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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the pages of sober financial journals to Hollywood’s slapstick-econ adaptation of \u003cem>The Big Short\u003c/em>, commentators often note that no American banks were indicted in the wake of the 2008 financial cave-in. \u003cem>Hoop Dreams\u003c/em> director Steve James is here to say that’s not true. In May 2012, New York’s district attorney brought charges against Abacus Federal Savings Bank and 19 of its employees.\u003c/p>\n\u003cp>The case was little covered at the time, and while its outcome is a matter of public record, James prefers that reviewers not reveal whether the verdict was guilty, innocent, or mixed. That’s because his \u003cem>Abacus: Small Enough to Jail\u003c/em> is a compelling non-fiction thriller. It should engross most viewers, even those who’ve resisted learning what a subprime mortgage is.\u003c/p>\n\u003cp>As it happens, Abacus didn’t deal in subprime. The Chinatown-based bank also didn’t package its mortgages into the sort of financial instruments that made \u003cem>The Big Short\u003c/em>‘s machinations so arcane. In fact, the bank had one of the lowest default rates in the country.\u003c/p>\n\u003cp>The problem was a loan officer, Ken Yu, who asked borrowers for bribes and falsified income statements for mortgage applications. His activities were hard to track, because, as the film explains, Chinatown residents are more likely to make cash transactions than the average American consumer. Also, Yu spoke a dialect that even most of his fellow Abacus employees didn’t understand.\u003c/p>\n\u003cp>That includes Jill Sung and Vera Sung, the English-speaking, Connecticut-raised sisters who had inherited day-to-day operations from their father, one of the bank’s founders. Shanghai-born but all-American, Thomas Sung is a devotee of \u003cem>It’s a Wonderful Life\u003c/em>, an affection James could hardly help but exploit. Thomas Sung even once halted a bank run with the aplomb of James Stewart’s George Bailey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Abacus’ managers did eventually learn of Yu’s activities, and fired him and two others. They reported their suspicions to banking regulators, and were rewarded with the indictments. Yu became the chief witness for the prosecution, and the trial process lasted five years.\u003c/p>\n\u003cp>James was introduced to the story by a friend of the Sungs, and spent most of his time with the family. Yet he’s careful to present the government’s case, and to include interviews with the DA, Cyrus Vance Jr., and the lead prosecutor, Polly Greenberg. If they’re not quite so sympathetic as the Sungs, that begins with an astounding miscalculation: After indicting the Abacus employees, authorities chained them together and paraded them for a photo-op that even Vance calls “very unfortunate.”\u003c/p>\n\u003cp>Unable to cover the trial with cameras or recording equipment, the director sent a courtroom illustrator to capture some of the action. He paired that with audio reenactments based on the trial transcript.\u003c/p>\n\u003cp>Cinematically, the most important piece of the legal story is a juror who was inclined to vote guilty. Her recollections keep the narrative taut until what, in Frank Capra’s day, was termed the final reel.\u003c/p>\n\u003cp>Much of the movie, however, is concerned less with the trial than the Sung family. After the indictment, two other sisters rallied to the cause. James captures revealing and intimate conversations with the four siblings and their parents — including the mother who didn’t want her husband to go into banking.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the Sungs discuss strategy, food, and favorite movies, the film makes a compelling argument that no matter how the trial ends, targeting Abacus was an absurdly inappropriate substitute for prosecuting the behemoths who caused the 2008 debacle. This family was no more likely than George Bailey to peddle synthetic collateralized debt obligations. \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=%27Abacus%27%3A+The+Small+Chinatown+Bank+That+Paid+A+High+Price&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "H.P. Lovecraft's Monster is Wrapping Family Game Night Up in Tentacles",
"headTitle": "H.P. Lovecraft’s Monster is Wrapping Family Game Night Up in Tentacles | KQED",
"content": "\u003cp>H.P. Lovecraft, the early 1900s horror writer, is best known for his creation of the deity Cthulhu — a monster of great power who sleeps in the Pacific Ocean in the sunken city of R’lyeh.\u003c/p>\n\u003cp>Now, almost 100 years after its conception, Cthulhu is making a creepy comeback via a new crop of board games.\u003c/p>\n\u003cp>Lovecraft created Cthulhu, which is typically pronounced Ka-thu-lu, in his 1920s short story “\u003ca href=\"http://www.hplovecraft.com/writings/texts/fiction/cc.aspx\" target=\"_blank\" rel=\"noopener\">The Call of Cthulhu\u003c/a>.” In illustrations, the monster’s depiction has taken on a look similar to a mixture of the Kraken, the dragon from Shrek and Xenomorphs from \u003cem>Alien,\u003c/em> but with really great biceps.\u003c/p>\n\u003cp>In 1987, one of the first Lovecraft-themed board games, \u003ca href=\"https://www.fantasyflightgames.com/en/products/arkham-horror/\" target=\"_blank\" rel=\"noopener\">Arkham Horror\u003c/a>, popped up and became wildly popular. Between then and 1997, there was an average of less than one Lovecraft-themed game published each year — and that number didn’t budge until everything seemed to explode in 2014. That year and every year since, there have been over a dozen Lovecraft-themed board games released.\u003c/p>\n\u003cp>And in 2017, the most anticipated board game this year, \u003ca href=\"https://boardgamegeek.com/geeklist/217265/20-most-anticipated-games-2017-nominations-are-clo\" target=\"_blank\" rel=\"noopener\">according to Board Game Geek\u003c/a>, is a Cthulhu Wars expansion. Three of the other titles on the 20-game list are also takes on Lovecraft’s world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What’s impressive about this phenomenon is that after coming into pop culture, Cthulhu has taken over more than just board games: with \u003ca href=\"http://www.imdb.com/list/ls071029311/\" target=\"_blank\" rel=\"noopener\">movies\u003c/a>, \u003ca href=\"http://www.goodreads.com/genres/cthulhu-mythos\" target=\"_blank\" rel=\"noopener\">books\u003c/a>, a \u003ca href=\"https://cthulhuforamerica.com/\" target=\"_blank\" rel=\"noopener\">bid for the 2020 presidential election\u003c/a> (it gathered a couple of votes in \u003ca href=\"http://www.huffingtonpost.com/entry/cthulhu-for-president_us_574fba9ee4b0ed593f134933\" target=\"_blank\" rel=\"noopener\">2016\u003c/a>). You can even get a \u003ca href=\"https://itunes.apple.com/us/app/cthulhu-virtual-pet/id1042479814?mt=8\" target=\"_blank\" rel=\"noopener\">Cthulhu virtual pet\u003c/a> for your phone.\u003c/p>\n\u003cp>Chris Reardon, a fan of Lovecraft’s work and player of Lovecraft-themed games, is happy the author is emerging into the public light.\u003c/p>\n\u003cp>“I really like Lovecraft-themed board games because they are cooperative games,” Reardon says. And the “addition of his characters and his theme add a cool extra layer.”\u003c/p>\n\u003cp>He says Lovecraft would have loved seeing his works coming back and being collaborated on, because he collaborated with people a lot as a writer.\u003c/p>\n\u003cp>Justin Johns, who works for \u003ca href=\"http://www.labyrinthgameshop.com/\" target=\"_blank\" rel=\"noopener\">Labyrinth Games and Puzzles\u003c/a> in Washington, D.C., has enjoyed his fair share of Lovecraft-themed board games. He said he became a fan of the games after reading some of Lovecraft’s work on a whim.\u003c/p>\n\u003cp>“I feel like [Lovecraft-themed games] have been a lot more prevalent in the last three or four years,” Johns says. “I do think there has been an uptick in the theme and interest in Cthulhu stuff. I think Lovecraft has always been around and is sort of a background to a lot of modern horror ideas — the idea that there are big scary things that man is not meant to know.”\u003c/p>\n\u003cp>But why the uptick, seemingly out of the blue (where Cthulhu resides) almost a century after its conception?\u003c/p>\n\u003cp>First, it could be the licensing issue. Some of Lovecraft’s works became public domain within the past decade, so it takes a lot less work for board game creators to use Cthulhu.\u003c/p>\n\u003cp>Second, crowdfunding sites became a haven to fund board game creators’ passion projects. The \u003ca href=\"https://www.kickstarter.com/projects/1816687860/cthulhu-wars?ref=nav_search\" target=\"_blank\" rel=\"noopener\">Cthulhu Wars Kickstarter\u003c/a> raised over $1.4 million. A \u003ca href=\"https://www.kickstarter.com/projects/1816687860/cthulhu-wars-onslaught-two?ref=nav_search\" target=\"_blank\" rel=\"noopener\">second printing\u003c/a> raised an additional $1 million.\u003c/p>\n\u003cp>But lots of things are public domain and don’t have nearly the uptick in consumer attention, and the increase in Lovecraft games funded on Kickstarter lines up with that of \u003ca href=\"https://fivethirtyeight.com/features/crowdfunding-is-driving-a-196-million-board-game-renaissance/\" target=\"_blank\" rel=\"noopener\">all board games\u003c/a> from the crowdfunding sites.\u003c/p>\n\u003cp>Many fans \u003ca href=\"https://www.reddit.com/r/boardgames/comments/4uhpgm/is_there_a_lovecraftian_board_games_revival/?st=j34xiogv&sh=38a7311f\" target=\"_blank\" rel=\"noopener\">argue\u003c/a> that it’s less of a revival and more of a bandwagon. As with zombies and pirates, once creators saw they could make money off the theme, they jumped on board.\u003c/p>\n\u003cp>Donovan Loucks, who is in charge of the H.P. Lovecraft \u003ca href=\"http://www.hplovecraft.com/\" target=\"_blank\" rel=\"noopener\">online archive\u003c/a>, speculated that game creators saw that some Lovecraft games were becoming popular, and once the licensing was released, realized they should take advantage of that market.\u003c/p>\n\u003cp>“I think it prompted a lot of people to say, ‘Hey, we can do Lovecraft too,’ ” says Loucks, who is also an avid board game fan.\u003c/p>\n\u003cp>One possible reason, Johns says, is that board games with cooperative play styles have increased in popularity and most games with a Lovecraft theme are just that — a group of players try to take down the big bad monster and save the world. It’s the players against the board.\u003c/p>\n\u003cp>“I think it’s really interesting to see all the different ways that people are interpreting the ideas of this big scary thing and all the different ways that it’s influenced different writing and games,” Johns says. “Even movies like the \u003cem>Alien\u003c/em> movies, this big scary thing, they go off into the unknown and they’re changed and killed by this unknown character. It echoes throughout the rest of our popular culture.”\u003c/p>\n\u003cp>What is actually different about Lovecraft is that in recent years, he underwent some \u003ca href=\"http://www.salon.com/2014/09/11/its_ok_to_admit_that_h_p_lovecraft_was_racist/\" target=\"_blank\" rel=\"noopener\">pretty intense\u003c/a>, \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2015/08/hp-lovecraft-125/401471/\" target=\"_blank\" rel=\"noopener\">public scrutiny\u003c/a> about racist letters to a friend depicting opinions on his Jewish, black, Italian, Portuguese and Asian peers. Lovecraft wrote that the “extra-legal measures such as lynching and intimidation” were “ingenious,” among other pretty deplorable quotes.\u003c/p>\n\u003cp>But these letters brought attention to Lovecraft’s work.\u003c/p>\n\u003cp>“Any press is good press, in a sense,” Loucks says. “Because of this, people are becoming more aware of him.”\u003c/p>\n\u003cp>Loucks says Lovecraft fans don’t really like Lovecraft the man, and some don’t even like his writing, which is much more detailed than that of other writers of his time. But the fans do love the creatures and monsters he created. So the thought in the Lovecraft community is that perhaps the bad press for his personal opinions brought his work to light, and intrigued people. Then, with it being in the public domain, they were free to use his work to create some of their own — in the form of board games.\u003c/p>\n\u003cp>Whatever the reason for Lovecraft’s rise to fame, one thing is certain: We are in the middle of a board game renaissance, and the deity of choice is Cthulhu.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Christianna Silva is an NPR Digital News intern.\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=H.P.+Lovecraft%27s+Monster+Is+Wrapping+Family+Game+Night+Up+In+Tentacles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "A century after the horror writer created Cthulhu, board game creators and players have resurrected the deep sea monster and brought it into pop culture. Why is this beast making a comeback?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>H.P. Lovecraft, the early 1900s horror writer, is best known for his creation of the deity Cthulhu — a monster of great power who sleeps in the Pacific Ocean in the sunken city of R’lyeh.\u003c/p>\n\u003cp>Now, almost 100 years after its conception, Cthulhu is making a creepy comeback via a new crop of board games.\u003c/p>\n\u003cp>Lovecraft created Cthulhu, which is typically pronounced Ka-thu-lu, in his 1920s short story “\u003ca href=\"http://www.hplovecraft.com/writings/texts/fiction/cc.aspx\" target=\"_blank\" rel=\"noopener\">The Call of Cthulhu\u003c/a>.” In illustrations, the monster’s depiction has taken on a look similar to a mixture of the Kraken, the dragon from Shrek and Xenomorphs from \u003cem>Alien,\u003c/em> but with really great biceps.\u003c/p>\n\u003cp>In 1987, one of the first Lovecraft-themed board games, \u003ca href=\"https://www.fantasyflightgames.com/en/products/arkham-horror/\" target=\"_blank\" rel=\"noopener\">Arkham Horror\u003c/a>, popped up and became wildly popular. Between then and 1997, there was an average of less than one Lovecraft-themed game published each year — and that number didn’t budge until everything seemed to explode in 2014. That year and every year since, there have been over a dozen Lovecraft-themed board games released.\u003c/p>\n\u003cp>And in 2017, the most anticipated board game this year, \u003ca href=\"https://boardgamegeek.com/geeklist/217265/20-most-anticipated-games-2017-nominations-are-clo\" target=\"_blank\" rel=\"noopener\">according to Board Game Geek\u003c/a>, is a Cthulhu Wars expansion. Three of the other titles on the 20-game list are also takes on Lovecraft’s world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What’s impressive about this phenomenon is that after coming into pop culture, Cthulhu has taken over more than just board games: with \u003ca href=\"http://www.imdb.com/list/ls071029311/\" target=\"_blank\" rel=\"noopener\">movies\u003c/a>, \u003ca href=\"http://www.goodreads.com/genres/cthulhu-mythos\" target=\"_blank\" rel=\"noopener\">books\u003c/a>, a \u003ca href=\"https://cthulhuforamerica.com/\" target=\"_blank\" rel=\"noopener\">bid for the 2020 presidential election\u003c/a> (it gathered a couple of votes in \u003ca href=\"http://www.huffingtonpost.com/entry/cthulhu-for-president_us_574fba9ee4b0ed593f134933\" target=\"_blank\" rel=\"noopener\">2016\u003c/a>). You can even get a \u003ca href=\"https://itunes.apple.com/us/app/cthulhu-virtual-pet/id1042479814?mt=8\" target=\"_blank\" rel=\"noopener\">Cthulhu virtual pet\u003c/a> for your phone.\u003c/p>\n\u003cp>Chris Reardon, a fan of Lovecraft’s work and player of Lovecraft-themed games, is happy the author is emerging into the public light.\u003c/p>\n\u003cp>“I really like Lovecraft-themed board games because they are cooperative games,” Reardon says. And the “addition of his characters and his theme add a cool extra layer.”\u003c/p>\n\u003cp>He says Lovecraft would have loved seeing his works coming back and being collaborated on, because he collaborated with people a lot as a writer.\u003c/p>\n\u003cp>Justin Johns, who works for \u003ca href=\"http://www.labyrinthgameshop.com/\" target=\"_blank\" rel=\"noopener\">Labyrinth Games and Puzzles\u003c/a> in Washington, D.C., has enjoyed his fair share of Lovecraft-themed board games. He said he became a fan of the games after reading some of Lovecraft’s work on a whim.\u003c/p>\n\u003cp>“I feel like [Lovecraft-themed games] have been a lot more prevalent in the last three or four years,” Johns says. “I do think there has been an uptick in the theme and interest in Cthulhu stuff. I think Lovecraft has always been around and is sort of a background to a lot of modern horror ideas — the idea that there are big scary things that man is not meant to know.”\u003c/p>\n\u003cp>But why the uptick, seemingly out of the blue (where Cthulhu resides) almost a century after its conception?\u003c/p>\n\u003cp>First, it could be the licensing issue. Some of Lovecraft’s works became public domain within the past decade, so it takes a lot less work for board game creators to use Cthulhu.\u003c/p>\n\u003cp>Second, crowdfunding sites became a haven to fund board game creators’ passion projects. The \u003ca href=\"https://www.kickstarter.com/projects/1816687860/cthulhu-wars?ref=nav_search\" target=\"_blank\" rel=\"noopener\">Cthulhu Wars Kickstarter\u003c/a> raised over $1.4 million. A \u003ca href=\"https://www.kickstarter.com/projects/1816687860/cthulhu-wars-onslaught-two?ref=nav_search\" target=\"_blank\" rel=\"noopener\">second printing\u003c/a> raised an additional $1 million.\u003c/p>\n\u003cp>But lots of things are public domain and don’t have nearly the uptick in consumer attention, and the increase in Lovecraft games funded on Kickstarter lines up with that of \u003ca href=\"https://fivethirtyeight.com/features/crowdfunding-is-driving-a-196-million-board-game-renaissance/\" target=\"_blank\" rel=\"noopener\">all board games\u003c/a> from the crowdfunding sites.\u003c/p>\n\u003cp>Many fans \u003ca href=\"https://www.reddit.com/r/boardgames/comments/4uhpgm/is_there_a_lovecraftian_board_games_revival/?st=j34xiogv&sh=38a7311f\" target=\"_blank\" rel=\"noopener\">argue\u003c/a> that it’s less of a revival and more of a bandwagon. As with zombies and pirates, once creators saw they could make money off the theme, they jumped on board.