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"content": "\u003cp>Mira Nair’s musical theater adaption of her much-loved film, \u003ca href=\"https://www.berkeleyrep.org/season/1617/10662.asp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Monsoon Wedding\u003c/em>\u003c/a>, is a headlong dash to the siren call of fun — and then strangely, and rather beautifully, a rueful reflection on its costs.\u003c/p>\n\u003cp>That such delightful froth should achieve a striking level of philosophical depth is kind of amazing, especially as it does so by haphazardly dashing its way through the lives of a party’s worth of characters. This is a wedding tale that understands that marriage is not just the union of two people, but also a clash of civilizations, a covert war that scars with equal parts care, beauty, and betrayal.\u003c/p>\n\u003cp>To begin with, the battlefield is complex, full of double agents and counter-insurgencies. Lalit and Pimmi Verma have negotiated a favorable marriage for their daughter Aditi: Hemant Rai, the son of an American-Indian family of some distinction, who is successful, handsome, and taken with the idea of an arranged marriage. He sees it as a kind of go-for-broke embrace of tradition. Little does Hermant know that Aditi, the angelic centerpiece of his infatuation with the old ways, is engaged in a torrid affair with her married boss, a sleazy television anchor with some rather impractical ideas of transcontinental cheating.\u003c/p>\n\u003cfigure id=\"attachment_13285881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13285881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-800x450.jpg\" alt=\"The father of the bride Lalit Verma (Jaaved Jaaferi) is a minor master of chaos in 'Monsoon Wedding' at the Berkeley Rep.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The father of the bride Lalit Verma (Jaaved Jaaferi) is a minor master of chaos in ‘Monsoon Wedding’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Add the visiting Rai family, the Vermas’ younger daughter and son, their niece, Ria, whom they’ve raised as one of their own, a slew of relatives both nasty and kind, and a wedding planner, Dubey, who eventually falls in love with Alice, the family housekeeper, and you’ve got yourself quite a happening. One might say that Lalit is not only the father of the bride, but also the father of chaos as well. He’s a minor-league Prospero trying to work a little magic to secure his daughter’s happiness.\u003c/p>\n\u003cp>The first scene in Berkeley Repertory Theatre’s world-premiere production lays out all the characters in a rather perfunctory way. But after that, Nair and Sabrina Dhawan, adapting the musical’s book from her original screenplay, give us scene after scene in which the Verma family’s sense of fun masks the out-and-out conflict. And their commitment to fun is absolute and transformative.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”BRtDkY8Pno8MQyJDlgPYrmP0t1j0S8pb”]\u003c/p>\n\u003cp>When Ria warns Aditi that an extramarital affair isn’t the best way to start off an arranged marriage, or indeed any marriage at all, Aditi uncharitably snaps back that Ria is single and 30. Undaunted, Ria presses on, giving a frank assessment of her cousin’s moral and emotional failings. Without ever resolving their argument or apologizing in any way, the two young women slip into a delightful song and dance routine. As the music explodes out of the drama, their anger dissipates into the sheer pleasure of performance, revealing a love that is as tempered as it is unconditional.\u003c/p>\n\u003cp>And so, over and over, Nair demonstrates how familial love takes conflict and turns it into a raucous good time. When the soon-to-be-married and barely acquainted Aditi and Hemant get caught in a too-public argument, both families — including the grandmothers — sing the young couple a jazzy tune about the difficulties of marriage. The older generation’s nutty serenade is embarrassing; it’s the kind of public disaster all children wish to avoid. But it’s also gracious and kind — wisdom’s gift to the young.\u003c/p>\n\u003cfigure id=\"attachment_13285883\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13285883\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-800x450.jpg\" alt=\"The Wedding Planner Dubey (Namit Das) and the woman of his dreams Alice (Anisha Naagarajan) in Mira Nair's musical theater adaption of her hit film, 'Monsoon Wedding' at the Berkeley Rep.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Wedding Planner Dubey (Namit Das) and the woman of his dreams Alice (Anisha Naagarajan) in Mira Nair’s musical theater adaption of her hit film, ‘Monsoon Wedding’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mirroring all this wedding satire is the romance of the wedding planner and the family servant. Instead of the elaborate rituals of the arranged marriage, these two characters are left to their own devices. There is nothing to bring them together and so it feels that they can more easily be with each other. Yet, if Nair suggests that the moneyed Aditi and Hemant are caught in a daze of complex and confusing social expectations, the lack of expectations can be just as daunting.