\u003cp>The play’s power derives principally from the fact that Gardley creates a world of high stakes. And as recent events keep on proving, there is no higher stake than being black in America. Without a hint of didacticism, the play lets us see what is both the principal story of our country, and, strangely, the one we keep on missing.\u003c/p>\n\u003cfigure id=\"attachment_13805516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805516\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-800x450.jpg\" alt=\"(L to R) Great Grand Daddy Deus (Lamont Thompson) and Paw Sidin (Aldo Billingslea) play chess with Ulysses Lincoln's fate.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Great Grand Daddy Deus (Lamont Thompson) and Paw Sidin (Aldo Billingslea) play chess with Ulysses Lincoln’s fate. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paying an obvious debt to Homer,\u003cem> Black Odyssey\u003c/em> begins with Ulysses Lincoln (a subtle and assured J. Alphonse Nicholson) drumming on those plastic paint buckets of which BART buskers are so fond. Before we know it, Lincoln is swept off the deck of a ship transporting American soldiers from Afghanistan, the victim of the god Paw Sidin’s wrath for killing one of his many sons. Gardley’s ability to write with a swiftness of purpose and focus is striking. Scenes go by with lightning speed, and yet even his most minor characters are vivid and alive, including the gods.\u003c/p>\n\u003cp>As Lincoln struggles to stay alive, his wife Nella Pell — two months pregnant when he leaves for a six-month tour of duty — waits. Even when informed of Lincoln’s disappearance and obvious death, she refuses to lose faith in her husband’s eventual return. Nella Pell will wait many years, struggling to raise their son Malachai with help from Lincoln’s Aunt Tina, who’s really the goddess Athena in disguise, risking her life and good looks to live among mortals.\u003c/p>\n\u003cp>Lincoln’s journey, which follows Odysseus’ so thoroughly, differs from its source in one striking aspect: Odysseus is a product of the elite, a general and head of state, struggling to regain his rightful return to power. Lincoln, along with his beloved Nella Pell, is an orphan and outcaste whose life is an afterthought to the dramas of the state. One might say that before Lincoln even begins his journey he is lost, both to himself and the world around him. And that for him to be saved and return, he must right the myth that he’s living.\u003c/p>\n\u003cfigure id=\"attachment_13805517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805517\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-800x450.jpg\" alt=\"The family that Ulysses Lincoln must return to -- Great Aunt Tina (Margo Hall), Nella Pell (Omoze Idehenre) and Malachai (Michael Curry) -- is threatened by the unscrupulous Johnny Suitor (Aldo Billingslea).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The family that Ulysses Lincoln must return to — Great Aunt Tina (Margo Hall), Nella Pell (Omozé Idehenre) and Malachai (Michael Curry) — is threatened by the unscrupulous Johnny Suitor (Aldo Billingslea). \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For all the pagan gods running around \u003cem>Black Odyssey\u003c/em>, the play is suffused with a stringent and embracing vision of Christian redemption. We will be brought back to a loving god and a world of sense when we give ourselves to the truth and our sins. Lincoln is an epic hero, and a victim of all sorts of situations beyond his control. But, more powerfully, he is flawed and capable of great cruelty. He is not an abstraction, but rather a man. And in that insight, Gardley’s drama always soars.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Lincoln finds himself lost in an underworld of African-American history unmoored from time — a place where Emmett Till still whistles, Hurricane Katrina never stops flooding New Orleans, the blood of Martin Luther King and Malcolm X hasn’t dried, the Scottsboro boys sit and wait for justice, and the four little girls slaughtered in the 1963 Birmingham church bombing sleep in peace — it is the practical need to make sense of disorder that propels him forward, along with the simple desire that he must return to his family at all costs.\u003c/p>\n\u003cp>The nature of that order is personal, political, and right down to the way the characters speak. After all, language is essential to making sense and locating an authentic self. For a multitude of political reasons, black English is often treated as a derivation of a white standard, but that misses the diversity of black speech itself. In \u003cem>Black Odyssey\u003c/em> you hear all the tenors and rhythms of what one might describe as the polyglot nature of black life in America. Not a derivation, but instead a stunning array of related languages that even African-Americans must at times struggle to navigate.\u003c/p>\n\u003cfigure id=\"attachment_13805519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805519\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-800x450.jpg\" alt=\"(L to R) Nella Pell (Omozé Idehenre) and Ulysses Lincoln (J. Alphonse Nicholson) start together but will they end together?\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Nella Pell (Omozé Idehenre) and Ulysses Lincoln (J. Alphonse Nicholson) start together but will they end together? \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so strewn throughout \u003cem>Black Odyssey\u003c/em>, Gardley gives us several languages: those of the church and street, outrage and moral instruction, and finally a language of dreams that imagines a way out of the long nightmare of racial injustice. They all have different qualities and registers and are sometimes in opposition to each other. But it’s Lincoln’s ability to keep all of these languages going at once that finally frees him to rejoin his family and the world.\u003c/p>\n\u003cp>Gardley’s play is a highly unusual triumph. Buoyed by Eric Ting’s sharp, resourceful direction, an amazing cast, and fluid design work, it’s clear that Cal Shakes has found the Shakespearian spirit in our troubling times.\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>\u003cem>California Shakespeare Theater’s ‘Black Odyssey’ runs through Sunday, Sep. 3 at the Bruns Amphitheater in Orinda. For tickets and information, \u003ca href=\"http://calshakes.org\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Loss Piles Up Deep As Wyoming Snow Drifts In 'Wind River'",