\u003c/p>\n\u003cp>Donovan Loucks, who is in charge of the H.P. Lovecraft \u003ca href=\"http://www.hplovecraft.com/\" target=\"_blank\" rel=\"noopener\">online archive\u003c/a>, speculated that game creators saw that some Lovecraft games were becoming popular, and once the licensing was released, realized they should take advantage of that market.\u003c/p>\n\u003cp>“I think it prompted a lot of people to say, ‘Hey, we can do Lovecraft too,’ ” says Loucks, who is also an avid board game fan.\u003c/p>\n\u003cp>One possible reason, Johns says, is that board games with cooperative play styles have increased in popularity and most games with a Lovecraft theme are just that — a group of players try to take down the big bad monster and save the world. It’s the players against the board.\u003c/p>\n\u003cp>“I think it’s really interesting to see all the different ways that people are interpreting the ideas of this big scary thing and all the different ways that it’s influenced different writing and games,” Johns says. “Even movies like the \u003cem>Alien\u003c/em> movies, this big scary thing, they go off into the unknown and they’re changed and killed by this unknown character. It echoes throughout the rest of our popular culture.”\u003c/p>\n\u003cp>What is actually different about Lovecraft is that in recent years, he underwent some \u003ca href=\"http://www.salon.com/2014/09/11/its_ok_to_admit_that_h_p_lovecraft_was_racist/\" target=\"_blank\" rel=\"noopener\">pretty intense\u003c/a>, \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2015/08/hp-lovecraft-125/401471/\" target=\"_blank\" rel=\"noopener\">public scrutiny\u003c/a> about racist letters to a friend depicting opinions on his Jewish, black, Italian, Portuguese and Asian peers. Lovecraft wrote that the “extra-legal measures such as lynching and intimidation” were “ingenious,” among other pretty deplorable quotes.\u003c/p>\n\u003cp>But these letters brought attention to Lovecraft’s work.\u003c/p>\n\u003cp>“Any press is good press, in a sense,” Loucks says. “Because of this, people are becoming more aware of him.”\u003c/p>\n\u003cp>Loucks says Lovecraft fans don’t really like Lovecraft the man, and some don’t even like his writing, which is much more detailed than that of other writers of his time. But the fans do love the creatures and monsters he created. So the thought in the Lovecraft community is that perhaps the bad press for his personal opinions brought his work to light, and intrigued people. Then, with it being in the public domain, they were free to use his work to create some of their own — in the form of board games.\u003c/p>\n\u003cp>Whatever the reason for Lovecraft’s rise to fame, one thing is certain: We are in the middle of a board game renaissance, and the deity of choice is Cthulhu.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Christianna Silva is an NPR Digital News intern.\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=H.P.+Lovecraft%27s+Monster+Is+Wrapping+Family+Game+Night+Up+In+Tentacles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "In ‘Hunger,’ Roxane Gay Unravels the Repercussions of a Rape | KQED",
"content": "\u003cp>In 2012, Roxane Gay, the founding essays editor at \u003cem>The Rumpus,\u003c/em> published\u003ca href=\"http://therumpus.net/2012/04/what-we-hunger-for/\"> an essay \u003c/a>ostensibly about about \u003ci>The Hunger Games. \u003c/i> Those on Twitter who followed Gay — already famous, at least in the indie literary world, for her straightforward, insightful writing about \u003ca href=\"http://www.bookslut.com/features/2011_06_017759.php\">Sweet Valley High \u003c/a>, \u003ca href=\"http://www.salon.com/2013/11/08/how_black_girls_die_in_america_the_outrage_of_the_renisha_mcbride_shooting/\">toxic American racism\u003c/a> and more — had known that she was a huge fan of the film and book series (and a die-hard member of \u003ca href=\"https://media1.giphy.com/media/welLTAUhQ8hZm/giphy.gif\" target=\"_blank\" rel=\"noopener\">Team Peeta\u003c/a>).\u003c/p>\n\u003cp>But within a few paragraphs, it became clear that the essay wasn’t your average chronicle of an obsessive love for a film. Rather, Gay used \u003cem>The Hunger Games\u003c/em> as an entry point to write about being raped in an abandoned hunting cabin in the woods when she was 12 years old, and the end of her illusions of safety and strength.\u003c/p>\n\u003cp>Talk to most women and they’ll have dozens of stories of aggressions — both micro and macro — from every stage of life. They can be as routine as walking down a familiar street, always assessing for threats. \u003cem>Is that man going to say something to me? When am I going to be told to smile when I don’t want to? When is someone going to yell something vulgar or crude to me from a passing car?\u003c/em> They can also take monstrous, unbearable shape: for Gay, a horrific rape by a group of popular boys that she knew from school.\u003c/p>\n\u003cp>“They kept me there for hours,” Gay wrote. “It was as bad as you might expect. The repercussions linger.”\u003c/p>\n\u003cp>The essay was followed by more and more writing, and Gay’s ascendance to the bestseller list with her immensely popular essay collection \u003cem>Bad Feminist.\u003c/em> Earlier this year, she released a short story collection, \u003ci>Difficult Women\u003c/i>, which arrived to excellent reviews. All of which makes anticipation high for the June 23 publication of \u003ca href=\"http://www.roxanegay.com/hunger/\">\u003cem>Hunger: A Memoir of (My) Body\u003c/em>\u003c/a> (HarperCollins; $25.99), wherein Gay spends 305 pages explicating those lingering repercussions from that day in the woods.\u003c/p>\n\u003cfigure id=\"attachment_13337822\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Hunger-hc-c-1020x1540.jpg\" alt=\"'Hunger,' by Roxane Gay.\" width=\"640\" height=\"966\" class=\"size-large wp-image-13337822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hunger-hc-c-1020x1540.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hunger-hc-c-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hunger-hc-c-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hunger-hc-c-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hunger-hc-c-1920x2899.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hunger-hc-c-1180x1782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hunger-hc-c-960x1449.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hunger-hc-c-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hunger-hc-c-375x566.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hunger-hc-c-520x785.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Hunger,’ by Roxane Gay. \u003ccite>(HarperCollins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Americans crave stories of triumph, especially over the body: the defeat of addiction, disease, and above all, obesity. We want to read about discipline, about celebrities that lose the baby weight, about slimming down disguised as catharsis. Gay tells the reader from the onset that we won’t find catharsis in the story she’s about to tell.\u003c/p>\n\u003cblockquote>\u003cp>The story of my body is not a story of triumph. This is not a weight-loss memoir. There will be no picture of a thin version of me, my slender body emblazoned across this book’s cover, with me standing in one leg of my former, fatter self’s jeans. This is not a book that will offer motivation. I don’t have any powerful insight into what it takes to overcome an unruly body and unruly appetites. Mine is not a success story. Mine is simply a true story.\u003c/p>\u003c/blockquote>\n\u003cp>Organized in short bursts of chapters, the narrative takes on a circular pattern, with Gay returning to certain phrases, concepts, events. How, soon after the rape, she began eating as a way to make her body into a fortress, so that what happened would never happen again. This is her refrain; underneath it is the core wound of the rape. This is where Gay’s life trajectory was split in two, so brutal that you want to look away. You will remember the times you fat-shamed someone, or were fat-shamed yourself. You will feel implicated.\u003c/p>\n\u003cblockquote>\u003cp>Some boys destroyed me, and I barely survived it. I knew I wouldn’t be able to endure another such violation, and so I ate because I thought that if my body became repulsive, I could keep men away. Even at that young age, I understood that to be fat was to be undesirable to men, to be beneath my contempt, and I already knew too much about their contempt. This is what most girls are taught — that we should be slender and small. We should not take up space. We should be seen and not heard, and if we are seen, we should be pleasing to men, acceptable to society. And most women know this, that we are supposed to disappear, but it’s something that needs to be said, loudly, over and over again, so that we can resist surrendering to what is expected of us.\u003c/p>\u003c/blockquote>\n\u003cp>I love much about \u003cem>Hunger\u003c/em>. As in \u003ca href=\"http://www.roxanegay.com/bad-feminist/\">\u003ci>Bad Feminist,\u003c/i>\u003c/a> Gay is willing and able to confront the contradictions of living as a very human feminist in a patriarchal American society, of being conscious of and enraged by unrealistic beauty standards and yet still crave a sleek, sleeveless summer sundress to show off skinny, muscular arms. In these contradictions, Gay shows, we find the story. Even in “progressive” circles, to be fat is to be contemptible, to have failed. Physician’s guidelines and diet culture only amplify that notion.\u003c/p>\n\u003cblockquote>\u003cp>As a fat woman, I often see my existence reduced to statistics, as if with cold, hard numbers, our culture might make sense of what hunger can become. According to our government statistics, the obesity epidemic costs $147 and $210 billion a year, though there is little clear information as to how researchers arrive at this overwhelming number. What exactly are the costs associated with obesity?\u003c/p>\u003c/blockquote>\n\u003cp>By breaking her silence and looking shame in its face, Roxane Gay has given us a gift. When one is brave enough to tell a story like this — with or without a triumphant ending — we have an opportunity to become more compassionate, to confront our own bias, our own trauma, and to understand how these inform the way we interact with others. We have an option that doesn’t involve silence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Are you uncomfortable in your body? Have you been made to feel ashamed for the space your body takes up in the world? If your answer is no, you’re among a minority. For the rest of us — I’m talking to the women here — let \u003cem>Hunger\u003c/em> be inspiration to speak up, and be brave in the face of a societal mandate that would rather see us small, invisible, and destroyed.\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Roxane Gay appears at the \u003ca href=\"http://www.booksmith.com/event/RGAY\">African American Art & Culture Complex \u003c/a>(sponsored by The Booksmith) on June 27 and \u003ca href=\"http://www.brownpapertickets.com/event/2916550\">Kepler’s Books\u003c/a> on June 28. She also appears at the \u003ca href=\"http://www.copperfieldsbooks.com/event/copperfields-books-presents-sonoma-countys-nastywoman-series-roxane-gay\">Luther Burbank Center in Santa Rosa\u003c/a> on June 29 as part of Copperfield’s Books #nastywomen reading series. Tickets still available for all events. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2012, Roxane Gay, the founding essays editor at \u003cem>The Rumpus,\u003c/em> published\u003ca href=\"http://therumpus.net/2012/04/what-we-hunger-for/\"> an essay \u003c/a>ostensibly about about \u003ci>The Hunger Games. \u003c/i> Those on Twitter who followed Gay — already famous, at least in the indie literary world, for her straightforward, insightful writing about \u003ca href=\"http://www.bookslut.com/features/2011_06_017759.php\">Sweet Valley High \u003c/a>, \u003ca href=\"http://www.salon.com/2013/11/08/how_black_girls_die_in_america_the_outrage_of_the_renisha_mcbride_shooting/\">toxic American racism\u003c/a> and more — had known that she was a huge fan of the film and book series (and a die-hard member of \u003ca href=\"https://media1.giphy.com/media/welLTAUhQ8hZm/giphy.gif\" target=\"_blank\" rel=\"noopener\">Team Peeta\u003c/a>).\u003c/p>\n\u003cp>But within a few paragraphs, it became clear that the essay wasn’t your average chronicle of an obsessive love for a film. Rather, Gay used \u003cem>The Hunger Games\u003c/em> as an entry point to write about being raped in an abandoned hunting cabin in the woods when she was 12 years old, and the end of her illusions of safety and strength.\u003c/p>\n\u003cp>Talk to most women and they’ll have dozens of stories of aggressions — both micro and macro — from every stage of life. They can be as routine as walking down a familiar street, always assessing for threats. \u003cem>Is that man going to say something to me? When am I going to be told to smile when I don’t want to? When is someone going to yell something vulgar or crude to me from a passing car?\u003c/em> They can also take monstrous, unbearable shape: for Gay, a horrific rape by a group of popular boys that she knew from school.\u003c/p>\n\u003cp>“They kept me there for hours,” Gay wrote. “It was as bad as you might expect. The repercussions linger.”\u003c/p>\n\u003cp>The essay was followed by more and more writing, and Gay’s ascendance to the bestseller list with her immensely popular essay collection \u003cem>Bad Feminist.\u003c/em> Earlier this year, she released a short story collection, \u003ci>Difficult Women\u003c/i>, which arrived to excellent reviews. All of which makes anticipation high for the June 23 publication of \u003ca href=\"http://www.roxanegay.com/hunger/\">\u003cem>Hunger: A Memoir of (My) Body\u003c/em>\u003c/a> (HarperCollins; $25.99), wherein Gay spends 305 pages explicating those lingering repercussions from that day in the woods.\u003c/p>\n\u003cfigure id=\"attachment_13337822\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Hunger-hc-c-1020x1540.jpg\" alt=\"'Hunger,' by Roxane Gay.\" width=\"640\" height=\"966\" class=\"size-large wp-image-13337822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hunger-hc-c-1020x1540.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hunger-hc-c-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hunger-hc-c-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hunger-hc-c-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hunger-hc-c-1920x2899.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hunger-hc-c-1180x1782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hunger-hc-c-960x1449.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hunger-hc-c-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hunger-hc-c-375x566.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hunger-hc-c-520x785.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Hunger,’ by Roxane Gay. \u003ccite>(HarperCollins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Americans crave stories of triumph, especially over the body: the defeat of addiction, disease, and above all, obesity. We want to read about discipline, about celebrities that lose the baby weight, about slimming down disguised as catharsis. Gay tells the reader from the onset that we won’t find catharsis in the story she’s about to tell.\u003c/p>\n\u003cblockquote>\u003cp>The story of my body is not a story of triumph. This is not a weight-loss memoir. There will be no picture of a thin version of me, my slender body emblazoned across this book’s cover, with me standing in one leg of my former, fatter self’s jeans. This is not a book that will offer motivation. I don’t have any powerful insight into what it takes to overcome an unruly body and unruly appetites. Mine is not a success story. Mine is simply a true story.\u003c/p>\u003c/blockquote>\n\u003cp>Organized in short bursts of chapters, the narrative takes on a circular pattern, with Gay returning to certain phrases, concepts, events. How, soon after the rape, she began eating as a way to make her body into a fortress, so that what happened would never happen again. This is her refrain; underneath it is the core wound of the rape. This is where Gay’s life trajectory was split in two, so brutal that you want to look away. You will remember the times you fat-shamed someone, or were fat-shamed yourself. You will feel implicated.\u003c/p>\n\u003cblockquote>\u003cp>Some boys destroyed me, and I barely survived it. I knew I wouldn’t be able to endure another such violation, and so I ate because I thought that if my body became repulsive, I could keep men away. Even at that young age, I understood that to be fat was to be undesirable to men, to be beneath my contempt, and I already knew too much about their contempt. This is what most girls are taught — that we should be slender and small. We should not take up space. We should be seen and not heard, and if we are seen, we should be pleasing to men, acceptable to society. And most women know this, that we are supposed to disappear, but it’s something that needs to be said, loudly, over and over again, so that we can resist surrendering to what is expected of us.\u003c/p>\u003c/blockquote>\n\u003cp>I love much about \u003cem>Hunger\u003c/em>. As in \u003ca href=\"http://www.roxanegay.com/bad-feminist/\">\u003ci>Bad Feminist,\u003c/i>\u003c/a> Gay is willing and able to confront the contradictions of living as a very human feminist in a patriarchal American society, of being conscious of and enraged by unrealistic beauty standards and yet still crave a sleek, sleeveless summer sundress to show off skinny, muscular arms. In these contradictions, Gay shows, we find the story. Even in “progressive” circles, to be fat is to be contemptible, to have failed. Physician’s guidelines and diet culture only amplify that notion.\u003c/p>\n\u003cblockquote>\u003cp>As a fat woman, I often see my existence reduced to statistics, as if with cold, hard numbers, our culture might make sense of what hunger can become. According to our government statistics, the obesity epidemic costs $147 and $210 billion a year, though there is little clear information as to how researchers arrive at this overwhelming number. What exactly are the costs associated with obesity?\u003c/p>\u003c/blockquote>\n\u003cp>By breaking her silence and looking shame in its face, Roxane Gay has given us a gift. When one is brave enough to tell a story like this — with or without a triumphant ending — we have an opportunity to become more compassionate, to confront our own bias, our own trauma, and to understand how these inform the way we interact with others. We have an option that doesn’t involve silence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Are you uncomfortable in your body? Have you been made to feel ashamed for the space your body takes up in the world? If your answer is no, you’re among a minority. For the rest of us — I’m talking to the women here — let \u003cem>Hunger\u003c/em> be inspiration to speak up, and be brave in the face of a societal mandate that would rather see us small, invisible, and destroyed.\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Roxane Gay appears at the \u003ca href=\"http://www.booksmith.com/event/RGAY\">African American Art & Culture Complex \u003c/a>(sponsored by The Booksmith) on June 27 and \u003ca href=\"http://www.brownpapertickets.com/event/2916550\">Kepler’s Books\u003c/a> on June 28. She also appears at the \u003ca href=\"http://www.copperfieldsbooks.com/event/copperfields-books-presents-sonoma-countys-nastywoman-series-roxane-gay\">Luther Burbank Center in Santa Rosa\u003c/a> on June 29 as part of Copperfield’s Books #nastywomen reading series. Tickets still available for all events. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-cosmic-predicament-of-the-body-large-animals-by-jess-arndt",