\u003c/p>\n\u003cp>When Dubay discovers that Alice is a Christian and will not convert, he renounces her. Nair and Dhawan might be following a simple boy-meets-girl, boy-loses-girl, boy-gets-girl script, but the loses-girl part comes off as rough and real. What Nair makes you understand is that none of this joy comes for free, that there is no escaping our differences, and that we will always be in conflict. It’s a bracing vision of the complexity of being alive to other people.\u003c/p>\n\u003cp>Nair’s execution of that vision isn’t perfect. Throughout the evening, you can feel the director struggling to stay the course. There are lapses: the first act drags towards the end, and the first couple of scenes of the second are flat. At times, Nair and her collaborators try to do too much. The full chorus reenactment of the partitioning of India and Pakistan is cumbersome and theme-driven. And the more traditional aspects of the Broadway musical feel tacked on, unnecessary to the realization of Nair’s more loose-leafed aesthetic.\u003c/p>\n\u003cfigure id=\"attachment_13285885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13285885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-800x451.jpg\" alt=\"It's a long haul to the ideal life for Aditi (Kuhoo Verma) and Hemant (Michael Maliakel) in Mira Nair's musical theater adaption of her hit movie, 'Monsoon Wedding' at the Berkeley Rep.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s a long haul to the ideal life for Aditi (Kuhoo Verma) and Hemant (Michael Maliakel) in Mira Nair’s musical theater adaption of her hit movie, ‘Monsoon Wedding’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, what you remember is a unique and stunning statement of joy, an embrace of the moment when these characters, in big and small ways, let it go and just take on the reckless abandon of fun. When you realize that this can only happen with the love of family, abandoning their own interests for those who’ve been entrusted to their care, you’ll never listen to a father and a mother, a brother and a sister, or an uncle and a niece sing together in quite the same way.\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>\u003cem>‘Monsoon Wedding’ runs through Sunday, July 9, at Berkeley Repertory Theatre. For tickets and information, \u003ca href=\"https://www.berkeleyrep.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>And for an in-depth look at the detail and design of the show from the Center for Asian American Media, \u003ca href=\"https://www.youtube.com/watch?v=BIEJONYNrso\" target=\"_blank\" rel=\"noopener noreferrer\">watch their short video here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mira Nair’s musical theater adaption of her much-loved film, \u003ca href=\"https://www.berkeleyrep.org/season/1617/10662.asp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Monsoon Wedding\u003c/em>\u003c/a>, is a headlong dash to the siren call of fun — and then strangely, and rather beautifully, a rueful reflection on its costs.\u003c/p>\n\u003cp>That such delightful froth should achieve a striking level of philosophical depth is kind of amazing, especially as it does so by haphazardly dashing its way through the lives of a party’s worth of characters. This is a wedding tale that understands that marriage is not just the union of two people, but also a clash of civilizations, a covert war that scars with equal parts care, beauty, and betrayal.\u003c/p>\n\u003cp>To begin with, the battlefield is complex, full of double agents and counter-insurgencies. Lalit and Pimmi Verma have negotiated a favorable marriage for their daughter Aditi: Hemant Rai, the son of an American-Indian family of some distinction, who is successful, handsome, and taken with the idea of an arranged marriage. He sees it as a kind of go-for-broke embrace of tradition. Little does Hermant know that Aditi, the angelic centerpiece of his infatuation with the old ways, is engaged in a torrid affair with her married boss, a sleazy television anchor with some rather impractical ideas of transcontinental cheating.\u003c/p>\n\u003cfigure id=\"attachment_13285881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13285881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-800x450.jpg\" alt=\"The father of the bride Lalit Verma (Jaaved Jaaferi) is a minor master of chaos in 'Monsoon Wedding' at the Berkeley Rep.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The father of the bride Lalit Verma (Jaaved Jaaferi) is a minor master of chaos in ‘Monsoon Wedding’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Add the visiting Rai family, the Vermas’ younger daughter and son, their niece, Ria, whom they’ve raised as one of their own, a slew of relatives both nasty and kind, and a wedding planner, Dubey, who eventually falls in love with Alice, the family housekeeper, and you’ve got yourself quite a happening. One might say that Lalit is not only the father of the bride, but also the father of chaos as well. He’s a minor-league Prospero trying to work a little magic to secure his daughter’s happiness.