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"content": "\u003cp>Taylor Sheridan’s tense, terse police procedural/Western, \u003cem>Wind River\u003c/em>, begins with an icy, moonlit, Wyoming landscape. There’s no one for miles, except a gasping, Native American teenage girl running in the snow, terrified and barefoot.\u003c/p>\n\u003cp>She falls. Screams. Gets up. Runs some more.\u003c/p>\n\u003cp>Cut to bright daylight. A wolf stalking a flock of sheep. A shot rings out as this predator is felled by another: a marksman who, in his snow-camouflage gear, blends invisibly into the landscape. Cory (played by Jeremy Renner) also blends in socially, though there aren’t many folks to blend in with next to the Wind River Indian Reservation. His being close to the people there is what makes this film compelling in a genre that’s become so cut-and-dried the term “thriller” barely describes it any more.\u003c/p>\n\u003cp>Sheridan wrote \u003cem>Hell or High Water\u003c/em>, the 2016 Oscar-nominated police procedural that was also unusual for being character-based and surprising. This time, he’s sitting in the director’s chair, and he turns out to be as adept at realizing the words on a script’s page as he is at putting them there in the first place.\u003c/p>\n\u003cp>He has conceived Cory as a man of few words and enormous pain. After losing a teenage daughter, he became estranged from his Native American wife (Julia Jones) but remains devoted to both her and their son, Casey (Teo Briones). So he offers to take the boy to visit her parents on the reservation while she’s away job hunting. It’ll be an opportunity to mentor the kid about rifles (“Remember, a gun’s always loaded, even when it ain’t”), something Cory does almost without thinking, passing on skills, insights, knowledge — a trait that will soon come in handy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Their trip to the “rez” involves a hunt for the mountain lion that killed a yearling on grandpa’s land, during which Cory comes across the body of the teenage girl we saw earlier, frozen in the snow.\u003c/p>\n\u003cp>FBI agent Jane Banner (Elizabeth Olson) flies in from Las Vegas. She’s dressed for cold in Vegas, notes the local sheriff (the ever-reliable Graham Greene), and about as clueless about Wyoming winters as that fact suggests. When they get to the body near the tree line, she sees evidence of foul play, but Cory, a tracker, looks at the girl’s footprints in the snow and sees a whole story unfolding. More mentoring, as he clues her in to what the clues suggest: that the girl died from an intake of icy air that froze her lungs, causing them to fill up with blood.\u003c/p>\n\u003cp>Jane wonders how far she had run. Cory looks around at the nothing in all directions before he replies: “Oh, I don’t know. How do you gauge someone’s will to live?”\u003c/p>\n\u003cp>If that sounds like dialogue from a classic Western, poetic in its sparseness, that’s by design. Sheridan makes contemporary films that for all practical purposes are Westerns, and in them he deals with a host of current social issues. His characters are pushed to extremes by circumstances — not just that girl who turns out to have run 6 miles barefoot in the snow, but also her parents (played by Native American actors Gil Birmingham and Tantoo Cardinal) and even the bad guys.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sheridan paints a searing picture of life on society’s margins — people who live with “silence and snow” and not much else. And if the conclusion to his film’s mystery is a bit of a rush to judgment — breathless, yes, but less breathcatchingly arresting than what’s gone before it — he’s still managed to make Renner and Olsen feel like icons while keeping them rendingly real. And that allows the sense of loss in \u003cem>Wind River\u003c/em> to pile up, deep as snow drifts.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Taylor Sheridan’s tense, terse police procedural/Western, \u003cem>Wind River\u003c/em>, begins with an icy, moonlit, Wyoming landscape. There’s no one for miles, except a gasping, Native American teenage girl running in the snow, terrified and barefoot.\u003c/p>\n\u003cp>She falls. Screams. Gets up. Runs some more.\u003c/p>\n\u003cp>Cut to bright daylight. A wolf stalking a flock of sheep. A shot rings out as this predator is felled by another: a marksman who, in his snow-camouflage gear, blends invisibly into the landscape. Cory (played by Jeremy Renner) also blends in socially, though there aren’t many folks to blend in with next to the Wind River Indian Reservation. His being close to the people there is what makes this film compelling in a genre that’s become so cut-and-dried the term “thriller” barely describes it any more.\u003c/p>\n\u003cp>Sheridan wrote \u003cem>Hell or High Water\u003c/em>, the 2016 Oscar-nominated police procedural that was also unusual for being character-based and surprising. This time, he’s sitting in the director’s chair, and he turns out to be as adept at realizing the words on a script’s page as he is at putting them there in the first place.\u003c/p>\n\u003cp>He has conceived Cory as a man of few words and enormous pain. After losing a teenage daughter, he became estranged from his Native American wife (Julia Jones) but remains devoted to both her and their son, Casey (Teo Briones). So he offers to take the boy to visit her parents on the reservation while she’s away job hunting. It’ll be an opportunity to mentor the kid about rifles (“Remember, a gun’s always loaded, even when it ain’t”), something Cory does almost without thinking, passing on skills, insights, knowledge — a trait that will soon come in handy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Their trip to the “rez” involves a hunt for the mountain lion that killed a yearling on grandpa’s land, during which Cory comes across the body of the teenage girl we saw earlier, frozen in the snow.\u003c/p>\n\u003cp>FBI agent Jane Banner (Elizabeth Olson) flies in from Las Vegas. She’s dressed for cold in Vegas, notes the local sheriff (the ever-reliable Graham Greene), and about as clueless about Wyoming winters as that fact suggests. When they get to the body near the tree line, she sees evidence of foul play, but Cory, a tracker, looks at the girl’s footprints in the snow and sees a whole story unfolding. More mentoring, as he clues her in to what the clues suggest: that the girl died from an intake of icy air that froze her lungs, causing them to fill up with blood.\u003c/p>\n\u003cp>Jane wonders how far she had run. Cory looks around at the nothing in all directions before he replies: “Oh, I don’t know. How do you gauge someone’s will to live?”\u003c/p>\n\u003cp>If that sounds like dialogue from a classic Western, poetic in its sparseness, that’s by design. Sheridan makes contemporary films that for all practical purposes are Westerns, and in them he deals with a host of current social issues. His characters are pushed to extremes by circumstances — not just that girl who turns out to have run 6 miles barefoot in the snow, but also her parents (played by Native American actors Gil Birmingham and Tantoo Cardinal) and even the bad guys.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sheridan paints a searing picture of life on society’s margins — people who live with “silence and snow” and not much else. And if the conclusion to his film’s mystery is a bit of a rush to judgment — breathless, yes, but less breathcatchingly arresting than what’s gone before it — he’s still managed to make Renner and Olsen feel like icons while keeping them rendingly real. And that allows the sense of loss in \u003cem>Wind River\u003c/em> to pile up, deep as snow drifts.