"title": "The Cosmic Predicament of the Body: 'Large Animals' by Jess Arndt",
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"content": "\u003cp>For the first time in my life I paid extra to have legroom in an airplane. I was getting over a cold, but also I wanted to stretch out and fully enjoy \u003cem>Large Animals\u003c/em> by Jess Arndt. You see, Jess Arndt is like a queer Kafka who perambulates the surreal container of the body by dealing almost wholly in non-sequiturs.\u003c/p>\n\u003cp>Many a great story in \u003cem>Large Animals\u003c/em>, Arndt’s debut collection, has a strong resemblance to Kafka’s shorter fiction — which, unlike his longer work that deals with bureaucracy, are rather works of gorgeously, painfully strange portraiture in which one is irredeemably ill-made for the world. Arndt is fond of creating a constellation of small desires for her characters that are hilariously specific, and as with Kafka’s shorter work, her stories turn on the heel of making one seemingly insignificant obsession lie in wait and then ambush the biggest questions of selfhood.\u003c/p>\n\u003cp>\u003cem>However\u003c/em>.\u003c/p>\n\u003cp>There is no question Jess Arndt would have made Kafka blush.\u003c/p>\n\u003cp>To wit: in \u003cem>Third Arm\u003c/em>, an English Professor drives around touching herself while avoiding her love life and pretending to be largely endowed. “I only liked jerking off while driving — otherwise the sincerity of the act completely killed me,” she quips. This unnamed character sees healers at the Authentic Process Healing Institute, and also, she carries a bit of unspecified gore in alcohol in a jar.\u003c/p>\n\u003cfigure id=\"attachment_13366484\" class=\"wp-caption alignright\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Kafka.Blush_.jpg\" alt=\"'Perhaps the best resource is to meet everything passively, to make yourself an inert mass, and if you feel that you are being carried away, not to let yourself be lured into taking a single unnecessary step, to stare at others with the eyes of an animal...' - Franz Kafka, in 'Resolutions,' The Shorter Stories.\" width=\"510\" height=\"646\" class=\"size-full wp-image-13366484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Kafka.Blush_.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Kafka.Blush_-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Kafka.Blush_-240x304.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Kafka.Blush_-375x475.jpg 375w\" sizes=\"(max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">‘Perhaps the best resource is to meet everything passively, to make yourself an inert mass, and if you feel that you are being carried away, not to let yourself be lured into taking a single unnecessary step, to stare at others with the eyes of an animal…’ – Franz Kafka, in ‘Resolutions,’ The Shorter Stories.\u003c/figcaption>\u003c/figure>\n\u003cp>Arndt’s stories are built like this—in as many compelling directions as possible. But invariably, one direction rises above the others. The bit of gore — described as apricot-sized, mostly made of fat, and with darker globs — finally turns allegorical. As you are busy ticking off options for what the jar could possibly contain (an amygdala? definitely an organ?), Arndt continues breathlessly: “It made me think of a bar I’d been to near Joshua Tree.” It is here where you get an answer of a different kind as the unnamed character recounts what she told the bartender: “Scientists have proven that matter doesn’t exist. You see a foot but when you get past all that skin bone squishy stuff et cetera, nothing’s really there,” which is a subterfuge lobbed at the mysterious jar, but also to the feeling of being mismatched with your body which artfully haunts this entire collection.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Arndt’s imagination is amusing and far-flung. Her characters are amorphous and refusing of a gender binary, and the construct of each story is a delight. In \u003cem>Together, \u003c/em>two lovers share an STD, in \u003cem>Jeff \u003c/em>a misheard name introduction (Jess to Jeff) drives a low-key identity crisis. In the title story, \u003cem>Large Animals\u003c/em>, a man who is perceived to be a lesbian whiles away his time in the desert where Walruses seemingly materialize by his bed at night. (Only one story in this collection was a miss for me, \u003cem>Shadow of an Ape\u003c/em>, which details the rather confusing ordeal of a man in 1860’s San Francisco gold rush.)\u003c/p>\n\u003cp>There are some eerily stunning sentences in this collection, nonetheless, foremost of all in \u003cem>Moon Colonies\u003c/em>, the opening story where a threesome haunt the Vegas strip chasing after myriad temporary playthings:\u003c/p>\n\u003cblockquote>\u003cp>In the morning the waves glowed like uranium, a deep sweat coming up off the seafloor. It was beautiful but it was nerve-racking too, being that close to the future.\u003c/p>\u003c/blockquote>\n\u003cp>The great unresolved discomfort of perception and body punctuates the landscape in all the stories in \u003cem>Large Animals\u003c/em>, and each character finds themselves at the mercy of a conniving version of the self that is overpowering, stacks the deck, and ruins the possibility of what is precisely most desired. In this sense, \u003cem>Large Animals\u003c/em> is a collection of humanity reaching toward what might be graspable but remains painfully out of reach. At one point, Arndt writes:\u003c/p>\n\u003cblockquote>\u003cp>Then it’s spring break. I go on a wine tour. We stare into the big sweaty vats of red. “Wine fermentation,” the expert says, “happens when all of the individual grapes explode against the walls of their bodies.”\u003cem> How nice,\u003c/em> I think\u003cem>, for them.\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>This is a delightful read, perfect for the burgeoning summer, where the fact of the body is always at odds with the life of the mind.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Catch Jess Arndt reading from ‘Large Animals’ on Wednesday, June 7, at City Lights Books in San Francisco. 7pm. More information \u003ca href=\"http://www.citylights.com/info/?fa=event&event_id=2954\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "The Cosmic Predicament of the Body: 'Large Animals' by Jess Arndt | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the first time in my life I paid extra to have legroom in an airplane. I was getting over a cold, but also I wanted to stretch out and fully enjoy \u003cem>Large Animals\u003c/em> by Jess Arndt. You see, Jess Arndt is like a queer Kafka who perambulates the surreal container of the body by dealing almost wholly in non-sequiturs.\u003c/p>\n\u003cp>Many a great story in \u003cem>Large Animals\u003c/em>, Arndt’s debut collection, has a strong resemblance to Kafka’s shorter fiction — which, unlike his longer work that deals with bureaucracy, are rather works of gorgeously, painfully strange portraiture in which one is irredeemably ill-made for the world. Arndt is fond of creating a constellation of small desires for her characters that are hilariously specific, and as with Kafka’s shorter work, her stories turn on the heel of making one seemingly insignificant obsession lie in wait and then ambush the biggest questions of selfhood.\u003c/p>\n\u003cp>\u003cem>However\u003c/em>.\u003c/p>\n\u003cp>There is no question Jess Arndt would have made Kafka blush.\u003c/p>\n\u003cp>To wit: in \u003cem>Third Arm\u003c/em>, an English Professor drives around touching herself while avoiding her love life and pretending to be largely endowed. “I only liked jerking off while driving — otherwise the sincerity of the act completely killed me,” she quips. This unnamed character sees healers at the Authentic Process Healing Institute, and also, she carries a bit of unspecified gore in alcohol in a jar.\u003c/p>\n\u003cfigure id=\"attachment_13366484\" class=\"wp-caption alignright\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Kafka.Blush_.jpg\" alt=\"'Perhaps the best resource is to meet everything passively, to make yourself an inert mass, and if you feel that you are being carried away, not to let yourself be lured into taking a single unnecessary step, to stare at others with the eyes of an animal...' - Franz Kafka, in 'Resolutions,' The Shorter Stories.\" width=\"510\" height=\"646\" class=\"size-full wp-image-13366484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Kafka.Blush_.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Kafka.Blush_-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Kafka.Blush_-240x304.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Kafka.Blush_-375x475.jpg 375w\" sizes=\"(max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">‘Perhaps the best resource is to meet everything passively, to make yourself an inert mass, and if you feel that you are being carried away, not to let yourself be lured into taking a single unnecessary step, to stare at others with the eyes of an animal…’ – Franz Kafka, in ‘Resolutions,’ The Shorter Stories.\u003c/figcaption>\u003c/figure>\n\u003cp>Arndt’s stories are built like this—in as many compelling directions as possible. But invariably, one direction rises above the others. The bit of gore — described as apricot-sized, mostly made of fat, and with darker globs — finally turns allegorical. As you are busy ticking off options for what the jar could possibly contain (an amygdala? definitely an organ?), Arndt continues breathlessly: “It made me think of a bar I’d been to near Joshua Tree.” It is here where you get an answer of a different kind as the unnamed character recounts what she told the bartender: “Scientists have proven that matter doesn’t exist. You see a foot but when you get past all that skin bone squishy stuff et cetera, nothing’s really there,” which is a subterfuge lobbed at the mysterious jar, but also to the feeling of being mismatched with your body which artfully haunts this entire collection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arndt’s imagination is amusing and far-flung. Her characters are amorphous and refusing of a gender binary, and the construct of each story is a delight. In \u003cem>Together, \u003c/em>two lovers share an STD, in \u003cem>Jeff \u003c/em>a misheard name introduction (Jess to Jeff) drives a low-key identity crisis. In the title story, \u003cem>Large Animals\u003c/em>, a man who is perceived to be a lesbian whiles away his time in the desert where Walruses seemingly materialize by his bed at night. (Only one story in this collection was a miss for me, \u003cem>Shadow of an Ape\u003c/em>, which details the rather confusing ordeal of a man in 1860’s San Francisco gold rush.)\u003c/p>\n\u003cp>There are some eerily stunning sentences in this collection, nonetheless, foremost of all in \u003cem>Moon Colonies\u003c/em>, the opening story where a threesome haunt the Vegas strip chasing after myriad temporary playthings:\u003c/p>\n\u003cblockquote>\u003cp>In the morning the waves glowed like uranium, a deep sweat coming up off the seafloor. It was beautiful but it was nerve-racking too, being that close to the future.\u003c/p>\u003c/blockquote>\n\u003cp>The great unresolved discomfort of perception and body punctuates the landscape in all the stories in \u003cem>Large Animals\u003c/em>, and each character finds themselves at the mercy of a conniving version of the self that is overpowering, stacks the deck, and ruins the possibility of what is precisely most desired. In this sense, \u003cem>Large Animals\u003c/em> is a collection of humanity reaching toward what might be graspable but remains painfully out of reach. At one point, Arndt writes:\u003c/p>\n\u003cblockquote>\u003cp>Then it’s spring break. I go on a wine tour. We stare into the big sweaty vats of red. “Wine fermentation,” the expert says, “happens when all of the individual grapes explode against the walls of their bodies.”\u003cem> How nice,\u003c/em> I think\u003cem>, for them.\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>This is a delightful read, perfect for the burgeoning summer, where the fact of the body is always at odds with the life of the mind.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Catch Jess Arndt reading from ‘Large Animals’ on Wednesday, June 7, at City Lights Books in San Francisco. 7pm. More information \u003ca href=\"http://www.citylights.com/info/?fa=event&event_id=2954\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Colossal Clusterfest Brings Depraved Fun, Exhausting Pace on First Day",
"headTitle": "Colossal Clusterfest Brings Depraved Fun, Exhausting Pace on First Day | KQED",
"content": "\u003cp>Where would today’s stand-up comedy be without San Francisco? Sure, New York and L.A. are where comics go to make it big, but San Francisco is where comedy evolves. In the early ’50s, Mort Sahl walked on the \u003ca href=\"https://en.wikipedia.org/wiki/Hungry_i\" target=\"_blank\" rel=\"noopener\">hungry i\u003c/a>’s stage with a newspaper in hand and proceeded to riff rather than rattle off one-liners, altering completely what it meant to be a stand-up comedian. A few years later, Ann’s 440 on Broadway hired a local strip-club MC named Lenny Bruce to tell jokes, setting the course of political criticism and freedom of obscenity for legends like Richard Pryor, George Carlin and Bill Hicks.\u003c/p>\n\u003cp>The Holy City Zoo spawned Robin Williams. The Other Cafe nurtured Paula Poundstone. The long-running San Francisco Comedy Competition broke comedians like Dana Carvey, Ellen Degeneres and Sinbad. Even today, rising stars like Hasan Minhaj, Ali Wong, Moshe Kasher and W. Kamau Bell claim San Francisco as their comedy home.\u003c/p>\n\u003cfigure id=\"attachment_13361210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-800x450.jpg\" alt=\"The 'Drunk History' drunk tank. Yes, the man in the Davy Crockett outfit did seem to have a good time\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13361210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Drunk History’ drunk tank. Yes, the man in the Davy Crockett outfit did seem to have a good time. \u003ccite>(Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So it makes sense that Comedy Central chose the city to host a first-of-its-kind, three-day comedy festival, aptly named \u003ca href=\"https://www.clusterfest.com/\" target=\"_blank\" rel=\"noopener\">Colossal Clusterfest\u003c/a>. Instead of the Sketchfest model, with shows at different venues around the city, the performances take place at five venues clustered around the Civic Center mall. It’s a comic showcase for the Outside Lands crowd, a chance for the festival-minded to see a bunch of hot acts for a bargain.\u003c/p>\n\u003cp>It was also apparent, walking into the festival for Friday’s opening night, that Clusterfest is big ol’ advertisement for Comedy Central. Comedy is their brand, and they have branded the hell out of San Francisco. Inside the festival grounds, there were logos as far as the eye could see — for Clusterfest itself, for Miller Lite, for Papa John’s and others. For the duration of the festival — it continues through Sunday — Comedy Central gets to paint the town corporate.\u003c/p>\n\u003cp>And sure, Apple routinely \u003ca href=\"http://appleinsider.com/articles/16/09/06/apple-banners-flags-posters-go-up-at-bill-graham-civic-auditorium-ahead-of-sept-7-event\" target=\"_blank\" rel=\"noopener\">takes over the Civic Center\u003c/a> with excessive branding, and most music festivals utilize every possible surface for advertising. That’s just part of modern life. But it doesn’t feel right in the same place where the city came together in a candlelight vigil after the assassination of Harvey Milk, or where Mayor Gavin Newsom married gay couples in defiance of federal law. \u003c/p>\n\u003cfigure id=\"attachment_13361218\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Scrotums-800x533.jpg\" alt=\"People loved the gigantic scrotum display at the South Park village\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13361218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People loved the gigantic scrotum display at the South Park village. \u003ccite>(Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once you get past that aspect, there’s a ton to see at Clusterfest — starting with the \u003cem>South Park\u003c/em> village. Comedy Central is the channel \u003cem>South Park\u003c/em> built, and they went all out in celebrating their long-running animated show. As someone who’s watched the show since the “beefcake” days, I can say that this massive installation had almost everything a real fan could want: you can sit on a throne next to Satan, you can have your picture taken on top of a giant ballsack, and you can even buy food at locations from the show, like the bar Les Bos. (I didn’t see anyone lining up at the booth called “Raisins”; despite what seemed to be tasty schezwan chicken on the menu, people probably didn’t want to be seen at a booth referencing a \u003ca href=\"http://southpark.cc.com/clips/104388/raisins\" target=\"_blank\" rel=\"noopener\">Hooters-style restaurant that employs prepubescent girls\u003c/a>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not far away from the \u003cem>South Park\u003c/em> village is the re-creation of the \u003cem>Seinfeld\u003c/em> apartment, and a line snaked around its tent for hours. A sign read “Seinfeld Expected Wait Time: 60 minutes,” which is a serious commitment at a festival where comedians’ sets clipped along at 15 minutes each. I didn’t commit, but I did stare at the re-creation of the Soup Nazi’s restaurant, which had the \u003ca href=\"http://www.sfweekly.com/culture/feature-culture/the-soup-nazi-was-once-an-actor-in-sf-who-couldnt-afford-soup/\" target=\"_blank\" rel=\"noopener\">actual actor who played the Soup Nazi\u003c/a> standing nearby. (It also looked like one of the servers had a “fashy,” which is a great update for a joke about a Nazi-run kitchen.)