\u003c/p>\n\u003cp>The first scene in Berkeley Repertory Theatre’s world-premiere production lays out all the characters in a rather perfunctory way. But after that, Nair and Sabrina Dhawan, adapting the musical’s book from her original screenplay, give us scene after scene in which the Verma family’s sense of fun masks the out-and-out conflict. And their commitment to fun is absolute and transformative.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>When Ria warns Aditi that an extramarital affair isn’t the best way to start off an arranged marriage, or indeed any marriage at all, Aditi uncharitably snaps back that Ria is single and 30. Undaunted, Ria presses on, giving a frank assessment of her cousin’s moral and emotional failings. Without ever resolving their argument or apologizing in any way, the two young women slip into a delightful song and dance routine. As the music explodes out of the drama, their anger dissipates into the sheer pleasure of performance, revealing a love that is as tempered as it is unconditional.\u003c/p>\n\u003cp>And so, over and over, Nair demonstrates how familial love takes conflict and turns it into a raucous good time. When the soon-to-be-married and barely acquainted Aditi and Hemant get caught in a too-public argument, both families — including the grandmothers — sing the young couple a jazzy tune about the difficulties of marriage. The older generation’s nutty serenade is embarrassing; it’s the kind of public disaster all children wish to avoid. But it’s also gracious and kind — wisdom’s gift to the young.\u003c/p>\n\u003cfigure id=\"attachment_13285883\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13285883\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-800x450.jpg\" alt=\"The Wedding Planner Dubey (Namit Das) and the woman of his dreams Alice (Anisha Naagarajan) in Mira Nair's musical theater adaption of her hit film, 'Monsoon Wedding' at the Berkeley Rep.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Wedding Planner Dubey (Namit Das) and the woman of his dreams Alice (Anisha Naagarajan) in Mira Nair’s musical theater adaption of her hit film, ‘Monsoon Wedding’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mirroring all this wedding satire is the romance of the wedding planner and the family servant. Instead of the elaborate rituals of the arranged marriage, these two characters are left to their own devices. There is nothing to bring them together and so it feels that they can more easily be with each other. Yet, if Nair suggests that the moneyed Aditi and Hemant are caught in a daze of complex and confusing social expectations, the lack of expectations can be just as daunting.\u003c/p>\n\u003cp>When Dubay discovers that Alice is a Christian and will not convert, he renounces her. Nair and Dhawan might be following a simple boy-meets-girl, boy-loses-girl, boy-gets-girl script, but the loses-girl part comes off as rough and real. What Nair makes you understand is that none of this joy comes for free, that there is no escaping our differences, and that we will always be in conflict. It’s a bracing vision of the complexity of being alive to other people.\u003c/p>\n\u003cp>Nair’s execution of that vision isn’t perfect. Throughout the evening, you can feel the director struggling to stay the course. There are lapses: the first act drags towards the end, and the first couple of scenes of the second are flat. At times, Nair and her collaborators try to do too much. The full chorus reenactment of the partitioning of India and Pakistan is cumbersome and theme-driven. And the more traditional aspects of the Broadway musical feel tacked on, unnecessary to the realization of Nair’s more loose-leafed aesthetic.\u003c/p>\n\u003cfigure id=\"attachment_13285885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13285885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-800x451.jpg\" alt=\"It's a long haul to the ideal life for Aditi (Kuhoo Verma) and Hemant (Michael Maliakel) in Mira Nair's musical theater adaption of her hit movie, 'Monsoon Wedding' at the Berkeley Rep.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s a long haul to the ideal life for Aditi (Kuhoo Verma) and Hemant (Michael Maliakel) in Mira Nair’s musical theater adaption of her hit movie, ‘Monsoon Wedding’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, what you remember is a unique and stunning statement of joy, an embrace of the moment when these characters, in big and small ways, let it go and just take on the reckless abandon of fun. When you realize that this can only happen with the love of family, abandoning their own interests for those who’ve been entrusted to their care, you’ll never listen to a father and a mother, a brother and a sister, or an uncle and a niece sing together in quite the same way.