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oysters and the internet. \u003ca href=\"http://www.tanjageis.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tanja Geis\u003c/a> and Christopher Nickel, the inaugural artists of \u003ca href=\"http://www.embarkgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Embark Gallery\u003c/a>’s new R&D Projects series, chose vastly different tracks in their research-based partnerships with local nonprofits, the culminations of which are now on view in two concurrent solo exhibitions.\u003c/p>\n\u003cp>For \u003ci>Lurid Ecologies: Ways of Seeing the Bay\u003c/i>, Oakland-based Geis speculates about a re-colonization of the San Francisco Bay by \u003ci>Ostrea lurida\u003c/i>. A bit of background: \u003ci>Ostrea lurida\u003c/i>, also known as the Olympia oyster, was a common food source in the Bay Area for thousands of years. Today, local populations are critically low. The culprits? Take your pick: over-harvesting, pollution, hydraulic mining runoff, and invasive species have all been blamed for wreaking havoc on the oyster, which filters nitrogen from water and creates important habitats for other aquatic life.\u003c/p>\n\u003cp>Geis’ imagined future may not be far off — several state and federal organizations are piloting \u003ci>Ostrea lurida\u003c/i> restoration, which has the potential to contribute to sea level resiliency and pollution mitigation. In fact, Geis collaborated with one of these organizations, the Smithsonian Environmental Research Center (SERC), to produce the work in \u003ci>Lurid Ecologies\u003c/i>.\u003c/p>\n\u003cp>On view are a series of large paintings of imagined \u003ci>Ostrea lurida\u003c/i> colonies. Painted on paper with mud from the San Francisco Bay, these works create a referential loop: material taken from the Bay creates a vision of a more sustainable Bay. The intricate paintings act like aquatic Rorschach tests — many seem almost anthropomorphic, with faces emerging from the varied substrates. The complexity of the paintings evidences Geis’ commitment to both fine art and the welfare of the marine environment (she holds both an MFA and a graduate degree in coastal and marine management).\u003c/p>\n\u003cfigure id=\"attachment_13804676\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804676\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse.jpg\" alt=\"Tanja Geis, 'Life in the Greenhouse,' 2017.\" width=\"1920\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-160x30.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-800x150.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-768x144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-1020x191.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-1180x221.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-960x180.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-240x45.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-375x70.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-520x98.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tanja Geis, ‘Life in the Greenhouse,’ 2017. \u003ccite>(Courtesy the artist and Embark Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The centerpiece of the exhibition is \u003ci>Life in the Greenhouse\u003c/i>, a three-channel video filmed in the research tanks at the \u003ca href=\"http://rtc.sfsu.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Romberg Tiburon Center for Environmental Studies\u003c/a>. The video’s connection to \u003ci>Ostrea lurida\u003c/i> is less apparent, but unlike some of Geis’ other, more ethereal videos, this one is more straightforward, maybe even scientific.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On one channel, the camera lingers on lace-like organisms or materials. On another, tiny creatures seem to battle or mate with one another. And the third channel spends eight minutes exploring brilliant, chlorophyll-filled plants. The result is almost a narrative — just poetic enough to evade easy categorization.\u003c/p>\n\u003cp>Sharing the gallery with \u003ci>Lurid Ecologies\u003c/i> is \u003ca href=\"http://www.christopher-nickel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Christopher Nickel\u003c/a>’s \u003ci>A Few Select Bits of Knowledge: A Visual Archive\u003c/i>, another R&D Projects enterprise. Nickel’s work draws from his exploration of the \u003ca href=\"https://archive.org/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">Internet Archive\u003c/a>, an online collection of free books, audio, video, software, websites and more. On display at Embark Gallery are five large collages, each made from dozens of images culled from the archive’s wide-ranging database.\u003c/p>\n\u003cfigure id=\"attachment_13804678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804678\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Nickel, ‘Understanding Whole Systems,’ 2017. \u003cem>(\u003c/em>\u003ci>Courtesy the artist and Embark Gallery, San Francisco)\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Nickel’s images at first appear randomly grouped: David Bowie as Ziggy Stardust, a Swiss Army knife, a handheld vacuum. But his work engages with systems, particularly in regards to communication, and this becomes evident when reviewing the works’ titles. Bowie, the knife, and vacuum appear in \u003ci>Nomadics\u003c/i>. \u003ci>Communications\u003c/i> includes images of the Jackson 5, a woman wearing a virtual reality headset, a MIDI keyboard, and Voyager’s Golden Record.\u003c/p>\n\u003cp>These constellations of images conjure connections between the different objects and concepts — and, most importantly — across time. Like Geis’ \u003ci>Life in the Greenhouse\u003c/i>, this work doesn’t lead to direct conclusions, only vague suggestions.\u003c/p>\n\u003cp>If Nickel’s collages are inventories of visual representations of specific systems or concepts, I’m left wondering, “Why these images?” Is this how the Internet Archive best represents these specific systems? Are Nickel’s collages microcosms of the Voyager records, picturing how we picture ourselves?\u003c/p>\n\u003cp>For both Geis and Nickel, the results of their research-intensive projects hint at their processes while avoiding an overly didactic approach. At times this left me wanting more — I craved a deeper window into the artists’ research. But unburdened by explanatory text, the works are afforded the freedom to guide viewers down numerous paths.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Lurid Ecologies: Ways of Seeing the Bay’ and ‘A Few Select Bits of Knowledge: A Visual Archive’ are on view at San Francisco’s Embark Gallery through Aug. 18, 2017. For more information, \u003ca href=\"http://www.embarkgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oysters and the internet. \u003ca href=\"http://www.tanjageis.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tanja Geis\u003c/a> and Christopher Nickel, the inaugural artists of \u003ca href=\"http://www.embarkgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Embark Gallery\u003c/a>’s new R&D Projects series, chose vastly different tracks in their research-based partnerships with local nonprofits, the culminations of which are now on view in two concurrent solo exhibitions.