\u003c/p>\n\u003cfigure id=\"attachment_13361219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-800x533.jpg\" alt=\"It seemed to take a lot longer to get into the 'Seinfeld' apartment\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13361219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It seemed to take a lot longer to get into the ‘Seinfeld’ apartment. \u003ccite>(Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It took some effort to locate the 415 Comedy Club on the fourth floor of the Bill Graham Civic Center, but once I did, I found a standing-room-only audience watching Beth Stelling. A writer for the HBO series \u003ci>Crashing,\u003c/i> Stelling had the crowd cracking up over her stories about dead guinea pigs and her estranged dad. The most memorable moment of her set came when she described the feeling of having an IUD pulled out of her by a doctor — it elicited the loudest women-only groan of pain I’ve ever heard.\u003c/p>\n\u003cp>The 415 Comedy Club was set up just feet away from the Bill Graham Auditorium, so after Stelling’s set I popped over to the big room to catch a showcase featuring T.J. Miller (from \u003cem>Silicon Valley\u003c/em>) and \u003ca href=\"http://www.npr.org/2016/11/07/501017521/comedian-aparna-nancherla-makes-light-of-the-heavy-stuff\" target=\"_blank\" rel=\"noopener\">Aparna Nancherla\u003c/a>. On the way to the auditorium, I noticed a guy sitting on the ground with blood pouring out of his mouth — a reminder of the potential for disaster at festivals. At Clusterfest, everyone seemed to be drinking; beer could be bought practically everywhere. Drunk people typically don’t make for great comedy audiences, but thankfully the shows I saw weren’t plagued with annoying hecklers or fighting in the crowd. (I did almost step in a pile of vomit on Fulton Street near the Colossal stage, though.)\u003c/p>\n\u003cfigure id=\"attachment_13361208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Beth-Stelling-800x450.jpg\" alt=\"Beth Stelling on stage at the 415 Comedy Club\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13361208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Stelling on stage at the 415 Comedy Club. \u003ccite>(Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Little about Clusterfest’s setup or crowds was ideal for comedy. Because show times overlapped, audiences were constantly shifting in and out of their seats, which must’ve been distracting for the comedians. But newer standup comics like Liza Treyger and Nick Vatterott (who admitted he’d never performed to so many people) still managed to get big laughs.\u003c/p>\n\u003cp>While eating a $10 gyro and trying to find a drink that wasn’t beer or \u003ca href=\"http://mountaindew.wikia.com/wiki/Spiked_(Lemonade)\" target=\"_blank\" rel=\"noopener\">Mountain Dew Spiked\u003c/a>, I listened to Lil Dicky’s set of hardcore comedy rap from a distance. His delicate, spoiled-brat persona seemed a little too true-to-life, but his beats got festival staff dancing all over the mall. And though the sound was decent for an outdoor stage, I avoided music for the rest of the day — while there were definitely acts worth seeing like Ty Segall and Ice Cube, seeing one of their sets meant missing out on some great comedy.\u003c/p>\n\u003cfigure id=\"attachment_13361214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Problematic2-800x450.jpg\" alt=\"During the taping of 'Problematic'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13361214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">During the taping of ‘Problematic.’ On stage (L-R) are April Glaser, Paul Scheer, Moshe Kasher, Alexander Reben and Beth Stelling. \u003ccite>(Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After finishing my food, it was time to stand in line at the Larkin Comedy Club for a taping of \u003ci>Problematic\u003c/i>, Comedy Central’s new show hosted by Moshe Kasher, an Oakland native. The requirements at the Larkin Comedy Club are stringent and inconvenient. You have to queue up at least 20 minutes before the show, and that’s after getting a required ticket from a nearby box office. As the doors opened and people took their seats, those who’d been standing in line without the required tickets were then sent running to get tickets once they realized their error.\u003c/p>\n\u003cp>But \u003ci>Problematic\u003c/i> was worth it. Kasher is quick-witted and fearless, and his show takes on controversial topics of the day, such as the \u003ca href=\"http://www.cc.com/episodes/q6xqai/problematic-with-moshe-kasher-the-alt-right-season-1-ep-106\" target=\"_blank\" rel=\"noopener\">Alt-Right\u003c/a>, the episode on which Kasher spoke with notorious political trolls like Ann Coulter. Friday’s show was on robotics, which had some definite potential for laughs — we’re talking about sex robots, of course — but ended up feeling a little schizophrenic during discussions about the need for Universal Basic Income and the ethics surrounding the development of weapons. Yet the jokes about sex robots were really funny, and a riff from Paul Scheer about the “famous” Larkin Club’s decor — huge portraits of famous comedians like Robin Williams, Betty White and Miss Piggy — gave the festival the ribbing it deserved.\u003c/p>\n\u003cfigure id=\"attachment_13363221\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-800x450.jpg\" alt=\"Sarah Silverman on the big screen at the Bill Graham Stage.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13363221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Silverman on the big screen at the Bill Graham Stage. \u003ccite>(Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time T.J. Miller’s \u003cem>Gorburger\u003c/em> show was up and running at the smaller outdoor stage, it had grown dark and cold. So, so cold. The concept behind \u003cem>The Gorburger Show\u003c/em> centers around Miller dressing up as a scary alien and hosting a talk show that’s also a parody of a Japanese game show, full of weird games like throwing corn cobs at poeple’s butts. Though there were plenty of reasons to laugh, the icy wind had sucked away a lot of the energy from the crowd, and even Gorburger’s guests.\u003c/p>\n\u003cp>Almost an hour before he was expected to take the stage, a giant crowd built up for headliner Kevin Hart. As much as I wanted to see the man who’s become the next Eddie Murphy, the windchill factor made the outside air feel like 20 degrees. So I scrambled back to the Bill Graham stage to catch Sarah Silverman as she MC’ed her own show. Silverman told the crowd she’d be doing all-new material and then called back to the stage Aparna Nancherla, who then performed her third set on that same stage that night. She didn’t have to repeat material, and she consistently killed. One of her first jokes was that she’d been popping up so often on that stage, she might as well be the phantom of the Bill Graham auditorium, which got a good laugh from the large and, by now, exhausted crowd.\u003c/p>\n\u003cp>Comedy is hard to sit through when you’re tired, and the festival had managed to tucker out the thousands congregated in the Bill Graham. While Kasher, an Oakland native, had hilarious riffs on local institutions like the sex-toy store \u003ca href=\"http://www.goodvibes.com/s\" target=\"_blank\" rel=\"noopener\">Good Vibrations\u003c/a>, the monitors on the sides of the stage kept making the mistake of showing shots of a crowd just trying to stay awake.\u003c/p>\n\u003cp>At the end of the night, Clusterfest was best summed up by the hoodie-and-backwards-cap-wearing \u003ca href=\"http://www.urbandictionary.com/define.php?term=broseph\" target=\"_blank\" rel=\"noopener\">broseph\u003c/a> sitting next to me. With empty beer bottles and compostable paper bowls scattered at his feet, he watched Kasher with his arms folded the entire time, a half-smile on his face as he battled to keep his eyes open. Would he be back for two more days of this, I thought? Time will tell.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Comedy Clusterfest continues through Sunday, June 4. \u003ca href=\"https://www.clusterfest.com/\" target=\"_blank\" rel=\"noopener\">More details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "For the 'Outside Lands of comedy,' Comedy Central takes over San Francisco's Civic Center mall for a first-of-its-kind comedy festival—and, in its inaugural year, there are some kinks to work out.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Where would today’s stand-up comedy be without San Francisco? Sure, New York and L.A. are where comics go to make it big, but San Francisco is where comedy evolves. In the early ’50s, Mort Sahl walked on the \u003ca href=\"https://en.wikipedia.org/wiki/Hungry_i\" target=\"_blank\" rel=\"noopener\">hungry i\u003c/a>’s stage with a newspaper in hand and proceeded to riff rather than rattle off one-liners, altering completely what it meant to be a stand-up comedian. A few years later, Ann’s 440 on Broadway hired a local strip-club MC named Lenny Bruce to tell jokes, setting the course of political criticism and freedom of obscenity for legends like Richard Pryor, George Carlin and Bill Hicks.\u003c/p>\n\u003cp>The Holy City Zoo spawned Robin Williams. The Other Cafe nurtured Paula Poundstone. The long-running San Francisco Comedy Competition broke comedians like Dana Carvey, Ellen Degeneres and Sinbad. Even today, rising stars like Hasan Minhaj, Ali Wong, Moshe Kasher and W. Kamau Bell claim San Francisco as their comedy home.\u003c/p>\n\u003cfigure id=\"attachment_13361210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-800x450.jpg\" alt=\"The 'Drunk History' drunk tank. Yes, the man in the Davy Crockett outfit did seem to have a good time\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13361210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Drunk History’ drunk tank. Yes, the man in the Davy Crockett outfit did seem to have a good time. \u003ccite>(Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So it makes sense that Comedy Central chose the city to host a first-of-its-kind, three-day comedy festival, aptly named \u003ca href=\"https://www.clusterfest.com/\" target=\"_blank\" rel=\"noopener\">Colossal Clusterfest\u003c/a>. Instead of the Sketchfest model, with shows at different venues around the city, the performances take place at five venues clustered around the Civic Center mall. It’s a comic showcase for the Outside Lands crowd, a chance for the festival-minded to see a bunch of hot acts for a bargain.\u003c/p>\n\u003cp>It was also apparent, walking into the festival for Friday’s opening night, that Clusterfest is big ol’ advertisement for Comedy Central. Comedy is their brand, and they have branded the hell out of San Francisco. Inside the festival grounds, there were logos as far as the eye could see — for Clusterfest itself, for Miller Lite, for Papa John’s and others. For the duration of the festival — it continues through Sunday — Comedy Central gets to paint the town corporate.\u003c/p>\n\u003cp>And sure, Apple routinely \u003ca href=\"http://appleinsider.com/articles/16/09/06/apple-banners-flags-posters-go-up-at-bill-graham-civic-auditorium-ahead-of-sept-7-event\" target=\"_blank\" rel=\"noopener\">takes over the Civic Center\u003c/a> with excessive branding, and most music festivals utilize every possible surface for advertising. That’s just part of modern life. But it doesn’t feel right in the same place where the city came together in a candlelight vigil after the assassination of Harvey Milk, or where Mayor Gavin Newsom married gay couples in defiance of federal law. \u003c/p>\n\u003cfigure id=\"attachment_13361218\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Scrotums-800x533.jpg\" alt=\"People loved the gigantic scrotum display at the South Park village\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13361218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People loved the gigantic scrotum display at the South Park village. \u003ccite>(Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once you get past that aspect, there’s a ton to see at Clusterfest — starting with the \u003cem>South Park\u003c/em> village. Comedy Central is the channel \u003cem>South Park\u003c/em> built, and they went all out in celebrating their long-running animated show. As someone who’s watched the show since the “beefcake” days, I can say that this massive installation had almost everything a real fan could want: you can sit on a throne next to Satan, you can have your picture taken on top of a giant ballsack, and you can even buy food at locations from the show, like the bar Les Bos. (I didn’t see anyone lining up at the booth called “Raisins”; despite what seemed to be tasty schezwan chicken on the menu, people probably didn’t want to be seen at a booth referencing a \u003ca href=\"http://southpark.cc.com/clips/104388/raisins\" target=\"_blank\" rel=\"noopener\">Hooters-style restaurant that employs prepubescent girls\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not far away from the \u003cem>South Park\u003c/em> village is the re-creation of the \u003cem>Seinfeld\u003c/em> apartment, and a line snaked around its tent for hours. A sign read “Seinfeld Expected Wait Time: 60 minutes,” which is a serious commitment at a festival where comedians’ sets clipped along at 15 minutes each. I didn’t commit, but I did stare at the re-creation of the Soup Nazi’s restaurant, which had the \u003ca href=\"http://www.sfweekly.com/culture/feature-culture/the-soup-nazi-was-once-an-actor-in-sf-who-couldnt-afford-soup/\" target=\"_blank\" rel=\"noopener\">actual actor who played the Soup Nazi\u003c/a> standing nearby. (It also looked like one of the servers had a “fashy,” which is a great update for a joke about a Nazi-run kitchen.)\u003c/p>\n\u003cfigure id=\"attachment_13361219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-800x533.jpg\" alt=\"It seemed to take a lot longer to get into the 'Seinfeld' apartment\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13361219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It seemed to take a lot longer to get into the ‘Seinfeld’ apartment. \u003ccite>(Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It took some effort to locate the 415 Comedy Club on the fourth floor of the Bill Graham Civic Center, but once I did, I found a standing-room-only audience watching Beth Stelling. A writer for the HBO series \u003ci>Crashing,\u003c/i> Stelling had the crowd cracking up over her stories about dead guinea pigs and her estranged dad. The most memorable moment of her set came when she described the feeling of having an IUD pulled out of her by a doctor — it elicited the loudest women-only groan of pain I’ve ever heard.\u003c/p>\n\u003cp>The 415 Comedy Club was set up just feet away from the Bill Graham Auditorium, so after Stelling’s set I popped over to the big room to catch a showcase featuring T.J. Miller (from \u003cem>Silicon Valley\u003c/em>) and \u003ca href=\"http://www.npr.org/2016/11/07/501017521/comedian-aparna-nancherla-makes-light-of-the-heavy-stuff\" target=\"_blank\" rel=\"noopener\">Aparna Nancherla\u003c/a>. On the way to the auditorium, I noticed a guy sitting on the ground with blood pouring out of his mouth — a reminder of the potential for disaster at festivals. At Clusterfest, everyone seemed to be drinking; beer could be bought practically everywhere. Drunk people typically don’t make for great comedy audiences, but thankfully the shows I saw weren’t plagued with annoying hecklers or fighting in the crowd. (I did almost step in a pile of vomit on Fulton Street near the Colossal stage, though.)\u003c/p>\n\u003cfigure id=\"attachment_13361208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Beth-Stelling-800x450.jpg\" alt=\"Beth Stelling on stage at the 415 Comedy Club\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13361208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Stelling on stage at the 415 Comedy Club. \u003ccite>(Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Little about Clusterfest’s setup or crowds was ideal for comedy. Because show times overlapped, audiences were constantly shifting in and out of their seats, which must’ve been distracting for the comedians. But newer standup comics like Liza Treyger and Nick Vatterott (who admitted he’d never performed to so many people) still managed to get big laughs.\u003c/p>\n\u003cp>While eating a $10 gyro and trying to find a drink that wasn’t beer or \u003ca href=\"http://mountaindew.wikia.com/wiki/Spiked_(Lemonade)\" target=\"_blank\" rel=\"noopener\">Mountain Dew Spiked\u003c/a>, I listened to Lil Dicky’s set of hardcore comedy rap from a distance. His delicate, spoiled-brat persona seemed a little too true-to-life, but his beats got festival staff dancing all over the mall. And though the sound was decent for an outdoor stage, I avoided music for the rest of the day — while there were definitely acts worth seeing like Ty Segall and Ice Cube, seeing one of their sets meant missing out on some great comedy.\u003c/p>\n\u003cfigure id=\"attachment_13361214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Problematic2-800x450.jpg\" alt=\"During the taping of 'Problematic'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13361214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">During the taping of ‘Problematic.’ On stage (L-R) are April Glaser, Paul Scheer, Moshe Kasher, Alexander Reben and Beth Stelling. \u003ccite>(Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After finishing my food, it was time to stand in line at the Larkin Comedy Club for a taping of \u003ci>Problematic\u003c/i>, Comedy Central’s new show hosted by Moshe Kasher, an Oakland native. The requirements at the Larkin Comedy Club are stringent and inconvenient. You have to queue up at least 20 minutes before the show, and that’s after getting a required ticket from a nearby box office. As the doors opened and people took their seats, those who’d been standing in line without the required tickets were then sent running to get tickets once they realized their error.