\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>\u003cem>‘Monsoon Wedding’ runs through Sunday, July 9, at Berkeley Repertory Theatre. For tickets and information, \u003ca href=\"https://www.berkeleyrep.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>And for an in-depth look at the detail and design of the show from the Center for Asian American Media, \u003ca href=\"https://www.youtube.com/watch?v=BIEJONYNrso\" target=\"_blank\" rel=\"noopener noreferrer\">watch their short video here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the early 1920s, before he became an icon of the American songbook, composer \u003ca href=\"http://www.npr.org/artists/103165585/cole-porter\" target=\"_blank\" rel=\"noopener\">Cole Porter\u003c/a> wrote the score for a protest ballet. The production, called \u003cem>Within the Quota\u003c/em>, criticized restrictive immigration laws that had been passed by Congress. According to Princeton music professor Simon Morrison, who rediscovered the score two years ago in Yale’s Porter archives, the show opened in New York at a time of fearful backlash against Polish, Greek and Australian immigrants arriving in the U.S. after World War I.\u003c/p>\n\u003cp>Now, to protest President Trump’s anti-immigrant stance, the \u003ca href=\"http://www.princetonuniversityballet.com/\" target=\"_blank\" rel=\"noopener\">Princeton University Ballet\u003c/a> is reviving the production. Morrison, who produced the show, says after the election, “[I] looked again at the score and thought about its context and thought, \u003cem>Oh my God, this is actually what it was about. These things were real and actually we’re feeling them again now\u003c/em>.”\u003c/p>\n\u003cp>The updated ballet emphasizes the parallels between the political climate of the 1920s and that of 2017. “To my mind, the issues are frightfully the same,” Morrison says. He explains that in both eras, anti-immigrant hostility was rooted in “fear about people losing their jobs, fear about American culture being diluted.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/books/98/11/29/specials/porter-ballet.html\" target=\"_blank\" rel=\"noopener\">According to The New York Times\u003c/a>, the 1920s production of \u003cem>Within the Quota\u003c/em> was the first American-themed ballet set to music by an American composer.\u003cstrong> \u003c/strong>At the time, Porter was based in Paris and relatively unknown in the U.S. “He was not even established in New York,” Morrison says.\u003c/p>\n\u003cp>The original production tells the story, in dance, of a newly arrived immigrant who meets various American characters — an heiress, a movie star, a “jazz baby,” a cowboy — as well as dark forces who want to kick immigrants out of the country.\u003c/p>\n\u003cfigure id=\"attachment_13297483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-800x600.jpg\" alt=\"Student Julia Jansen choreographed the Princeton production of 'Within the Quota' and also performs in it.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13297483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Student Julia Jansen choreographed the Princeton production of ‘Within the Quota’ and also performs in it. \u003ccite>(Deb Amos/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Princeton revival, which was choreographed by student Julia Jansen, updates the characters to include an heiress who suggests Ivanka Trump and a Lady Liberty dancer who takes selfies. The set is also an update of the 1923 production, which included large posters of newspaper headlines; instead of posters, the revival projects satirical political headlines onto the back of the stage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show’s finale, a number called “Sweatheart of the World,” hints at the signature style Porter became famous for decades later. “The musical language is 100 percent Cole Porter,” Morrison says. “If you added lyrics and put it in a smoky bar somewhere, it would sound 100 percent ‘\u003ca href=\"https://www.youtube.com/watch?v=MoAigRL0oU0\">Night and Day\u003c/a>‘ Cole Porter.”\u003c/p>\n\u003cp>The London-based orchestra Penguin Café performed the music — Porter’s only score for ballet — at the Princeton debut. Daren Berry, who plays percussion, violin and ukulele, says, “It’s an incredible piece of work. … It’s not designed to be listened to; it’s designed to be watched.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Earlier this month, there was a packed house for the show’s opening night\u003cem>.\u003c/em> Producer Simon Morrison says \u003cem>Within the Quota\u003c/em> will eventually tour the country, as it did in the 1920s. “This work, which was nothing but a bunch of yellow manuscript paper, is back and is very, very relevant,” Morrison says. “I think there’s something really magical in that.” \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=Cole+Porter%27s+Pro-Immigration+Ballet+Gets+A+Trump-Era+Revival&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the early 1920s, before he became an icon of the American songbook, composer \u003ca href=\"http://www.npr.org/artists/103165585/cole-porter\" target=\"_blank\" rel=\"noopener\">Cole Porter\u003c/a> wrote the score for a protest ballet. The production, called \u003cem>Within the Quota\u003c/em>, criticized restrictive immigration laws that had been passed by Congress. According to Princeton music professor Simon Morrison, who rediscovered the score two years ago in Yale’s Porter archives, the show opened in New York at a time of fearful backlash against Polish, Greek and Australian immigrants arriving in the U.S. after World War I.