\u003c/p>\n\u003cp>For \u003ci>Lurid Ecologies: Ways of Seeing the Bay\u003c/i>, Oakland-based Geis speculates about a re-colonization of the San Francisco Bay by \u003ci>Ostrea lurida\u003c/i>. A bit of background: \u003ci>Ostrea lurida\u003c/i>, also known as the Olympia oyster, was a common food source in the Bay Area for thousands of years. Today, local populations are critically low. The culprits? Take your pick: over-harvesting, pollution, hydraulic mining runoff, and invasive species have all been blamed for wreaking havoc on the oyster, which filters nitrogen from water and creates important habitats for other aquatic life.\u003c/p>\n\u003cp>Geis’ imagined future may not be far off — several state and federal organizations are piloting \u003ci>Ostrea lurida\u003c/i> restoration, which has the potential to contribute to sea level resiliency and pollution mitigation. In fact, Geis collaborated with one of these organizations, the Smithsonian Environmental Research Center (SERC), to produce the work in \u003ci>Lurid Ecologies\u003c/i>.\u003c/p>\n\u003cp>On view are a series of large paintings of imagined \u003ci>Ostrea lurida\u003c/i> colonies. Painted on paper with mud from the San Francisco Bay, these works create a referential loop: material taken from the Bay creates a vision of a more sustainable Bay. The intricate paintings act like aquatic Rorschach tests — many seem almost anthropomorphic, with faces emerging from the varied substrates. The complexity of the paintings evidences Geis’ commitment to both fine art and the welfare of the marine environment (she holds both an MFA and a graduate degree in coastal and marine management).\u003c/p>\n\u003cfigure id=\"attachment_13804676\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804676\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse.jpg\" alt=\"Tanja Geis, 'Life in the Greenhouse,' 2017.\" width=\"1920\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-160x30.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-800x150.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-768x144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-1020x191.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-1180x221.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-960x180.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-240x45.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-375x70.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-520x98.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tanja Geis, ‘Life in the Greenhouse,’ 2017. \u003ccite>(Courtesy the artist and Embark Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The centerpiece of the exhibition is \u003ci>Life in the Greenhouse\u003c/i>, a three-channel video filmed in the research tanks at the \u003ca href=\"http://rtc.sfsu.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Romberg Tiburon Center for Environmental Studies\u003c/a>. The video’s connection to \u003ci>Ostrea lurida\u003c/i> is less apparent, but unlike some of Geis’ other, more ethereal videos, this one is more straightforward, maybe even scientific.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On one channel, the camera lingers on lace-like organisms or materials. On another, tiny creatures seem to battle or mate with one another. And the third channel spends eight minutes exploring brilliant, chlorophyll-filled plants. The result is almost a narrative — just poetic enough to evade easy categorization.\u003c/p>\n\u003cp>Sharing the gallery with \u003ci>Lurid Ecologies\u003c/i> is \u003ca href=\"http://www.christopher-nickel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Christopher Nickel\u003c/a>’s \u003ci>A Few Select Bits of Knowledge: A Visual Archive\u003c/i>, another R&D Projects enterprise. Nickel’s work draws from his exploration of the \u003ca href=\"https://archive.org/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">Internet Archive\u003c/a>, an online collection of free books, audio, video, software, websites and more. On display at Embark Gallery are five large collages, each made from dozens of images culled from the archive’s wide-ranging database.\u003c/p>\n\u003cfigure id=\"attachment_13804678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804678\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Nickel, ‘Understanding Whole Systems,’ 2017. \u003cem>(\u003c/em>\u003ci>Courtesy the artist and Embark Gallery, San Francisco)\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Nickel’s images at first appear randomly grouped: David Bowie as Ziggy Stardust, a Swiss Army knife, a handheld vacuum. But his work engages with systems, particularly in regards to communication, and this becomes evident when reviewing the works’ titles. Bowie, the knife, and vacuum appear in \u003ci>Nomadics\u003c/i>. \u003ci>Communications\u003c/i> includes images of the Jackson 5, a woman wearing a virtual reality headset, a MIDI keyboard, and Voyager’s Golden Record.\u003c/p>\n\u003cp>These constellations of images conjure connections between the different objects and concepts — and, most importantly — across time. Like Geis’ \u003ci>Life in the Greenhouse\u003c/i>, this work doesn’t lead to direct conclusions, only vague suggestions.\u003c/p>\n\u003cp>If Nickel’s collages are inventories of visual representations of specific systems or concepts, I’m left wondering, “Why these images?” Is this how the Internet Archive best represents these specific systems? Are Nickel’s collages microcosms of the Voyager records, picturing how we picture ourselves?\u003c/p>\n\u003cp>For both Geis and Nickel, the results of their research-intensive projects hint at their processes while avoiding an overly didactic approach. At times this left me wanting more — I craved a deeper window into the artists’ research. But unburdened by explanatory text, the works are afforded the freedom to guide viewers down numerous paths.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Lurid Ecologies: Ways of Seeing the Bay’ and ‘A Few Select Bits of Knowledge: A Visual Archive’ are on view at San Francisco’s Embark Gallery through Aug. 18, 2017. For more information, \u003ca href=\"http://www.embarkgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "with-a-fresh-spin-on-the-808-djs-become-rhythm-composers",
"title": "With A Fresh Spin On The 808, DJs Become Rhythm Composers",