\u003c/p>\n\u003cp>But \u003ci>Problematic\u003c/i> was worth it. Kasher is quick-witted and fearless, and his show takes on controversial topics of the day, such as the \u003ca href=\"http://www.cc.com/episodes/q6xqai/problematic-with-moshe-kasher-the-alt-right-season-1-ep-106\" target=\"_blank\" rel=\"noopener\">Alt-Right\u003c/a>, the episode on which Kasher spoke with notorious political trolls like Ann Coulter. Friday’s show was on robotics, which had some definite potential for laughs — we’re talking about sex robots, of course — but ended up feeling a little schizophrenic during discussions about the need for Universal Basic Income and the ethics surrounding the development of weapons. Yet the jokes about sex robots were really funny, and a riff from Paul Scheer about the “famous” Larkin Club’s decor — huge portraits of famous comedians like Robin Williams, Betty White and Miss Piggy — gave the festival the ribbing it deserved.\u003c/p>\n\u003cfigure id=\"attachment_13363221\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-800x450.jpg\" alt=\"Sarah Silverman on the big screen at the Bill Graham Stage.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13363221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Silverman on the big screen at the Bill Graham Stage. \u003ccite>(Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time T.J. Miller’s \u003cem>Gorburger\u003c/em> show was up and running at the smaller outdoor stage, it had grown dark and cold. So, so cold. The concept behind \u003cem>The Gorburger Show\u003c/em> centers around Miller dressing up as a scary alien and hosting a talk show that’s also a parody of a Japanese game show, full of weird games like throwing corn cobs at poeple’s butts. Though there were plenty of reasons to laugh, the icy wind had sucked away a lot of the energy from the crowd, and even Gorburger’s guests.\u003c/p>\n\u003cp>Almost an hour before he was expected to take the stage, a giant crowd built up for headliner Kevin Hart. As much as I wanted to see the man who’s become the next Eddie Murphy, the windchill factor made the outside air feel like 20 degrees. So I scrambled back to the Bill Graham stage to catch Sarah Silverman as she MC’ed her own show. Silverman told the crowd she’d be doing all-new material and then called back to the stage Aparna Nancherla, who then performed her third set on that same stage that night. She didn’t have to repeat material, and she consistently killed. One of her first jokes was that she’d been popping up so often on that stage, she might as well be the phantom of the Bill Graham auditorium, which got a good laugh from the large and, by now, exhausted crowd.\u003c/p>\n\u003cp>Comedy is hard to sit through when you’re tired, and the festival had managed to tucker out the thousands congregated in the Bill Graham. While Kasher, an Oakland native, had hilarious riffs on local institutions like the sex-toy store \u003ca href=\"http://www.goodvibes.com/s\" target=\"_blank\" rel=\"noopener\">Good Vibrations\u003c/a>, the monitors on the sides of the stage kept making the mistake of showing shots of a crowd just trying to stay awake.\u003c/p>\n\u003cp>At the end of the night, Clusterfest was best summed up by the hoodie-and-backwards-cap-wearing \u003ca href=\"http://www.urbandictionary.com/define.php?term=broseph\" target=\"_blank\" rel=\"noopener\">broseph\u003c/a> sitting next to me. With empty beer bottles and compostable paper bowls scattered at his feet, he watched Kasher with his arms folded the entire time, a half-smile on his face as he battled to keep his eyes open. Would he be back for two more days of this, I thought? Time will tell.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Comedy Clusterfest continues through Sunday, June 4. \u003ca href=\"https://www.clusterfest.com/\" target=\"_blank\" rel=\"noopener\">More details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cal Shakes' 'As You Like It' Evokes Ghost Ship and Tent Cities",
"headTitle": "Cal Shakes’ ‘As You Like It’ Evokes Ghost Ship and Tent Cities | KQED",
"content": "\u003cp>Like many Shakespearian comedies, \u003cem>As You Like It\u003c/em> begins in discord and works it way to a tense happiness. More so than the tragedies, these rueful takes on love’s travails feel emblematic of the times\u003cb>,\u003c/b> or at least our most hopeful version of them. Director Desdemona Chiang’s class-conscious meditation on this run-away-to-the-forest-and-slip-into-a-better-world fantasia at \u003ca href=\"https://tickets.calshakes.org/Online/default.asp?BOparam::WScontent::loadArticle::permalink=2017%20As%20You%20Like%20It&BOparam::WScontent::loadArticle::context_id=&sessionlanguage=\" target=\"_blank\" rel=\"noopener noreferrer\">California Shakespeare Theater\u003c/a> is fascinating, though uncertainly executed.\u003c/p>\n\u003cp>We begin in the court of Duke Frederick, who has wrested political control from his elder brother, Duke Senior, both played by James Carpenter with his customary élan and precision. The fissure in the first political family seems to have nestled its way into all the relationships of the kingdom, from the best to the worst. On the side of the best, there’s Rosalind and her cousin Celia, who adore each other despite the rift between their fathers; on the worst, look to Orlando and his brother Oliver, who are in a battle over the younger’s rightful standing in the world.\u003c/p>\n\u003cfigure id=\"attachment_13336591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13336591\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-800x450.jpg\" alt=\"In the foreground Rosalind (Jessika D. Williams) approaches Orlando (Patrick Russell) who is preparing to fight Charles (Jorma Tagatac), a professional wrestler with a mean streak in Cal Shakes' production of 'As You Like It' by William Shakespeare.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the foreground Rosalind (Jessika D. Williams) approaches Orlando (Patrick Russell) who is preparing to fight Charles (Jorma Tagatac), a professional wrestler on a mission to maim him in Cal Shakes’ production of ‘As You Like It’ by William Shakespeare. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We sense the natural nobility of Rosalind and Orlando, and so when for various reasons they’re both forced into exile, it feels unjust but also a wild opportunity for new freedoms. And that’s where Chiang takes a daring gambit: the forest of Arden, which serves as the domain of Duke Frederick’s brother, and the place where our daring exiles find themselves upon being banished, is not a forest at all; it’s a derelict warehouse.\u003c/p>\n\u003cp>The transformation of the set from the verdant Arcadia of the court to the industrial landscape of Oakland — both displaced and bohemian — is a breathtaking transposition. The production feels like it’s going to take off with it. The most beautiful scene of the evening is when the exiled Duke speaks to his lords of the joys of living outside the court: “Now, my co-mates and brothers in exile/Hath not old custom made this life more sweet/Than that of painted pomp?”\u003c/p>\n\u003cfigure id=\"attachment_13336798\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13336798\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-800x451.jpg\" alt=\"(L to R) The exiled duke (James Carpenter) presides over his warehouse crew (Craig Marker, Lisa Hori-Garcia, and William Thomas Hodgson) as Orlando (Patrick Russell) bullies the dreamy Jaques (Jomar Tagatac) in Cal Shakes' production of 'As You Like It' by William Shakespeare.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) The exiled duke (James Carpenter) presides over his warehouse crew (Craig Marker, Lisa Hori-Garcia, and William Thomas Hodgson) as Orlando (Patrick Russell) bullies the dreamy Jaques (Jomar Tagatac) in Cal Shakes’ production of ‘As You Like It’ by William Shakespeare. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Well, that’s the question of the day, isn’t it? And you can’t help but think of the Ghost Ship and its many doubles, the tented homeless encampments under 980, and all the provisional communities that find living in the court of the Bay Area impossible. And so people seek out communities that are both more precarious and fulfilling. Concepts like these often feel tacked on, conceits without resonance. It’s amazing how easily the play slides into Chiang’s vision of the utopia that can be found in a dystopia.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But for all the thoughtfulness of the ideas, this \u003cem>As You Like It\u003c/em> fails to achieve the verve and life it promises. Many of the problems come from Chiang’s inability to sustain any kind of dramatic momentum from scene to scene. It’s not so much how the scenes play out, but rather the transitions that are a problem. The few that do work — a rapid-fire costume change that takes us from the exiled Duke’s warehouse to his brother’s chambers in a flash of an instant — are striking and you wonder why the rest of the production is so lack.\u003c/p>\n\u003cp>You want the force of Chiang’s insights to suffuse every aspect of the play, and yet nothing feels properly put together. The visual field is muddied, and the stage is at one and the same time too cramped and too large. In a clever updating, Orlando spray paints Rosalind’s name all over the warehouse set. Yet Patrick Russell, who’s terrific in the role, can’t seem to navigate the set to make the grand gestures necessary for his character and the play. It’s a wonderful idea, yet it falters under unsure execution.\u003c/p>\n\u003cfigure id=\"attachment_13336802\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13336802\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-800x450.jpg\" alt=\"Rosalind (Jessika D. Williams) steals Orlando's (Patrick Russell) spray paint from him.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rosalind (Jessika D. Williams) steals Orlando’s (Patrick Russell) spray paint from him. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shakespeare’s realism is vast and supple. It contains not just grand visions of the world, but also the granular details of actual life. You can feel this production opening the door to a world we haven’t quite seen and connections we haven’t quite made. But just as surely, it shies away from all the sinew and grit that might have made every last bit of it splendidly real.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>California Shakespeare Theater’s ‘As You Like It’ runs through Sunday, Jun. 18 at Bruns Amphitheater in Orinda. For tickets and information \u003ca href=\"https://tickets.calshakes.org/Online/default.asp?BOparam::WScontent::loadArticle::permalink=2017%20As%20You%20Like%20It&BOparam::WScontent::loadArticle::context_id=&sessionlanguage=\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Though flawed, Desdemona Chiang's production explores why living in the Bay Area is impossible for communities on the edge.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like many Shakespearian comedies, \u003cem>As You Like It\u003c/em> begins in discord and works it way to a tense happiness. More so than the tragedies, these rueful takes on love’s travails feel emblematic of the times\u003cb>,\u003c/b> or at least our most hopeful version of them. Director Desdemona Chiang’s class-conscious meditation on this run-away-to-the-forest-and-slip-into-a-better-world fantasia at \u003ca href=\"https://tickets.calshakes.org/Online/default.asp?BOparam::WScontent::loadArticle::permalink=2017%20As%20You%20Like%20It&BOparam::WScontent::loadArticle::context_id=&sessionlanguage=\" target=\"_blank\" rel=\"noopener noreferrer\">California Shakespeare Theater\u003c/a> is fascinating, though uncertainly executed.\u003c/p>\n\u003cp>We begin in the court of Duke Frederick, who has wrested political control from his elder brother, Duke Senior, both played by James Carpenter with his customary élan and precision. The fissure in the first political family seems to have nestled its way into all the relationships of the kingdom, from the best to the worst. On the side of the best, there’s Rosalind and her cousin Celia, who adore each other despite the rift between their fathers; on the worst, look to Orlando and his brother Oliver, who are in a battle over the younger’s rightful standing in the world.\u003c/p>\n\u003cfigure id=\"attachment_13336591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13336591\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-800x450.jpg\" alt=\"In the foreground Rosalind (Jessika D. Williams) approaches Orlando (Patrick Russell) who is preparing to fight Charles (Jorma Tagatac), a professional wrestler with a mean streak in Cal Shakes' production of 'As You Like It' by William Shakespeare.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the foreground Rosalind (Jessika D. Williams) approaches Orlando (Patrick Russell) who is preparing to fight Charles (Jorma Tagatac), a professional wrestler on a mission to maim him in Cal Shakes’ production of ‘As You Like It’ by William Shakespeare. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We sense the natural nobility of Rosalind and Orlando, and so when for various reasons they’re both forced into exile, it feels unjust but also a wild opportunity for new freedoms. And that’s where Chiang takes a daring gambit: the forest of Arden, which serves as the domain of Duke Frederick’s brother, and the place where our daring exiles find themselves upon being banished, is not a forest at all; it’s a derelict warehouse.\u003c/p>\n\u003cp>The transformation of the set from the verdant Arcadia of the court to the industrial landscape of Oakland — both displaced and bohemian — is a breathtaking transposition. The production feels like it’s going to take off with it. The most beautiful scene of the evening is when the exiled Duke speaks to his lords of the joys of living outside the court: “Now, my co-mates and brothers in exile/Hath not old custom made this life more sweet/Than that of painted pomp?”\u003c/p>\n\u003cfigure id=\"attachment_13336798\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13336798\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-800x451.jpg\" alt=\"(L to R) The exiled duke (James Carpenter) presides over his warehouse crew (Craig Marker, Lisa Hori-Garcia, and William Thomas Hodgson) as Orlando (Patrick Russell) bullies the dreamy Jaques (Jomar Tagatac) in Cal Shakes' production of 'As You Like It' by William Shakespeare.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) The exiled duke (James Carpenter) presides over his warehouse crew (Craig Marker, Lisa Hori-Garcia, and William Thomas Hodgson) as Orlando (Patrick Russell) bullies the dreamy Jaques (Jomar Tagatac) in Cal Shakes’ production of ‘As You Like It’ by William Shakespeare. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Well, that’s the question of the day, isn’t it? And you can’t help but think of the Ghost Ship and its many doubles, the tented homeless encampments under 980, and all the provisional communities that find living in the court of the Bay Area impossible. And so people seek out communities that are both more precarious and fulfilling. Concepts like these often feel tacked on, conceits without resonance. It’s amazing how easily the play slides into Chiang’s vision of the utopia that can be found in a dystopia.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for all the thoughtfulness of the ideas, this \u003cem>As You Like It\u003c/em> fails to achieve the verve and life it promises. Many of the problems come from Chiang’s inability to sustain any kind of dramatic momentum from scene to scene. It’s not so much how the scenes play out, but rather the transitions that are a problem. The few that do work — a rapid-fire costume change that takes us from the exiled Duke’s warehouse to his brother’s chambers in a flash of an instant — are striking and you wonder why the rest of the production is so lack.\u003c/p>\n\u003cp>You want the force of Chiang’s insights to suffuse every aspect of the play, and yet nothing feels properly put together. The visual field is muddied, and the stage is at one and the same time too cramped and too large. In a clever updating, Orlando spray paints Rosalind’s name all over the warehouse set. Yet Patrick Russell, who’s terrific in the role, can’t seem to navigate the set to make the grand gestures necessary for his character and the play. It’s a wonderful idea, yet it falters under unsure execution.\u003c/p>\n\u003cfigure id=\"attachment_13336802\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13336802\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-800x450.jpg\" alt=\"Rosalind (Jessika D. Williams) steals Orlando's (Patrick Russell) spray paint from him.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rosalind (Jessika D. Williams) steals Orlando’s (Patrick Russell) spray paint from him. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shakespeare’s realism is vast and supple. It contains not just grand visions of the world, but also the granular details of actual life. You can feel this production opening the door to a world we haven’t quite seen and connections we haven’t quite made. But just as surely, it shies away from all the sinew and grit that might have made every last bit of it splendidly real.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>California Shakespeare Theater’s ‘As You Like It’ runs through Sunday, Jun. 18 at Bruns Amphitheater in Orinda. For tickets and information \u003ca href=\"https://tickets.calshakes.org/Online/default.asp?BOparam::WScontent::loadArticle::permalink=2017%20As%20You%20Like%20It&BOparam::WScontent::loadArticle::context_id=&sessionlanguage=\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Worthy Big-Screen Treatment Of A Long-Neglected 'Wonder Woman'",
"headTitle": "A Worthy Big-Screen Treatment Of A Long-Neglected ‘Wonder Woman’ | KQED",