\u003c/p>\n\u003cp>Now, to protest President Trump’s anti-immigrant stance, the \u003ca href=\"http://www.princetonuniversityballet.com/\" target=\"_blank\" rel=\"noopener\">Princeton University Ballet\u003c/a> is reviving the production. Morrison, who produced the show, says after the election, “[I] looked again at the score and thought about its context and thought, \u003cem>Oh my God, this is actually what it was about. These things were real and actually we’re feeling them again now\u003c/em>.”\u003c/p>\n\u003cp>The updated ballet emphasizes the parallels between the political climate of the 1920s and that of 2017. “To my mind, the issues are frightfully the same,” Morrison says. He explains that in both eras, anti-immigrant hostility was rooted in “fear about people losing their jobs, fear about American culture being diluted.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/books/98/11/29/specials/porter-ballet.html\" target=\"_blank\" rel=\"noopener\">According to The New York Times\u003c/a>, the 1920s production of \u003cem>Within the Quota\u003c/em> was the first American-themed ballet set to music by an American composer.\u003cstrong> \u003c/strong>At the time, Porter was based in Paris and relatively unknown in the U.S. “He was not even established in New York,” Morrison says.\u003c/p>\n\u003cp>The original production tells the story, in dance, of a newly arrived immigrant who meets various American characters — an heiress, a movie star, a “jazz baby,” a cowboy — as well as dark forces who want to kick immigrants out of the country.\u003c/p>\n\u003cfigure id=\"attachment_13297483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-800x600.jpg\" alt=\"Student Julia Jansen choreographed the Princeton production of 'Within the Quota' and also performs in it.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13297483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Student Julia Jansen choreographed the Princeton production of ‘Within the Quota’ and also performs in it. \u003ccite>(Deb Amos/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Princeton revival, which was choreographed by student Julia Jansen, updates the characters to include an heiress who suggests Ivanka Trump and a Lady Liberty dancer who takes selfies. The set is also an update of the 1923 production, which included large posters of newspaper headlines; instead of posters, the revival projects satirical political headlines onto the back of the stage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show’s finale, a number called “Sweatheart of the World,” hints at the signature style Porter became famous for decades later. “The musical language is 100 percent Cole Porter,” Morrison says. “If you added lyrics and put it in a smoky bar somewhere, it would sound 100 percent ‘\u003ca href=\"https://www.youtube.com/watch?v=MoAigRL0oU0\">Night and Day\u003c/a>‘ Cole Porter.”\u003c/p>\n\u003cp>The London-based orchestra Penguin Café performed the music — Porter’s only score for ballet — at the Princeton debut. Daren Berry, who plays percussion, violin and ukulele, says, “It’s an incredible piece of work. … It’s not designed to be listened to; it’s designed to be watched.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Earlier this month, there was a packed house for the show’s opening night\u003cem>.\u003c/em> Producer Simon Morrison says \u003cem>Within the Quota\u003c/em> will eventually tour the country, as it did in the 1920s. “This work, which was nothing but a bunch of yellow manuscript paper, is back and is very, very relevant,” Morrison says. “I think there’s something really magical in that.” \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=Cole+Porter%27s+Pro-Immigration+Ballet+Gets+A+Trump-Era+Revival&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The 50th anniversary of the Summer of Love is upon us, and San Francisco institutions are marking the milestone in defiance of a nationwide summer of loathing on both sides of the deepening political identity divide. For its part, contemporary American ballet company \u003ca href=\"http://www.smuinballet.org/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Smuin\u003c/a> has brought a high-octane mixed bill to the Yerba Buena Center of the Arts in San Francisco, the centerpiece of which brilliantly summons the insouciance and idealism of the 1960s.