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"content": "\u003cp>It’s disarmingly easy to become an amateur DJ in 2017, when an iPhone and a $1.99 app will quickly have you on your way to learning the basics of mixing songs together, or a thumb drive filled with tracks ripped from the Internet and plugged into a digital player called a CDJ can soundtrack a party hundreds of hours long. But DJing has a long history of craft — and while the bar has lowered for amateurs, technology has steadily changed the game for professionals, too.\u003c/p>\n\u003cp>There are purists around the world who still prefer the same equipment used at the first hip-hop parties: vinyl records, two turntables and a two-channel mixer. But today, you might see that setup augmented with specially encoded vinyl and a software program like Serato DJ, allowing the user to physically mix and scratch digital files from a laptop. Some DJs mix their songs with controllers, machines that mimic the turntable and CDJ experiences in one piece of hardware. Others add sounds of their own, playing samplers and synthesizers between and on top of the tracks in their set. There have long been DJs who produce, producers who make original music and musicians who spin records, but new tools and business synergies have continued to blur the lines.\u003c/p>\n\u003cp>Last year, two companies announced a partnership that seemed aimed at eliminating those boundaries altogether. In September, New Zealand’s Serato and the pioneering Japanese electronic instrument company Roland unveiled the DJ-808: a digital controller that combines tools for DJing, production and composition into a single device.\u003c/p>\n\u003cp>“Playing with music, manipulating audio, is very much the core of everything we do,” Serato CEO Young Ly said \u003ca href=\"https://www.youtube.com/watch?v=PqyyRcDuP0Y\">in a video\u003c/a> announcing the DJ-808. “So when you take Roland, a company that’s known for iconic sounds and amazing instruments, and you take these sounds and you mix it with Serato tech, suddenly, are you scratching? Are you flipping? Are you mixing? Are you producing? Are you DJing? It all mixes together into live performance.”\u003c/p>\n\u003cp>If the 808 part sounds familiar, that’s because this new machine was named after one of the most important sound-makers in music history, the Roland TR-808 Rhythm Composer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yJiJSGsJH4U\u003c/p>\n\u003cp>Few electronic instruments have been as fetishized as the TR-808, the imperfectly perfect and rare drum machine that’s been a part of nearly every genre with a funky pulse. Though it was produced for just a short time between 1980 and 1983, the 808 has lent memorable sizzle to everyone from Phil Collins to Lil Jon. It gives Marvin Gaye’s “\u003ca href=\"https://www.youtube.com/watch?v=rjlSiASsUIs\">Sexual Healing\u003c/a>” its spare sway, helps Whitney Houston catch a groove on “\u003ca href=\"https://www.youtube.com/watch?v=eH3giaIzONA\">I Wanna Dance With Somebody\u003c/a>” and is the not-so-secret ingredient that propelled regional styles like New York electro, Detroit techno, Miami bass and New Orleans bounce into the international spotlight.\u003c/p>\n\u003cp>“I would call whoever: ‘Yo, you got the 808?’ And they’d say, ‘No, so and so has it.’ When you found out who had it you’d say, ‘I need to get the 808, when are you going to be done with it?'” Nathaniel “DJ Pierre” Jones, who pioneered the sound that would become acid house (with the help of another Roland machine, the bass-focused TB-303), says he never had an 808 of his own. In the ’80s, major recording facilities might have a unit in-house — the one at Manhattan’s Chung King Studios, for example, boomed on tracks by LL Cool J, Run-DMC and the Beastie Boys. But in Chicago, Pierre says, the progenitors of house music literally passed around a single 808 like a lending library.\u003c/p>\n\u003cp>“We were all very competitive as counterparts, but at the same time we were very community-oriented,” he says. “We didn’t let our competitive nature keep us from sharing the technology, because we all felt like we were confident in what we were doing — and whatever we were doing was going to be different from what they were doing, even if they were using the same thing.”\u003c/p>\n\u003cp>Only about 12,000 TR-808s were manufactured before the product was discontinued. In \u003ca href=\"https://www.youtube.com/watch?v=LMPzuRWoNgE\">the 2015 documentary \u003cem>808\u003c/em>\u003c/a>, Roland founder Ikutaro Kakehashi explains that the machines were deliberately built with defective transistors — which had a sound he described as “sizzling,” and which eventually became impossible to buy. “Semiconductor technology got better and better … so [there was] no way to come back,” said Kakehashi, who passed away this April at 87, just shy of the company’s 45th birthday.\u003c/p>\n\u003cp>Despite the relative scarcity of these machines, 808 sounds have remained ubiquitous in popular music. In the ’90s and beyond, that pervasiveness could be attributed to ReBirth, a software program that emulated the sounds and look of the 808 and its siblings the 303 and 909. ReBirth launched for computers in 1996 and later evolved into an iOS app after being discontinued for desktop systems in 2005. In June, Swedish company Propellerhead \u003ca href=\"http://www.factmag.com/2017/06/13/propellerhead-rebirth-ipad-discontinued-roland-ip-infringement/\">was forced to remove\u003c/a> it from the market altogether after IP infringement claims by Roland.\u003c/p>\n\u003cp>Even so, today you can find 808 samples and soundalikes in the libraries of most major music recording programs. And earlier this year, Canada’s System80 announced it would release \u003ca href=\"http://cdm.link/2017/01/system-80-control-control-808-clone-eurorack/\">a physical 808 clone\u003c/a> made specially for modular synthesizer systems. (Roland may have something to say about this copycat once it’s out.) If if you’ve got the cash, it’s still possible to find an original 808 on eBay, where they sell for upwards of $5,000. The machine even survives purely as a design object: The row of red, orange, yellow and white buttons across its front panel, representing a bar of music as 16 programmable “steps,” has inspired a \u003ca href=\"http://mixmag.net/read/these-roland-tr-808-adidas-are-fully-functional-news\">conceptual Adidas sneaker\u003c/a> that would sell by the boatload if it were real.\u003c/p>\n\u003cp>In the meantime, Roland has remained vital in the development of hip-hop and dance music, and in recent years has even released revamped, boutique versions of its vintage rhythm machines. But it has never formally ventured into the DJ market until now.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X2PTwp2HZvQ\u003c/p>\n\u003cp>The essential pitch of the DJ-808 is that it does in a single unit what would otherwise require a table full of gear. The name owes to the set of onboard drum sounds — and in fact it’s a little misleading, since the DJ-808 also incorporates sounds from the 303, 909 and 707. Users can blend digital music files on the controller, build a beat piece by piece on an integrated sequencer (rendered in classic 808 colors), tap out drum parts on two sets of pads or use the vocal transformer to record and warp vocals on the fly. Effectively, you can make your own music while you spin someone else’s, and the elements should all remain in sync.