"content": "\u003cp>Princess Diana of Themyscira was sculpted from clay by her mother, Queen Hippolyta, brought to life by Aphrodite and bequeathed her superhuman powers by the Greek gods. Over the 75 years she has been kept off the big screen, her fitful appearances on the small screen, most notably in the Lynda Carter TV series and on animated shows like \u003cem>Super Friends\u003c/em> and \u003cem>Justice League\u003c/em>, have made it easy to forget that Wonder Woman is not one of us. She wasn’t bitten by a radioactive spider or transformed by some environmental cataclysm and instead was born a demigod, above and apart from the flaws and frailties of humankind.\u003c/p>\n\u003cp>Of the many things the new \u003cem>Wonder Woman\u003c/em> gets right, the first and most important is a triumph of scale, of emphasizing the alien immensity of Princess Diana before she mingles with humans and accepts her civilian alter ego, Diana Prince. In that respect, director Patty Jenkins has successfully modeled the classicism of the original 1978 \u003cem>Superman\u003c/em>, which also builds up the alien mythos of its hero before Clark Kent turns up in nerd glasses and identifies more closely with the denizens of his adopted planet.\u003c/p>\n\u003cp>https://youtu.be/VSB4wGIdDwo\u003c/p>\n\u003cp>It’s not unfair to say that Jenkins has gone the conservative route, adopting a risk-averse strategy that is closer to the tightly managed Marvel Cinematic Universe than that of Wonder Woman’s DC Comics. With its World War I adventure plot, in fact, \u003cem>Wonder Woman \u003c/em>could be tagged a gender-reversed \u003cem>Captain America: The First Avenger\u003c/em>. But the conservative choice also happens to be the right one, and the film has the scale and storytelling clarity to sell the mythology and give Princess Diana the stature her many titles suggest. Here, she is a figure of remarkable totemic power.\u003c/p>\n\u003cp>The most critical stretch of the film — and the best — comes at the beginning, when Diana (Gal Gadot) is growing up among the other Amazon women on Themyscira, an island cloaked by an invisible shield to protect its inhabitants from Ares, the god of war. Over the objections of Queen Hippolyta (Connie Nielsen), Diana starts training with her aunt, General Antiope (Robin Wright), for the epic battle they’re all certain will eventually reach their shores. For as long as it remains untouched, the island is an appealing feminine utopia of benevolent values and esprit de corps, a powerful contrast to the fractious world outside its magical borders.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That innocence is lost when Steve Trevor (Chris Pine), a U.S. fighter pilot, crash-lands on Themyscira and brings the war with him. After she and her fellow warriors fend off Steve’s German attackers, Diana takes an interest in him — he is the first man she has ever met, after all — and in the call to end World War I, which she is certain is Ares’ handiwork. Packing her bulletproof bracelets, her golden “Lasso of Truth” and a “God-Killer” sword with which to slay Ares, Diana ships off to London with Steve, joining his covert mission to dismantle a weapons program headed by a power-mad general (Danny Huston) and a chemist named Doctor Poison (Elena Anaya).\u003c/p>\n\u003cp>Before sending her off into war, \u003cem>Wonder Woman\u003c/em> takes advantage of the fish-out-of-water comedy of Diana leaving her tranquil island paradise for the soot-choked gray of industrialized London, where women don’t enjoy the freedoms to which she is accustomed. Gadot’s physical presence as Wonder Woman was established in \u003cem>Batman v Superman: Dawn of Justice\u003c/em>, but she handles the Diana Prince side with equal dexterity, whether puzzling over the excessive formalities of early 20th century womanhood or trading banter with Steve and his abashed comrades. Diana’s near-invulnerability to human dictates gives her the freedom to dismiss their social mores, which can be played as alternately funny and empowering.\u003c/p>\n\u003cp>\u003cem>Wonder Woman\u003c/em> loses some of its edge when the uniqueness of her origin story and her acclimation to people and a new environment gives way to more familiar effects-driven conflict. The original comic had Steve and Diana fighting Nazis, and while the shift back to World War I is a sensible choice, given the overwhelming nature of Nazi iconography, it occasionally flattens the film into rote action-adventure. Once the showdown with Ares finally materializes, Jenkins can’t solve the common problem that god-versus-god matchups tend to result in two characters tightening their faces and shooting beams of light at each other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even in its weaker moments, \u003cem>Wonder Woman \u003c/em>honors the scale of a superhero who stands alongside Superman and Batman in the DC lexicon but has never had a vehicle worthy of her. Jenkins and Gadot do the hard work of properly establishing her stature on screen for the first time. She can go anywhere from here.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Princess Diana of Themyscira was sculpted from clay by her mother, Queen Hippolyta, brought to life by Aphrodite and bequeathed her superhuman powers by the Greek gods. Over the 75 years she has been kept off the big screen, her fitful appearances on the small screen, most notably in the Lynda Carter TV series and on animated shows like \u003cem>Super Friends\u003c/em> and \u003cem>Justice League\u003c/em>, have made it easy to forget that Wonder Woman is not one of us. She wasn’t bitten by a radioactive spider or transformed by some environmental cataclysm and instead was born a demigod, above and apart from the flaws and frailties of humankind.\u003c/p>\n\u003cp>Of the many things the new \u003cem>Wonder Woman\u003c/em> gets right, the first and most important is a triumph of scale, of emphasizing the alien immensity of Princess Diana before she mingles with humans and accepts her civilian alter ego, Diana Prince. In that respect, director Patty Jenkins has successfully modeled the classicism of the original 1978 \u003cem>Superman\u003c/em>, which also builds up the alien mythos of its hero before Clark Kent turns up in nerd glasses and identifies more closely with the denizens of his adopted planet.\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/VSB4wGIdDwo'\n title='//www.youtube.com/embed/VSB4wGIdDwo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s not unfair to say that Jenkins has gone the conservative route, adopting a risk-averse strategy that is closer to the tightly managed Marvel Cinematic Universe than that of Wonder Woman’s DC Comics. With its World War I adventure plot, in fact, \u003cem>Wonder Woman \u003c/em>could be tagged a gender-reversed \u003cem>Captain America: The First Avenger\u003c/em>. But the conservative choice also happens to be the right one, and the film has the scale and storytelling clarity to sell the mythology and give Princess Diana the stature her many titles suggest. Here, she is a figure of remarkable totemic power.\u003c/p>\n\u003cp>The most critical stretch of the film — and the best — comes at the beginning, when Diana (Gal Gadot) is growing up among the other Amazon women on Themyscira, an island cloaked by an invisible shield to protect its inhabitants from Ares, the god of war. Over the objections of Queen Hippolyta (Connie Nielsen), Diana starts training with her aunt, General Antiope (Robin Wright), for the epic battle they’re all certain will eventually reach their shores. For as long as it remains untouched, the island is an appealing feminine utopia of benevolent values and esprit de corps, a powerful contrast to the fractious world outside its magical borders.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That innocence is lost when Steve Trevor (Chris Pine), a U.S. fighter pilot, crash-lands on Themyscira and brings the war with him. After she and her fellow warriors fend off Steve’s German attackers, Diana takes an interest in him — he is the first man she has ever met, after all — and in the call to end World War I, which she is certain is Ares’ handiwork. Packing her bulletproof bracelets, her golden “Lasso of Truth” and a “God-Killer” sword with which to slay Ares, Diana ships off to London with Steve, joining his covert mission to dismantle a weapons program headed by a power-mad general (Danny Huston) and a chemist named Doctor Poison (Elena Anaya).\u003c/p>\n\u003cp>Before sending her off into war, \u003cem>Wonder Woman\u003c/em> takes advantage of the fish-out-of-water comedy of Diana leaving her tranquil island paradise for the soot-choked gray of industrialized London, where women don’t enjoy the freedoms to which she is accustomed. Gadot’s physical presence as Wonder Woman was established in \u003cem>Batman v Superman: Dawn of Justice\u003c/em>, but she handles the Diana Prince side with equal dexterity, whether puzzling over the excessive formalities of early 20th century womanhood or trading banter with Steve and his abashed comrades. Diana’s near-invulnerability to human dictates gives her the freedom to dismiss their social mores, which can be played as alternately funny and empowering.\u003c/p>\n\u003cp>\u003cem>Wonder Woman\u003c/em> loses some of its edge when the uniqueness of her origin story and her acclimation to people and a new environment gives way to more familiar effects-driven conflict. The original comic had Steve and Diana fighting Nazis, and while the shift back to World War I is a sensible choice, given the overwhelming nature of Nazi iconography, it occasionally flattens the film into rote action-adventure. Once the showdown with Ares finally materializes, Jenkins can’t solve the common problem that god-versus-god matchups tend to result in two characters tightening their faces and shooting beams of light at each other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even in its weaker moments, \u003cem>Wonder Woman \u003c/em>honors the scale of a superhero who stands alongside Superman and Batman in the DC lexicon but has never had a vehicle worthy of her. Jenkins and Gadot do the hard work of properly establishing her stature on screen for the first time. She can go anywhere from here.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Sorrow of Isadora Duncan",
"headTitle": "The Sorrow of Isadora Duncan | KQED",
"content": "\u003cp>Fun fact: Isadora Duncan and Jack London were contemporaries. Both were born in San Francisco, in 1877 and 1876, respectively. Both experienced poverty-stricken childhoods in Oakland and went on to make definitive marks on their art forms — London in fiction, Duncan in dance. Both lived dramatic lives full of travel, alcohol, and socialist politics.\u003c/p>\n\u003cp>And both died young — London in 1916 at age 40, from kidney failure; Duncan in 1927 at age 49, famously in a car accident. The long red scarf she was wearing tangled in the hubcap of a moving car. Her neck was broken. \u003c/p>\n\u003cp>We live in a time where the lives of famous artists can attract more interest than the art itself. Sometimes this is a shame, and sometimes it’s a sign that the artist’s persona has outlived her art. Duncan’s work, while important to the history of modern dance, \u003ca href=\"https://www.youtube.com/watch?v=Kq2GgIMM060\" target=\"_blank\" rel=\"noopener\">might look a little silly to modern eyes\u003c/a>. Her life, however, remains fascinating, and thus, a dancer who intended to leave behind an artistic legacy is now a character in other people’s art. Last year, Lily-Rose Depp, Johnny Depp’s daughter, played Duncan in a movie called \u003cem>The Dancer\u003c/em>. This month, there’s a novel, \u003cem>Isadora\u003c/em>, by Amelia Gray. \u003c/p>\n\u003cfigure id=\"attachment_13322817\" class=\"wp-caption alignright\" style=\"max-width: 733px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Isadora.Novel_.jpg\" alt=\"'Isadora,' by Amelia Gray.\" width=\"733\" height=\"1100\" class=\"size-full wp-image-13322817\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_.jpg 733w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_-520x780.jpg 520w\" sizes=\"(max-width: 733px) 100vw, 733px\">\u003cfigcaption class=\"wp-caption-text\">‘Isadora,’ by Amelia Gray.\u003c/figcaption>\u003c/figure>\n\u003cp>Gray’s novel isn’t the stuff of a Netflix series, however. It’s a serious meditation on grief in the life of an artist. The story starts with the death of Duncan’s children, who drowned when the car they were in accidentally drove into the Seine. The novel stays so mercilessly focused on this tragic event, diving deeper into the effects of grief, that it plunges the reader into an atmosphere suffocated by the presence of loss. “A keening scream spread swiftly from my body to reach the walls and the floor,” Isadora says. “It made a residence of sound [that] echoed through my empty core, my ribs a spider’s web strung ragged across my spine, a sagging cradle for the mess of my broken heart.” She is shattered, and Gray is too ruthless a writer to look away or soften her pain.\u003c/p>\n\u003cp>Told in short chapters, the novel alternates four different voices: Isadora; the father of her son, Paris Singer; her sister, Elizabeth; and her lover, Max. The story moves slowly, inching through the funeral, Isadora’s travels in Europe, and her return to the dance school. There are long, lingering sections about her illness and mundane descriptions of waiting or eating or drinking. There’s an entire chapter where Paris studies the figures in the painting \u003ca href=\"https://en.wikipedia.org/wiki/The_Coronation_of_Napoleon#/media/File:Jacques-Louis_David,_The_Coronation_of_Napoleon_edit.jpg\" target=\"_blank\" rel=\"noopener\">\u003cem>The Coronation of Napoleon\u003c/em>\u003c/a>. This focus on details dissipates the intensity of action — it’s fairly boring to read about funeral arrangements — but does humanize and intensify Duncan’s grief.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Without the dull details fogging things up,” Isadora says, “we can exist forever as in a museum diorama, standing forever in a perfect state of admiration and anticipation.” Certainly, Gray is not interested in a diorama of her famous subject. Her Duncan is a woman rooted deeply in her body. She’s unpleasant, wry, complex, and verging on madness — she pees on the floor, bites people, and eats her children’s ashes. There is her slow, arduous return from the sea of grief to her art, which she also wields with almost careless power. “You don’t have a bit of philosophy you didn’t scrape off the shoes of greater man, and there is no greater man than me,” she says to Max. “You have failed to see how each planet in my orbit is lashed to me with diamond thread.”\u003c/p>\n\u003cp>Fictionalizing a real person is difficult, especially when dealing with personal tragedy. As I read, I found myself wondering about the real Isadora Duncan, and what in the text is fictionalized and what is true. I was perplexed that there weren’t more details of her life before the accident, but maybe that would have been too predictable. (This led to me looking Duncan up online, and remembering the similarities to Jack London. Also, the Duncan siblings used to climb the fence of Gertrude Stein’s house in Oakland and steal apples from her orchard.)\u003c/p>\n\u003cp>But perhaps factoids are best left to biographers. \u003cem>Isadora\u003c/em> explores themes of art and genius, history and personal grief, and the specific sorrows of the female body. It’s not an entirely successful book, nor a happy one, but it does transcend the entertainment value and repurposed gossip of most biographical novels to stand apart as a depiction of an artist’s life. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Amelia Gray reads at The Booksmith in San Francisco on June 26; \u003ca href=\"http://www.booksmith.com/event/amelia-gray-and-rosecrans-baldwin\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fun fact: Isadora Duncan and Jack London were contemporaries. Both were born in San Francisco, in 1877 and 1876, respectively. Both experienced poverty-stricken childhoods in Oakland and went on to make definitive marks on their art forms — London in fiction, Duncan in dance. Both lived dramatic lives full of travel, alcohol, and socialist politics.\u003c/p>\n\u003cp>And both died young — London in 1916 at age 40, from kidney failure; Duncan in 1927 at age 49, famously in a car accident. The long red scarf she was wearing tangled in the hubcap of a moving car. Her neck was broken. \u003c/p>\n\u003cp>We live in a time where the lives of famous artists can attract more interest than the art itself. Sometimes this is a shame, and sometimes it’s a sign that the artist’s persona has outlived her art. Duncan’s work, while important to the history of modern dance, \u003ca href=\"https://www.youtube.com/watch?v=Kq2GgIMM060\" target=\"_blank\" rel=\"noopener\">might look a little silly to modern eyes\u003c/a>. Her life, however, remains fascinating, and thus, a dancer who intended to leave behind an artistic legacy is now a character in other people’s art. Last year, Lily-Rose Depp, Johnny Depp’s daughter, played Duncan in a movie called \u003cem>The Dancer\u003c/em>. This month, there’s a novel, \u003cem>Isadora\u003c/em>, by Amelia Gray. \u003c/p>\n\u003cfigure id=\"attachment_13322817\" class=\"wp-caption alignright\" style=\"max-width: 733px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Isadora.Novel_.jpg\" alt=\"'Isadora,' by Amelia Gray.\" width=\"733\" height=\"1100\" class=\"size-full wp-image-13322817\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_.jpg 733w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_-520x780.jpg 520w\" sizes=\"(max-width: 733px) 100vw, 733px\">\u003cfigcaption class=\"wp-caption-text\">‘Isadora,’ by Amelia Gray.\u003c/figcaption>\u003c/figure>\n\u003cp>Gray’s novel isn’t the stuff of a Netflix series, however. It’s a serious meditation on grief in the life of an artist. The story starts with the death of Duncan’s children, who drowned when the car they were in accidentally drove into the Seine. The novel stays so mercilessly focused on this tragic event, diving deeper into the effects of grief, that it plunges the reader into an atmosphere suffocated by the presence of loss. “A keening scream spread swiftly from my body to reach the walls and the floor,” Isadora says. “It made a residence of sound [that] echoed through my empty core, my ribs a spider’s web strung ragged across my spine, a sagging cradle for the mess of my broken heart.” She is shattered, and Gray is too ruthless a writer to look away or soften her pain.