\u003c/p>\n\u003cp>It’s the work of Trey McIntyre, who lifted the title, \u003cem>Be Here Now\u003c/em>, from spiritual teacher Ram Dass’ 1971 guide for aspiring yogis. The ballet is not all flower power, psychedelic light shows and altered states of consciousness, however. It is also flecked with the anxieties of the era, right from the opening video projections of atom bombs exploding, soldiers scurrying from trenches in the shadow of gigantic mushroom clouds, civil rights marchers, and draft card burnings.\u003c/p>\n\u003cfigure id=\"attachment_13285001\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13285001 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-7_Keith-Sutter-800x511.jpg\" alt=\"Smuin dancers (l-r) Jonathan Powell, Terez Dean, and Michael Wells in Trey McIntyre's ‘Be Here Now’ \" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-7_Keith-Sutter-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-7_Keith-Sutter-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-7_Keith-Sutter-768x490.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-7_Keith-Sutter-1020x651.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-7_Keith-Sutter-1920x1226.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-7_Keith-Sutter-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-7_Keith-Sutter-960x613.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-7_Keith-Sutter-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-7_Keith-Sutter-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-7_Keith-Sutter-520x332.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Smuin dancers (L–R) Jonathan Powell, Terez Dean, and Michael Wells in Trey McIntyre’s ‘Be Here Now.’ \u003ccite>(Photo: Keith Sutter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McIntyre lights a fire under the Smuin dancers. Bedecked in fringe, headbands and cut-offs and showing lots of skin, they are simply terrific. Tripping out to the iconic music of Janis Joplin, the Mamas and the Papas, and Jefferson Airplane, among others, the performers mostly look like they’re having a good time. The juxtaposition of their hijinks against images of war and civil unrest makes it hard to appreciate how the counterculture was sticking it to the man. But glimmers of rage and defiance in this dance signal that the drug use, free love, and nature worship were also expressions of rebellion, which profoundly influenced attitudes and mainstream tastes in the decades to follow.\u003c/p>\n\u003cp>A new work from McIntyre is generally a cause for celebration, particularly since the 2014 disbanding of his own much-lauded contemporary dance company. A truly original voice in the ballet world, McIntyre shows off the Smuin dancers at their most electric. \u003cem>Be Here Now\u003c/em> should endear itself not only to Smuin loyalists who have long appreciated the company’s embrace of pop culture, but also to newcomers drawn to the kaleidoscopic sights and sounds of the ’60s.\u003c/p>\n\u003cfigure id=\"attachment_13285007\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13285007 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-4_Keith-Sutter-800x534.jpg\" alt=\"Smuin dancers (l-r) Nicole Haskins, Michael Wells, Erica Chipp, and Terez Dean in Trey McIntyre's ‘Be Here Now’ \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-4_Keith-Sutter-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-4_Keith-Sutter-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-4_Keith-Sutter-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-4_Keith-Sutter-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-4_Keith-Sutter-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-4_Keith-Sutter-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-4_Keith-Sutter-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-4_Keith-Sutter-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-4_Keith-Sutter-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-4_Keith-Sutter-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Smuin dancers (L–R) Nicole Haskins, Michael Wells, Erica Chipp, and Terez Dean in Trey McIntyre’s ‘Be Here Now.’ \u003ccite>(Photo: Keith Sutter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The other consequential offering in this program is the reprise of Smuin resident choreographer Amy Seiwert’s \u003cem>Broken Open\u003c/em> from 2015. Set to the moody, pulsating sounds of heavily engineered cello, the piece travels for most of its length like an unpredictable cyclone. Seiwert’s inventory of movement is gripping, and emotion percolates through a steely semaphore of slashing limbs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The dancers appear locked in confrontation — sometimes against each other, at other times united against an unseen enemy. Legs are deployed like weapons; tremors erupt at the height of a lift. A harsh light cast intermittently on the scene by a bare lamp suspended from high above the stage amplifies a thrilling sense of danger. Toward the end, the ensemble gathers in a pool of gentle light, looking upward and gesturing as if rain has just started to fall after a long drought. The dancers register a sense of relief and renewed hope.