\u003c/p>\n\u003cp>The price tag, around $1,299, is cheaper than the TR-808 at its debut ($1,195 in 1980 dollars, or about $3,500 today) — but orders of magnitude steeper than an entry-level controller, most of which can be had for just over $200. With so much more affordable gear on the market, the creators of the DJ-808 are banking on consumers seeing it the way DJ Pierre does. He was among the first artists with whom Roland shared the machine before its release, and says its range of functionality instantly impressed him.\u003c/p>\n\u003cp>“You can grow with it, and you can link other gear to it that will run smoothly,” Pierre says. “You always want to think big picture — don’t think just for today. Get something that can grow with you, that you can grow with.” Roland has also gifted the machine to artists Erykah Badu and Q-Tip, who began using it on his Beats 1 radio show on Apple Music after seeing Pete Rock post about it on social media. Biz Markie confessed he’s putting together a new room in his house just for the DJ-808. “It’s going to change the future,” he says. “It’s like a one-stop shop for DJs. It’s got a drum machine, you can break things up, \u003cem>and\u003c/em> you can DJ. It’s just super incredible.”\u003c/p>\n\u003cp>The success of DJ-808, however, may depend more on people like Cynthia Cherish Malaran. As DJ CherishTheLuv, she has worked events for Oprah Winfrey and Samantha Bee and has the distinction of being Whole Foods’ resident DJ in New York City. Malaran says she bought a DJ-808 as soon as it hit the market.\u003c/p>\n\u003cp>“You can use one beat of a song and create a whole new intro, and then drop the song into it,” she explains of the DJ-808’s ability to help restructure a tune. “People are like, ‘Whoa, that’s what that was, I knew that was familiar!’ It’s like you’re reprogramming the song to sound like something new and exciting.”\u003c/p>\n\u003cp>A generation and a hemisphere away, the machine is a new favorite of 14-year-old Belgian Amber Broos — who, as DJ 13 AMPS, has been teaching kids even younger than her to spin using the DJ-808 at the\u003ca href=\"http://www.begintodj.be/\"> Begin to DJ\u003c/a> school in Kortenberg, near Brussels. “The DJ-808 stimulates me to make my own tracks as a producer,” Broos says. “It gives me new ideas and creativity. The possibilities of adapting tracks are unlimited.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DLBNj1xSd2k\u003c/p>\n\u003cp>For Just Blaze, the super-producer who has crafted songs for JAY Z, Beyoncé and Kanye West (although not on West’s 2008 album \u003cem>808s & Heartbreak\u003c/em>), the DJ-808 represents a leap forward in merging DJing and production — something he says he’s always wanted to do but never found convenient enough. “We used to be, in the earlier days, at a place where the software was held back by what the computer was capable of,” he says. “Now, we’re kind of at the opposite end of the spectrum, where the computers are so powerful they can pretty much handle anything within reason that the software can throw at it.”\u003c/p>\n\u003cp>Just Blaze was able to offer a kind of informal beta testing to Roland before they released the DJ-808. He thinks they got the machine right for the most part (enough that he used it in \u003ca href=\"https://www.youtube.com/watch?v=YaDNDpO7vfg\">a live-streamed battle\u003c/a> with Swizz Beatz in February), though he has a small wish list of what he’d like to see next: “Now that we have computers that are capable of doing what we need them to do, maybe the next step is adding a keyboard section.”\u003c/p>\n\u003cp>Not everyone I spoke to was ready to get on board. Greg Broussard, an early electro producer who DJs and records as Egyptian Lover, is among the few artists in the world who still prefers to use vinyl records and an old TR-808 for his DJ sets. “That 808 makes my shows everything they are,” he insists. But he did play with the DJ-808 when it first came out and thought it was a great piece of gear for those who do.\u003c/p>\n\u003cp>“I’m extremely excited that Serato and Roland put out that DJ-808 for the new school,” he says. “Mixing and making beats while DJing is so futuristic and something I would have rocked if I was a new DJ today. I see all kinds of possibilities for today’s DJ with this product.”\u003c/p>\n\u003cp>A Roland sales manager told me the DJ-808’s sales had tapered off by the end of 2016 but are picking up gradually this year, as potential customers have had time to read reviews — and save up money. The machines are also starting to be seen on the secondhand market, which helped the original 808 find followers when getting one new wasn’t an option.\u003c/p>\n\u003cp>Meanwhile, the company has announced a new slate of products for Aug. 8 (#808Day, get it?), including a \u003ca href=\"http://cdm.link/2017/08/what-you-need-to-know-about-the-roland-boutique-101-808-remakes/\">reimagined standalone TR-808\u003c/a> in a portable size and at a more accessible price point — betting on a growing market of DJs looking to stretch the limits of their form and the persistence of a beloved set of numbers. If a keyboard \u003cem>is \u003c/em>brought into future iterations of the DJ-808, perhaps a strappable keytar formation to really bring it back to the ’80s wouldn’t be too far off? Just Blaze lights up at the prospect.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’ve dreamed about this for years,” he admits. “For me to be able to step in front of a crowd and give a straight up rock star-style scratch performance, that’s one of my musical dreams come true. So, Roland, if you’re listening … ” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=With+A+Fresh+Spin+On+The+808%2C+DJs+Become+Rhythm+Composers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "It's the Fender Stratocaster of drum machines. More than three decades after the TR-808 forever changed the sound of popular music, its creators are hoping a DJ-friendly update can make history again.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s disarmingly easy to become an amateur DJ in 2017, when an iPhone and a $1.99 app will quickly have you on your way to learning the basics of mixing songs together, or a thumb drive filled with tracks ripped from the Internet and plugged into a digital player called a CDJ can soundtrack a party hundreds of hours long. But DJing has a long history of craft — and while the bar has lowered for amateurs, technology has steadily changed the game for professionals, too.\u003c/p>\n\u003cp>There are purists around the world who still prefer the same equipment used at the first hip-hop parties: vinyl records, two turntables and a two-channel mixer. But today, you might see that setup augmented with specially encoded vinyl and a software program like Serato DJ, allowing the user to physically mix and scratch digital files from a laptop. Some DJs mix their songs with controllers, machines that mimic the turntable and CDJ experiences in one piece of hardware. Others add sounds of their own, playing samplers and synthesizers between and on top of the tracks in their set. There have long been DJs who produce, producers who make original music and musicians who spin records, but new tools and business synergies have continued to blur the lines.