\u003c/p>\n\u003cp>Told in short chapters, the novel alternates four different voices: Isadora; the father of her son, Paris Singer; her sister, Elizabeth; and her lover, Max. The story moves slowly, inching through the funeral, Isadora’s travels in Europe, and her return to the dance school. There are long, lingering sections about her illness and mundane descriptions of waiting or eating or drinking. There’s an entire chapter where Paris studies the figures in the painting \u003ca href=\"https://en.wikipedia.org/wiki/The_Coronation_of_Napoleon#/media/File:Jacques-Louis_David,_The_Coronation_of_Napoleon_edit.jpg\" target=\"_blank\" rel=\"noopener\">\u003cem>The Coronation of Napoleon\u003c/em>\u003c/a>. This focus on details dissipates the intensity of action — it’s fairly boring to read about funeral arrangements — but does humanize and intensify Duncan’s grief.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Without the dull details fogging things up,” Isadora says, “we can exist forever as in a museum diorama, standing forever in a perfect state of admiration and anticipation.” Certainly, Gray is not interested in a diorama of her famous subject. Her Duncan is a woman rooted deeply in her body. She’s unpleasant, wry, complex, and verging on madness — she pees on the floor, bites people, and eats her children’s ashes. There is her slow, arduous return from the sea of grief to her art, which she also wields with almost careless power. “You don’t have a bit of philosophy you didn’t scrape off the shoes of greater man, and there is no greater man than me,” she says to Max. “You have failed to see how each planet in my orbit is lashed to me with diamond thread.”\u003c/p>\n\u003cp>Fictionalizing a real person is difficult, especially when dealing with personal tragedy. As I read, I found myself wondering about the real Isadora Duncan, and what in the text is fictionalized and what is true. I was perplexed that there weren’t more details of her life before the accident, but maybe that would have been too predictable. (This led to me looking Duncan up online, and remembering the similarities to Jack London. Also, the Duncan siblings used to climb the fence of Gertrude Stein’s house in Oakland and steal apples from her orchard.)\u003c/p>\n\u003cp>But perhaps factoids are best left to biographers. \u003cem>Isadora\u003c/em> explores themes of art and genius, history and personal grief, and the specific sorrows of the female body. It’s not an entirely successful book, nor a happy one, but it does transcend the entertainment value and repurposed gossip of most biographical novels to stand apart as a depiction of an artist’s life. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Amelia Gray reads at The Booksmith in San Francisco on June 26; \u003ca href=\"http://www.booksmith.com/event/amelia-gray-and-rosecrans-baldwin\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tom Petty, Michael Franti, AlunaGeorge, Ben Harper, Dreamers, Judah & the Lion and a record-setting Silent Disco were among the highlights Saturday at BottleRock in Napa.\u003c/p>\n\u003cp>Our photographer Estefany Gonzalez was on the scene; click on a photo below to activate a slideshow from the day.\u003c/p>\n\u003cp>[gallery type=\"rectangular\" size=\"full\" ids=\"13322772,13322776,13322777,13322778,13322775,13322812,13322773,13322779,13322780,13322811,13322782,13322784,13322786,13322787,13322788,13322789,13322790,13322795,13322783,13322781,13322774,13322791,13322792,13322794,13322796,13322797,13322798,13322799,13322800,13322801,13322802,13322803,13322804,13322805,13322806,13322807,13322808,13322793,13322809,13322810,13322813,13322785\"]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Thriller 'Desierto' Captures Immigration Hellscape at the US/Mexico Border",
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"content": "\u003cp>How much is a Mexican life worth? Since 2006, there have been \u003ca href=\"https://news.vice.com/story/ten-years-into-mexicos-drug-war-the-violence-in-acapulco-rages-on\" target=\"_blank\" rel=\"noopener noreferrer\">150,000 homicides and 28,000 “disappeared” in Mexico\u003c/a> — and \u003ca href=\"http://www.dw.com/en/unsolved-crime-rate-in-mexico-climbs-to-93-percent/a-35919079\" target=\"_blank\" rel=\"noopener noreferrer\">93 percent of violent crimes and homicides have never been prosecuted\u003c/a>. On average, Mexicans pay smugglers \u003ca href=\"https://www.nytimes.com/2017/05/05/opinion/sunday/mexican-drug-smugglers-to-trump-thanks.html?ref=opinion\" target=\"_blank\" rel=\"noopener noreferrer\">$2,500 to $5,000\u003c/a> to help them illegally cross the border. Several thousand migrants die each year on their journey into the United States; many have been found buried in clandestine graves, their bones packed in milk crates.\u003c/p>\n\u003cp>Does the value of a Mexican life change once it enters the United States? For director Jonás Cuarón, whose film \u003cem>Desierto\u003c/em> screens May 28 at the Roxie, the answer is yes. Cuarón describes \u003cem>Desierto\u003c/em> as a cautionary tale, depicting the dangers migrants might endure to cross our border. But in the film — as in reality — once those migrants enter the United States, the violence they encounter has just begun.\u003c/p>\n\u003cfigure id=\"attachment_13304904\" class=\"wp-caption aligncenter\" style=\"max-width: 670px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13304904\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Desierto-2-Photo-Cred-STX-Entertainment.jpg\" alt=\"Still from 'Desierto.'\" width=\"670\" height=\"377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-2-Photo-Cred-STX-Entertainment.jpg 670w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-2-Photo-Cred-STX-Entertainment-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-2-Photo-Cred-STX-Entertainment-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-2-Photo-Cred-STX-Entertainment-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-2-Photo-Cred-STX-Entertainment-520x293.jpg 520w\" sizes=\"(max-width: 670px) 100vw, 670px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Desierto.’ \u003ccite>(Courtesy of STX Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, what is the value of a Mexican body? To vigilante groups like the Minutemen or the \u003ca href=\"http://www.newsweek.com/2014/08/01/texan-ranchers-hunt-daily-illegal-immigrants-260489.html\" target=\"_blank\" rel=\"noopener noreferrer\">Texas Border Volunteers\u003c/a>, the answer would be: worthless. In order to “defend their land,” groups like these hunt migrants for sport. Ranchers intentionally make their land inhospitable, with electric fences and no safe drinking water, making traversal of the land near-impossible. The Texas Border Volunteers chase the migrants in trucks, many of whom are dehydrated, and have already walked hundreds of miles across the desert, until they collapse from fear and exhaustion and ICE is called to quickly deport them.\u003c/p>\n\u003cp>When the Texas Border Volunteers find migrants who have died on their land, they take photographs of the bodies, which are often missing limbs or eyes from being scavenged, and hang these photos on their hunting walls: prizes to be remembered, “success stories” to be collected.\u003c/p>\n\u003cp>So the premise of the thriller \u003cem>Desierto\u003c/em>, of Mexican and Central American migrants crossing the border and trying to escape a vigilante who shoots “illegals” for sport, is far from fictional. The view persists in America, dramatized by \u003cem>Desierto\u003c/em>’s villain, Sam, that the only good brown person is a dead one.\u003c/p>\n\u003cfigure id=\"attachment_13304905\" class=\"wp-caption aligncenter\" style=\"max-width: 670px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13304905\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Desierto-3-Photo-Cred-STX-Entertainment.jpg\" alt=\"Still from 'Desierto.'\" width=\"670\" height=\"377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-3-Photo-Cred-STX-Entertainment.jpg 670w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-3-Photo-Cred-STX-Entertainment-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-3-Photo-Cred-STX-Entertainment-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-3-Photo-Cred-STX-Entertainment-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-3-Photo-Cred-STX-Entertainment-520x293.jpg 520w\" sizes=\"(max-width: 670px) 100vw, 670px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Desierto.’ \u003ccite>(Courtesy of STX Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eight years in the making, \u003cem>Desierto\u003c/em> premiered in 2015 at the Toronto International Film Festival. Gael García Bernal plays the lead character, Moises, a Mexican migrant trying to reunite with his family in California. During filming, Bernal joked with Cuarón that by the time the film was completed, immigration would no longer be a hot-button issue. Cuarón never predicted the film would become even more relevant.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When I started developing the character of [Sam, played by] Jeffrey Dean Morgan, it was impossible not to have as a reference all of the vigilante groups that existed on the border, like the Minutemen, when I was writing,” says Cuarón. “But to me, Jeffrey’s character, more than being specific to the Minutemen or vigilante groups, represented what society can get to if we keep allowing all of this rhetoric of hatred toward migrants to be used by politicians and media.”\u003c/p>\n\u003cp>\u003cem>Desierto\u003c/em> opens with an expansive shot of the vast, inhospitable desert. A truck containing smuggled migrants breaks down, forcing 14 people to start their journey across the most dangerous part of the border on foot.\u003c/p>\n\u003cfigure id=\"attachment_13304906\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13304906\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment.jpg\" alt=\"Still from 'Desierto.'\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Desierto.’ \u003ccite>(Courtesy of STX Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the coyotes (human smugglers) sprint across the desert, leaving those who are fatigued and less able-bodied behind, danger looms. Sam appears with his rifle, aiming for the migrants, gunning down nine of them in minutes. Moises and a group of four others spend the rest of the film trying to outrun and hide from Sam, and his murderous dog Tracker.\u003c/p>\n\u003cp>Throughout the film, we learn little about the migrants, Sam, or their motivations. I wondered if Cuarón chose to tell the story of \u003cem>Desierto\u003c/em> in this way to mirror what happens when thousands die on their journey to the United States: their bodies are found, often without identification, and we never know their story.\u003c/p>\n\u003cp>“In \u003cem>Desierto\u003c/em>, I really wanted the narrative to pop in the present tense. I wanted it to be a movie that once the action started, it didn’t stop. So it was really hard to find scenes where I could find an organic way to tell the backstory of these characters,” Cuarón explains.\u003c/p>\n\u003cp>“No matter what happened to Jeffrey Dean Morgan’s character [Sam], nothing justifies his actions,” he says. “And at the same time, no matter what the backstory of any of those migrants had been, even if they had been cruel people, nothing justifies or takes away from the cruelty of Jeffrey Dean Morgan’s actions.”\u003c/p>\n\u003cp>To Cuarón, his migrant characters, like those in real life, are simply searching for a better life, and he wanted to convey the tragedy of those lives being stolen from them.\u003c/p>\n\u003cp>https://youtu.be/OIdPSVKZsD4\u003c/p>\n\u003cp>That idea of a “search for a better life” often gets whitewashed, reduced to a pat phrase that doesn’t address the complex combination of forces impacting Mexican and Central American migrants.\u003c/p>\n\u003cp>Guadalupe Correa-Cabrera, an associate professor of political science at the University of Texas Rio Grande Valley, and the author of \u003cem>\u003ca href=\"https://utpress.utexas.edu/books/correa-cabrera-los-zetas-inc\" target=\"_blank\" rel=\"noopener noreferrer\">Los Zetas Inc.: Criminal Corporations, Energy and Civil War in Mexico\u003c/a>\u003c/em>, has spent the last six years conducting hundreds of interviews with migrants, military operatives, former drug cartel members, border patrol agents and migrant rights activists from Mexico and the Northern Triangle. Her deeply informed book covers the history, dangerous conditions, and economic plight of the regions controlled by the drug cartel Los Zetas, arguing that the cartel has become a highly sophisticated, profitable operation, similar to a transnational corporation.\u003c/p>\n\u003cp>“We need to acknowledge that there is more than one cause that makes people flee from their countries or look for a better life,” says Correa-Cabrera. “The media portrays this phenomenon as if most of the migrants who come from Central America are fleeing from violence and flying from gangs. And that’s not necessarily not true.” Some are escaping violence, yes, but others seek the economic advantages and opportunities their home country can’t provide.\u003c/p>\n\u003cp>Family separation, as is the case for Moises in \u003cem>Desierto\u003c/em>, is another a motivating factor for those risking their lives to cross the border.\u003c/p>\n\u003cp>“Overall we have seen that the dangers have increased,” says Correa-Cabrera, “that the drug trafficking organizations, local gangs, et cetera have started to extort migrants, rape women, rape children.” Migrants are willing to take the risk, Correa-Cabrera adds. “There are two powerful reasons they don’t care. They want to be reunified with their families in the United States, and it is true that their life will change [once in the U.S.]. The situation that they face in their country of origin makes it impossible for them to survive economically — sometimes even their physical integrity is in danger.”\u003c/p>\n\u003cp>How much is a migrants’ life worth? For the lives in \u003cem>Desierto\u003c/em> and the real world, exactly as much as they can be exploited, and nothing if they can’t. Dehumanized before they even leave their birth country, is it any wonder that their humanity is also denied at the border?\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>‘Desierto’ plays at San Francisco’s Roxie Theater at 6pm on Sunday, May 28, followed by a Q&A with director Jonás Cuarón. For tickets and more information, \u003ca href=\"http://www.roxie.com/ai1ec_event/desierto/\" 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>How much is a Mexican life worth? Since 2006, there have been \u003ca href=\"https://news.vice.com/story/ten-years-into-mexicos-drug-war-the-violence-in-acapulco-rages-on\" target=\"_blank\" rel=\"noopener noreferrer\">150,000 homicides and 28,000 “disappeared” in Mexico\u003c/a> — and \u003ca href=\"http://www.dw.com/en/unsolved-crime-rate-in-mexico-climbs-to-93-percent/a-35919079\" target=\"_blank\" rel=\"noopener noreferrer\">93 percent of violent crimes and homicides have never been prosecuted\u003c/a>. On average, Mexicans pay smugglers \u003ca href=\"https://www.nytimes.com/2017/05/05/opinion/sunday/mexican-drug-smugglers-to-trump-thanks.html?ref=opinion\" target=\"_blank\" rel=\"noopener noreferrer\">$2,500 to $5,000\u003c/a> to help them illegally cross the border. Several thousand migrants die each year on their journey into the United States; many have been found buried in clandestine graves, their bones packed in milk crates.\u003c/p>\n\u003cp>Does the value of a Mexican life change once it enters the United States? For director Jonás Cuarón, whose film \u003cem>Desierto\u003c/em> screens May 28 at the Roxie, the answer is yes. Cuarón describes \u003cem>Desierto\u003c/em> as a cautionary tale, depicting the dangers migrants might endure to cross our border. But in the film — as in reality — once those migrants enter the United States, the violence they encounter has just begun.\u003c/p>\n\u003cfigure id=\"attachment_13304904\" class=\"wp-caption aligncenter\" style=\"max-width: 670px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13304904\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Desierto-2-Photo-Cred-STX-Entertainment.jpg\" alt=\"Still from 'Desierto.'\" width=\"670\" height=\"377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-2-Photo-Cred-STX-Entertainment.jpg 670w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-2-Photo-Cred-STX-Entertainment-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-2-Photo-Cred-STX-Entertainment-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-2-Photo-Cred-STX-Entertainment-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-2-Photo-Cred-STX-Entertainment-520x293.jpg 520w\" sizes=\"(max-width: 670px) 100vw, 670px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Desierto.’ \u003ccite>(Courtesy of STX Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, what is the value of a Mexican body? To vigilante groups like the Minutemen or the \u003ca href=\"http://www.newsweek.com/2014/08/01/texan-ranchers-hunt-daily-illegal-immigrants-260489.html\" target=\"_blank\" rel=\"noopener noreferrer\">Texas Border Volunteers\u003c/a>, the answer would be: worthless. In order to “defend their land,” groups like these hunt migrants for sport. Ranchers intentionally make their land inhospitable, with electric fences and no safe drinking water, making traversal of the land near-impossible. The Texas Border Volunteers chase the migrants in trucks, many of whom are dehydrated, and have already walked hundreds of miles across the desert, until they collapse from fear and exhaustion and ICE is called to quickly deport them.\u003c/p>\n\u003cp>When the Texas Border Volunteers find migrants who have died on their land, they take photographs of the bodies, which are often missing limbs or eyes from being scavenged, and hang these photos on their hunting walls: prizes to be remembered, “success stories” to be collected.\u003c/p>\n\u003cp>So the premise of the thriller \u003cem>Desierto\u003c/em>, of Mexican and Central American migrants crossing the border and trying to escape a vigilante who shoots “illegals” for sport, is far from fictional. The view persists in America, dramatized by \u003cem>Desierto\u003c/em>’s villain, Sam, that the only good brown person is a dead one.\u003c/p>\n\u003cfigure id=\"attachment_13304905\" class=\"wp-caption aligncenter\" style=\"max-width: 670px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13304905\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Desierto-3-Photo-Cred-STX-Entertainment.jpg\" alt=\"Still from 'Desierto.'\" width=\"670\" height=\"377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-3-Photo-Cred-STX-Entertainment.jpg 670w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-3-Photo-Cred-STX-Entertainment-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-3-Photo-Cred-STX-Entertainment-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-3-Photo-Cred-STX-Entertainment-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-3-Photo-Cred-STX-Entertainment-520x293.jpg 520w\" sizes=\"(max-width: 670px) 100vw, 670px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Desierto.’ \u003ccite>(Courtesy of STX Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eight years in the making, \u003cem>Desierto\u003c/em> premiered in 2015 at the Toronto International Film Festival. Gael García Bernal plays the lead character, Moises, a Mexican migrant trying to reunite with his family in California. During filming, Bernal joked with Cuarón that by the time the film was completed, immigration would no longer be a hot-button issue. Cuarón never predicted the film would become even more relevant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When I started developing the character of [Sam, played by] Jeffrey Dean Morgan, it was impossible not to have as a reference all of the vigilante groups that existed on the border, like the Minutemen, when I was writing,” says Cuarón. “But to me, Jeffrey’s character, more than being specific to the Minutemen or vigilante groups, represented what society can get to if we keep allowing all of this rhetoric of hatred toward migrants to be used by politicians and media.”\u003c/p>\n\u003cp>\u003cem>Desierto\u003c/em> opens with an expansive shot of the vast, inhospitable desert. A truck containing smuggled migrants breaks down, forcing 14 people to start their journey across the most dangerous part of the border on foot.\u003c/p>\n\u003cfigure id=\"attachment_13304906\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13304906\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment.jpg\" alt=\"Still from 'Desierto.'\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Desierto.’ \u003ccite>(Courtesy of STX Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the coyotes (human smugglers) sprint across the desert, leaving those who are fatigued and less able-bodied behind, danger looms. Sam appears with his rifle, aiming for the migrants, gunning down nine of them in minutes. Moises and a group of four others spend the rest of the film trying to outrun and hide from Sam, and his murderous dog Tracker.\u003c/p>\n\u003cp>Throughout the film, we learn little about the migrants, Sam, or their motivations. I wondered if Cuarón chose to tell the story of \u003cem>Desierto\u003c/em> in this way to mirror what happens when thousands die on their journey to the United States: their bodies are found, often without identification, and we never know their story.\u003c/p>\n\u003cp>“In \u003cem>Desierto\u003c/em>, I really wanted the narrative to pop in the present tense. I wanted it to be a movie that once the action started, it didn’t stop. So it was really hard to find scenes where I could find an organic way to tell the backstory of these characters,” Cuarón explains.\u003c/p>\n\u003cp>“No matter what happened to Jeffrey Dean Morgan’s character [Sam], nothing justifies his actions,” he says. “And at the same time, no matter what the backstory of any of those migrants had been, even if they had been cruel people, nothing justifies or takes away from the cruelty of Jeffrey Dean Morgan’s actions.”\u003c/p>\n\u003cp>To Cuarón, his migrant characters, like those in real life, are simply searching for a better life, and he wanted to convey the tragedy of those lives being stolen from them.\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/OIdPSVKZsD4'\n title='//www.youtube.com/embed/OIdPSVKZsD4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That idea of a “search for a better life” often gets whitewashed, reduced to a pat phrase that doesn’t address the complex combination of forces impacting Mexican and Central American migrants.\u003c/p>\n\u003cp>Guadalupe Correa-Cabrera, an associate professor of political science at the University of Texas Rio Grande Valley, and the author of \u003cem>\u003ca href=\"https://utpress.utexas.edu/books/correa-cabrera-los-zetas-inc\" target=\"_blank\" rel=\"noopener noreferrer\">Los Zetas Inc.: Criminal Corporations, Energy and Civil War in Mexico\u003c/a>\u003c/em>, has spent the last six years conducting hundreds of interviews with migrants, military operatives, former drug cartel members, border patrol agents and migrant rights activists from Mexico and the Northern Triangle. Her deeply informed book covers the history, dangerous conditions, and economic plight of the regions controlled by the drug cartel Los Zetas, arguing that the cartel has become a highly sophisticated, profitable operation, similar to a transnational corporation.\u003c/p>\n\u003cp>“We need to acknowledge that there is more than one cause that makes people flee from their countries or look for a better life,” says Correa-Cabrera. “The media portrays this phenomenon as if most of the migrants who come from Central America are fleeing from violence and flying from gangs. And that’s not necessarily not true.” Some are escaping violence, yes, but others seek the economic advantages and opportunities their home country can’t provide.\u003c/p>\n\u003cp>Family separation, as is the case for Moises in \u003cem>Desierto\u003c/em>, is another a motivating factor for those risking their lives to cross the border.\u003c/p>\n\u003cp>“Overall we have seen that the dangers have increased,” says Correa-Cabrera, “that the drug trafficking organizations, local gangs, et cetera have started to extort migrants, rape women, rape children.” Migrants are willing to take the risk, Correa-Cabrera adds. “There are two powerful reasons they don’t care. They want to be reunified with their families in the United States, and it is true that their life will change [once in the U.S.]. The situation that they face in their country of origin makes it impossible for them to survive economically — sometimes even their physical integrity is in danger.”\u003c/p>\n\u003cp>How much is a migrants’ life worth? For the lives in \u003cem>Desierto\u003c/em> and the real world, exactly as much as they can be exploited, and nothing if they can’t. Dehumanized before they even leave their birth country, is it any wonder that their humanity is also denied at the border?\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>‘Desierto’ plays at San Francisco’s Roxie Theater at 6pm on Sunday, May 28, followed by a Q&A with director Jonás Cuarón. For tickets and more information, \u003ca href=\"http://www.roxie.com/ai1ec_event/desierto/\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In 'The Commune,' Where We Live Is Who We Are",
"headTitle": "In ‘The Commune,’ Where We Live Is Who We Are | KQED",
"content": "\u003cp>It’s the 1970s, and a Copenhagen family has just inherited a very large, rambling mansion on the outskirts of town. What to do with it? The time is right for a group living experiment, and if the new Danish film \u003cem>The Commune\u003c/em> were a different sort of movie, it would stage everything that follows — the group skinny-dips, house meetings about dishwashers, and Elton John songs — as warm, raunchy comedy.\u003c/p>\n\u003cp>But \u003cem>The Commune\u003c/em> was directed by Thomas Vinterberg, a filmmaker who is merciless when he digs into human emotion. He was, after all, the co-creator (with Lars von Trier) of the Dogme 95 film collective that advocated for a radically stripped-down filmmaking technique, the better to pummel the audience with the full ugliness of humanity. This is a guy who doesn’t do warmth. What we get instead is the tough, tearful dissolution of a family, just with a few extra witnesses around.\u003c/p>\n\u003cp>Adapting, with co-writer Tobias Lindholm, his own play about his childhood upbringing in a commune, Vinterberg renders his past in perfect period detail: the jean jackets and smoke-filled TV sets aren’t overkill, they just are. He also gives us a version of himself through the character of the 14-year-old daughter, Freja (magnetic newcomer Martha Sofie Wallstrøm Hansen), a quiet observer with shoulder-length curly hair and sad eyes. She is the spiritual opposite of her parents, who are both high-powered professionals accustomed to yelling or cajoling until they get their way: mother Anna (Trine Dyrholm) is a TV news anchor, while father Erik (Ulrich Thomsen) is an architecture professor. Erik’s childhood home comes into their possession when his father dies. “It’s too big for us,” he sniffs, but Anna sells him on the idea of a commune, desperate to shake up their married life by any means necessary. Call up another family, a few friends, and a stranger or two — hey, why not? — and soon, there are a lot more toothbrushes in the sink.\u003c/p>\n\u003cp>https://youtu.be/tL_swe-UIg8\u003c/p>\n\u003cp>Ultimately it’s Anna, the communal evangelist, who will wind up eating her words once all these free-love vibes get a hold of the only thing she wanted to keep to herself. Erik starts carrying on an affair with a graduate student named Emma (Helene Reingaard Neumann), who’s blonde like his wife, but much younger, and when Anna finds out, she gives her blessing to the relationship in an effort to preserve the commune. Soon Emma has moved in, too, and Anna starts breaking down. Though the whole cast shines in this house, the film is really a showcase for Dyrholm. Her stiff blank face, the stuff of an anchorwoman trained to take bad news, gradually wears down the soul behind it. Her depiction of a matriarch privately spiraling out of control, often as she’s harshly lit in blinding white, is in keeping with the operatic spirit of the home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Vinterberg has always had a bit of sadism in him, but in his case, that’s a compliment: it means he’s more willing than most directors to push things to extremes, which gives his films the electric charge missing from so many other character-based dramas. He especially loves it when family and friends publicly make enemies of each other: The engrossing 1998 Cannes prizewinner \u003cem>The Celebration\u003c/em> revolved around a harrowing accusation a son makes in the middle of a birthday toast for his father, while the hit 2013 thriller \u003cem>The Hunt\u003c/em> showed how easy it is for an entire town to turn against one person. It’s disappointing, then, how mild \u003cem>The Commune\u003c/em> winds up being by comparison, and you get the feeling the director’s closeness to the story is keeping him from truly pushing it to the outer limits. There’s some nice gallows humor involving a small boy who milks his heart condition for sympathy, but things for the most part stay mellow: the housemates remain out of focus, along with any baggage they might be carrying.\u003c/p>\n\u003cp>“But wait,” you might think, “this movie is called \u003cem>The Commune\u003c/em>, not \u003cem>The Family And Special Guests\u003c/em>. Shouldn’t it be more about the freaking \u003cem>commune\u003c/em>?” Yes, and no. The film does make a deliberate choice to refocus on the family in its back half. But it was never trying to tackle the wacky comings and goings of a house full of weirdos; it’s about the effect a living situation, any living situation, can have on a family, in ways that extend beyond a time capsule. Here in the U.S., where \u003ca href=\"https://www.bloomberg.com/news/articles/2016-07-28/homeownership-rate-in-the-u-s-tumbles-to-the-lowest-since-1965\" target=\"_blank\" rel=\"noopener\">the homeownership rate\u003c/a> is at its lowest in 50 years, we are beginning to see how our relationship to property is changing our relationship to each other. Our physical spaces are bleeding into our mental ones and forcing us to determine if “family” is just another word for “permanent roommate.” We can learn a lot from a film like this.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a scene toward the end, there’s a long shot of the table where the motley crew eats their meals and conducts their meetings, in the minutes after someone has aired some explosive charges (apparently such scenes are the Vinterberg specialty). Slowly, the other residents clear the table and exit the frame. They leave behind only Anna, Erik, and Freja: the family unit, together again, drowning among empty chairs.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s the 1970s, and a Copenhagen family has just inherited a very large, rambling mansion on the outskirts of town. What to do with it? The time is right for a group living experiment, and if the new Danish film \u003cem>The Commune\u003c/em> were a different sort of movie, it would stage everything that follows — the group skinny-dips, house meetings about dishwashers, and Elton John songs — as warm, raunchy comedy.\u003c/p>\n\u003cp>But \u003cem>The Commune\u003c/em> was directed by Thomas Vinterberg, a filmmaker who is merciless when he digs into human emotion. He was, after all, the co-creator (with Lars von Trier) of the Dogme 95 film collective that advocated for a radically stripped-down filmmaking technique, the better to pummel the audience with the full ugliness of humanity. This is a guy who doesn’t do warmth. What we get instead is the tough, tearful dissolution of a family, just with a few extra witnesses around.\u003c/p>\n\u003cp>Adapting, with co-writer Tobias Lindholm, his own play about his childhood upbringing in a commune, Vinterberg renders his past in perfect period detail: the jean jackets and smoke-filled TV sets aren’t overkill, they just are. He also gives us a version of himself through the character of the 14-year-old daughter, Freja (magnetic newcomer Martha Sofie Wallstrøm Hansen), a quiet observer with shoulder-length curly hair and sad eyes. She is the spiritual opposite of her parents, who are both high-powered professionals accustomed to yelling or cajoling until they get their way: mother Anna (Trine Dyrholm) is a TV news anchor, while father Erik (Ulrich Thomsen) is an architecture professor. Erik’s childhood home comes into their possession when his father dies. “It’s too big for us,” he sniffs, but Anna sells him on the idea of a commune, desperate to shake up their married life by any means necessary. Call up another family, a few friends, and a stranger or two — hey, why not? — and soon, there are a lot more toothbrushes in the sink.\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/tL_swe-UIg8'\n title='//www.youtube.com/embed/tL_swe-UIg8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ultimately it’s Anna, the communal evangelist, who will wind up eating her words once all these free-love vibes get a hold of the only thing she wanted to keep to herself. Erik starts carrying on an affair with a graduate student named Emma (Helene Reingaard Neumann), who’s blonde like his wife, but much younger, and when Anna finds out, she gives her blessing to the relationship in an effort to preserve the commune. Soon Emma has moved in, too, and Anna starts breaking down. Though the whole cast shines in this house, the film is really a showcase for Dyrholm. Her stiff blank face, the stuff of an anchorwoman trained to take bad news, gradually wears down the soul behind it. Her depiction of a matriarch privately spiraling out of control, often as she’s harshly lit in blinding white, is in keeping with the operatic spirit of the home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Vinterberg has always had a bit of sadism in him, but in his case, that’s a compliment: it means he’s more willing than most directors to push things to extremes, which gives his films the electric charge missing from so many other character-based dramas. He especially loves it when family and friends publicly make enemies of each other: The engrossing 1998 Cannes prizewinner \u003cem>The Celebration\u003c/em> revolved around a harrowing accusation a son makes in the middle of a birthday toast for his father, while the hit 2013 thriller \u003cem>The Hunt\u003c/em> showed how easy it is for an entire town to turn against one person. It’s disappointing, then, how mild \u003cem>The Commune\u003c/em> winds up being by comparison, and you get the feeling the director’s closeness to the story is keeping him from truly pushing it to the outer limits. There’s some nice gallows humor involving a small boy who milks his heart condition for sympathy, but things for the most part stay mellow: the housemates remain out of focus, along with any baggage they might be carrying.\u003c/p>\n\u003cp>“But wait,” you might think, “this movie is called \u003cem>The Commune\u003c/em>, not \u003cem>The Family And Special Guests\u003c/em>. Shouldn’t it be more about the freaking \u003cem>commune\u003c/em>?” Yes, and no. The film does make a deliberate choice to refocus on the family in its back half. But it was never trying to tackle the wacky comings and goings of a house full of weirdos; it’s about the effect a living situation, any living situation, can have on a family, in ways that extend beyond a time capsule. Here in the U.S., where \u003ca href=\"https://www.bloomberg.com/news/articles/2016-07-28/homeownership-rate-in-the-u-s-tumbles-to-the-lowest-since-1965\" target=\"_blank\" rel=\"noopener\">the homeownership rate\u003c/a> is at its lowest in 50 years, we are beginning to see how our relationship to property is changing our relationship to each other. Our physical spaces are bleeding into our mental ones and forcing us to determine if “family” is just another word for “permanent roommate.” We can learn a lot from a film like this.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a scene toward the end, there’s a long shot of the table where the motley crew eats their meals and conducts their meetings, in the minutes after someone has aired some explosive charges (apparently such scenes are the Vinterberg specialty). Slowly, the other residents clear the table and exit the frame. They leave behind only Anna, Erik, and Freja: the family unit, together again, drowning among empty chairs.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
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"title": "Rightnowish",
"tagline": "Art is where you find it",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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