\u003c/p>\n\u003cp>Last year, two companies announced a partnership that seemed aimed at eliminating those boundaries altogether. In September, New Zealand’s Serato and the pioneering Japanese electronic instrument company Roland unveiled the DJ-808: a digital controller that combines tools for DJing, production and composition into a single device.\u003c/p>\n\u003cp>“Playing with music, manipulating audio, is very much the core of everything we do,” Serato CEO Young Ly said \u003ca href=\"https://www.youtube.com/watch?v=PqyyRcDuP0Y\">in a video\u003c/a> announcing the DJ-808. “So when you take Roland, a company that’s known for iconic sounds and amazing instruments, and you take these sounds and you mix it with Serato tech, suddenly, are you scratching? Are you flipping? Are you mixing? Are you producing? Are you DJing? It all mixes together into live performance.”\u003c/p>\n\u003cp>If the 808 part sounds familiar, that’s because this new machine was named after one of the most important sound-makers in music history, the Roland TR-808 Rhythm Composer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yJiJSGsJH4U'\n title='//www.youtube.com/embed/yJiJSGsJH4U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Few electronic instruments have been as fetishized as the TR-808, the imperfectly perfect and rare drum machine that’s been a part of nearly every genre with a funky pulse. Though it was produced for just a short time between 1980 and 1983, the 808 has lent memorable sizzle to everyone from Phil Collins to Lil Jon. It gives Marvin Gaye’s “\u003ca href=\"https://www.youtube.com/watch?v=rjlSiASsUIs\">Sexual Healing\u003c/a>” its spare sway, helps Whitney Houston catch a groove on “\u003ca href=\"https://www.youtube.com/watch?v=eH3giaIzONA\">I Wanna Dance With Somebody\u003c/a>” and is the not-so-secret ingredient that propelled regional styles like New York electro, Detroit techno, Miami bass and New Orleans bounce into the international spotlight.\u003c/p>\n\u003cp>“I would call whoever: ‘Yo, you got the 808?’ And they’d say, ‘No, so and so has it.’ When you found out who had it you’d say, ‘I need to get the 808, when are you going to be done with it?'” Nathaniel “DJ Pierre” Jones, who pioneered the sound that would become acid house (with the help of another Roland machine, the bass-focused TB-303), says he never had an 808 of his own. In the ’80s, major recording facilities might have a unit in-house — the one at Manhattan’s Chung King Studios, for example, boomed on tracks by LL Cool J, Run-DMC and the Beastie Boys. But in Chicago, Pierre says, the progenitors of house music literally passed around a single 808 like a lending library.\u003c/p>\n\u003cp>“We were all very competitive as counterparts, but at the same time we were very community-oriented,” he says. “We didn’t let our competitive nature keep us from sharing the technology, because we all felt like we were confident in what we were doing — and whatever we were doing was going to be different from what they were doing, even if they were using the same thing.”\u003c/p>\n\u003cp>Only about 12,000 TR-808s were manufactured before the product was discontinued. In \u003ca href=\"https://www.youtube.com/watch?v=LMPzuRWoNgE\">the 2015 documentary \u003cem>808\u003c/em>\u003c/a>, Roland founder Ikutaro Kakehashi explains that the machines were deliberately built with defective transistors — which had a sound he described as “sizzling,” and which eventually became impossible to buy. “Semiconductor technology got better and better … so [there was] no way to come back,” said Kakehashi, who passed away this April at 87, just shy of the company’s 45th birthday.\u003c/p>\n\u003cp>Despite the relative scarcity of these machines, 808 sounds have remained ubiquitous in popular music. In the ’90s and beyond, that pervasiveness could be attributed to ReBirth, a software program that emulated the sounds and look of the 808 and its siblings the 303 and 909. ReBirth launched for computers in 1996 and later evolved into an iOS app after being discontinued for desktop systems in 2005. In June, Swedish company Propellerhead \u003ca href=\"http://www.factmag.com/2017/06/13/propellerhead-rebirth-ipad-discontinued-roland-ip-infringement/\">was forced to remove\u003c/a> it from the market altogether after IP infringement claims by Roland.\u003c/p>\n\u003cp>Even so, today you can find 808 samples and soundalikes in the libraries of most major music recording programs. And earlier this year, Canada’s System80 announced it would release \u003ca href=\"http://cdm.link/2017/01/system-80-control-control-808-clone-eurorack/\">a physical 808 clone\u003c/a> made specially for modular synthesizer systems. (Roland may have something to say about this copycat once it’s out.) If if you’ve got the cash, it’s still possible to find an original 808 on eBay, where they sell for upwards of $5,000. The machine even survives purely as a design object: The row of red, orange, yellow and white buttons across its front panel, representing a bar of music as 16 programmable “steps,” has inspired a \u003ca href=\"http://mixmag.net/read/these-roland-tr-808-adidas-are-fully-functional-news\">conceptual Adidas sneaker\u003c/a> that would sell by the boatload if it were real.\u003c/p>\n\u003cp>In the meantime, Roland has remained vital in the development of hip-hop and dance music, and in recent years has even released revamped, boutique versions of its vintage rhythm machines. But it has never formally ventured into the DJ market until now.\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/X2PTwp2HZvQ'\n title='//www.youtube.com/embed/X2PTwp2HZvQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The essential pitch of the DJ-808 is that it does in a single unit what would otherwise require a table full of gear. The name owes to the set of onboard drum sounds — and in fact it’s a little misleading, since the DJ-808 also incorporates sounds from the 303, 909 and 707. Users can blend digital music files on the controller, build a beat piece by piece on an integrated sequencer (rendered in classic 808 colors), tap out drum parts on two sets of pads or use the vocal transformer to record and warp vocals on the fly. Effectively, you can make your own music while you spin someone else’s, and the elements should all remain in sync.\u003c/p>\n\u003cp>The price tag, around $1,299, is cheaper than the TR-808 at its debut ($1,195 in 1980 dollars, or about $3,500 today) — but orders of magnitude steeper than an entry-level controller, most of which can be had for just over $200. With so much more affordable gear on the market, the creators of the DJ-808 are banking on consumers seeing it the way DJ Pierre does. He was among the first artists with whom Roland shared the machine before its release, and says its range of functionality instantly impressed him.\u003c/p>\n\u003cp>“You can grow with it, and you can link other gear to it that will run smoothly,” Pierre says. “You always want to think big picture — don’t think just for today. Get something that can grow with you, that you can grow with.” Roland has also gifted the machine to artists Erykah Badu and Q-Tip, who began using it on his Beats 1 radio show on Apple Music after seeing Pete Rock post about it on social media. Biz Markie confessed he’s putting together a new room in his house just for the DJ-808. “It’s going to change the future,” he says. “It’s like a one-stop shop for DJs. It’s got a drum machine, you can break things up, \u003cem>and\u003c/em> you can DJ. It’s just super incredible.”\u003c/p>\n\u003cp>The success of DJ-808, however, may depend more on people like Cynthia Cherish Malaran. As DJ CherishTheLuv, she has worked events for Oprah Winfrey and Samantha Bee and has the distinction of being Whole Foods’ resident DJ in New York City. Malaran says she bought a DJ-808 as soon as it hit the market.\u003c/p>\n\u003cp>“You can use one beat of a song and create a whole new intro, and then drop the song into it,” she explains of the DJ-808’s ability to help restructure a tune. “People are like, ‘Whoa, that’s what that was, I knew that was familiar!’ It’s like you’re reprogramming the song to sound like something new and exciting.”\u003c/p>\n\u003cp>A generation and a hemisphere away, the machine is a new favorite of 14-year-old Belgian Amber Broos — who, as DJ 13 AMPS, has been teaching kids even younger than her to spin using the DJ-808 at the\u003ca href=\"http://www.begintodj.be/\"> Begin to DJ\u003c/a> school in Kortenberg, near Brussels. “The DJ-808 stimulates me to make my own tracks as a producer,” Broos says. “It gives me new ideas and creativity. The possibilities of adapting tracks are unlimited.”\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/DLBNj1xSd2k'\n title='//www.youtube.com/embed/DLBNj1xSd2k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For Just Blaze, the super-producer who has crafted songs for JAY Z, Beyoncé and Kanye West (although not on West’s 2008 album \u003cem>808s & Heartbreak\u003c/em>), the DJ-808 represents a leap forward in merging DJing and production — something he says he’s always wanted to do but never found convenient enough. “We used to be, in the earlier days, at a place where the software was held back by what the computer was capable of,” he says. “Now, we’re kind of at the opposite end of the spectrum, where the computers are so powerful they can pretty much handle anything within reason that the software can throw at it.”\u003c/p>\n\u003cp>Just Blaze was able to offer a kind of informal beta testing to Roland before they released the DJ-808. He thinks they got the machine right for the most part (enough that he used it in \u003ca href=\"https://www.youtube.com/watch?v=YaDNDpO7vfg\">a live-streamed battle\u003c/a> with Swizz Beatz in February), though he has a small wish list of what he’d like to see next: “Now that we have computers that are capable of doing what we need them to do, maybe the next step is adding a keyboard section.”\u003c/p>\n\u003cp>Not everyone I spoke to was ready to get on board. Greg Broussard, an early electro producer who DJs and records as Egyptian Lover, is among the few artists in the world who still prefers to use vinyl records and an old TR-808 for his DJ sets. “That 808 makes my shows everything they are,” he insists. But he did play with the DJ-808 when it first came out and thought it was a great piece of gear for those who do.\u003c/p>\n\u003cp>“I’m extremely excited that Serato and Roland put out that DJ-808 for the new school,” he says. “Mixing and making beats while DJing is so futuristic and something I would have rocked if I was a new DJ today. I see all kinds of possibilities for today’s DJ with this product.”\u003c/p>\n\u003cp>A Roland sales manager told me the DJ-808’s sales had tapered off by the end of 2016 but are picking up gradually this year, as potential customers have had time to read reviews — and save up money. The machines are also starting to be seen on the secondhand market, which helped the original 808 find followers when getting one new wasn’t an option.\u003c/p>\n\u003cp>Meanwhile, the company has announced a new slate of products for Aug. 8 (#808Day, get it?), including a \u003ca href=\"http://cdm.link/2017/08/what-you-need-to-know-about-the-roland-boutique-101-808-remakes/\">reimagined standalone TR-808\u003c/a> in a portable size and at a more accessible price point — betting on a growing market of DJs looking to stretch the limits of their form and the persistence of a beloved set of numbers. If a keyboard \u003cem>is \u003c/em>brought into future iterations of the DJ-808, perhaps a strappable keytar formation to really bring it back to the ’80s wouldn’t be too far off? Just Blaze lights up at the prospect.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’ve dreamed about this for years,” he admits. “For me to be able to step in front of a crowd and give a straight up rock star-style scratch performance, that’s one of my musical dreams come true. So, Roland, if you’re listening … ” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=With+A+Fresh+Spin+On+The+808%2C+DJs+Become+Rhythm+Composers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"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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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"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",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"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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"source": "kqed",
"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
"link": "/radio/program/code-switch-life-kit",
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},
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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": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"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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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"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",
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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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},
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"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"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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"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",
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"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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},
"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": {
"site": "news",
"source": "npr"
},
"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": {
"site": "news",
"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": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"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",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"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/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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