\u003c/p>\n\u003cp>Hope was what drew tens of thousands of young people to San Francisco in the Summer of Love. But just a year later, that hope was torpedoed by violence. Martin Luther King, Jr. was assassinated; so, too, was Robert Kennedy. The Tet Offensive turned 1968 into the deadliest year of the Vietnam War.\u003c/p>\n\u003cfigure id=\"attachment_13285002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13285002 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-6_Keith-Sutter-800x476.jpg\" alt=\"Smuin dancers Robert Kretz and Erin Yarbrough-Powell with members of the company in Trey McIntyre's ‘Be Here Now’ \" width=\"800\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-6_Keith-Sutter-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-6_Keith-Sutter-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-6_Keith-Sutter-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-6_Keith-Sutter-1020x607.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-6_Keith-Sutter-1920x1142.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-6_Keith-Sutter-1180x702.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-6_Keith-Sutter-960x571.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-6_Keith-Sutter-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-6_Keith-Sutter-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-6_Keith-Sutter-520x309.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Smuin dancers Robert Kretz and Erin Yarbrough-Powell with members of the company in Trey McIntyre’s ‘Be Here Now.’ \u003ccite>(Photo: Keith Sutter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In program notes for \u003cem>Be Here Now\u003c/em>, Trey McIntyre writes eloquently and gloomily of the impact of the counterculture on his generation, born in the aftermath of the Summer of Love. “It is impossible for a child to understand the very adult Jenga of justifications that leads the world to point so much destruction at itself,” he writes. “The blissful utopia that the hippie movement sought was the perfect antidote. The goal was love and acceptance of all people. We banded together to fight for the rights of the oppressed and against the restrictive hold of outdated social models. We banded together to fight war.”\u003c/p>\n\u003cp>From such troubled times — then and now — works emerge, like \u003cem>Be Here Now\u003c/em> and \u003cem>Broken Open\u003c/em>, that are both exuberant and chilling.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Smuin’s ‘Dance Series 02’ runs through Sunday, May 28, at the Yerba Buena Center for the Arts in San Francisco. Click \u003ca href=\"http://www.smuinballet.org/buy-tickets-201617-season/dance-series-02/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a> for information and tickets.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 50th anniversary of the Summer of Love is upon us, and San Francisco institutions are marking the milestone in defiance of a nationwide summer of loathing on both sides of the deepening political identity divide. For its part, contemporary American ballet company \u003ca href=\"http://www.smuinballet.org/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Smuin\u003c/a> has brought a high-octane mixed bill to the Yerba Buena Center of the Arts in San Francisco, the centerpiece of which brilliantly summons the insouciance and idealism of the 1960s.\u003c/p>\n\u003cp>It’s the work of Trey McIntyre, who lifted the title, \u003cem>Be Here Now\u003c/em>, from spiritual teacher Ram Dass’ 1971 guide for aspiring yogis. The ballet is not all flower power, psychedelic light shows and altered states of consciousness, however. It is also flecked with the anxieties of the era, right from the opening video projections of atom bombs exploding, soldiers scurrying from trenches in the shadow of gigantic mushroom clouds, civil rights marchers, and draft card burnings.\u003c/p>\n\u003cfigure id=\"attachment_13285001\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13285001 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-7_Keith-Sutter-800x511.jpg\" alt=\"Smuin dancers (l-r) Jonathan Powell, Terez Dean, and Michael Wells in Trey McIntyre's ‘Be Here Now’ \" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-7_Keith-Sutter-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-7_Keith-Sutter-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-7_Keith-Sutter-768x490.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-7_Keith-Sutter-1020x651.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-7_Keith-Sutter-1920x1226.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-7_Keith-Sutter-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-7_Keith-Sutter-960x613.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-7_Keith-Sutter-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-7_Keith-Sutter-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-7_Keith-Sutter-520x332.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Smuin dancers (L–R) Jonathan Powell, Terez Dean, and Michael Wells in Trey McIntyre’s ‘Be Here Now.’ \u003ccite>(Photo: Keith Sutter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McIntyre lights a fire under the Smuin dancers. Bedecked in fringe, headbands and cut-offs and showing lots of skin, they are simply terrific. Tripping out to the iconic music of Janis Joplin, the Mamas and the Papas, and Jefferson Airplane, among others, the performers mostly look like they’re having a good time. The juxtaposition of their hijinks against images of war and civil unrest makes it hard to appreciate how the counterculture was sticking it to the man. But glimmers of rage and defiance in this dance signal that the drug use, free love, and nature worship were also expressions of rebellion, which profoundly influenced attitudes and mainstream tastes in the decades to follow.\u003c/p>\n\u003cp>A new work from McIntyre is generally a cause for celebration, particularly since the 2014 disbanding of his own much-lauded contemporary dance company. A truly original voice in the ballet world, McIntyre shows off the Smuin dancers at their most electric. \u003cem>Be Here Now\u003c/em> should endear itself not only to Smuin loyalists who have long appreciated the company’s embrace of pop culture, but also to newcomers drawn to the kaleidoscopic sights and sounds of the ’60s.\u003c/p>\n\u003cfigure id=\"attachment_13285007\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13285007 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-4_Keith-Sutter-800x534.jpg\" alt=\"Smuin dancers (l-r) Nicole Haskins, Michael Wells, Erica Chipp, and Terez Dean in Trey McIntyre's ‘Be Here Now’ \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-4_Keith-Sutter-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-4_Keith-Sutter-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-4_Keith-Sutter-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-4_Keith-Sutter-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-4_Keith-Sutter-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-4_Keith-Sutter-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-4_Keith-Sutter-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-4_Keith-Sutter-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-4_Keith-Sutter-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-4_Keith-Sutter-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Smuin dancers (L–R) Nicole Haskins, Michael Wells, Erica Chipp, and Terez Dean in Trey McIntyre’s ‘Be Here Now.’ \u003ccite>(Photo: Keith Sutter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The other consequential offering in this program is the reprise of Smuin resident choreographer Amy Seiwert’s \u003cem>Broken Open\u003c/em> from 2015. Set to the moody, pulsating sounds of heavily engineered cello, the piece travels for most of its length like an unpredictable cyclone. Seiwert’s inventory of movement is gripping, and emotion percolates through a steely semaphore of slashing limbs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The dancers appear locked in confrontation — sometimes against each other, at other times united against an unseen enemy. Legs are deployed like weapons; tremors erupt at the height of a lift. A harsh light cast intermittently on the scene by a bare lamp suspended from high above the stage amplifies a thrilling sense of danger. Toward the end, the ensemble gathers in a pool of gentle light, looking upward and gesturing as if rain has just started to fall after a long drought. The dancers register a sense of relief and renewed hope.\u003c/p>\n\u003cp>Hope was what drew tens of thousands of young people to San Francisco in the Summer of Love. But just a year later, that hope was torpedoed by violence. Martin Luther King, Jr. was assassinated; so, too, was Robert Kennedy. The Tet Offensive turned 1968 into the deadliest year of the Vietnam War.\u003c/p>\n\u003cfigure id=\"attachment_13285002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13285002 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-6_Keith-Sutter-800x476.jpg\" alt=\"Smuin dancers Robert Kretz and Erin Yarbrough-Powell with members of the company in Trey McIntyre's ‘Be Here Now’ \" width=\"800\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-6_Keith-Sutter-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-6_Keith-Sutter-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-6_Keith-Sutter-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-6_Keith-Sutter-1020x607.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-6_Keith-Sutter-1920x1142.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-6_Keith-Sutter-1180x702.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-6_Keith-Sutter-960x571.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-6_Keith-Sutter-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-6_Keith-Sutter-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Smuin-Be-Here-Now-6_Keith-Sutter-520x309.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Smuin dancers Robert Kretz and Erin Yarbrough-Powell with members of the company in Trey McIntyre’s ‘Be Here Now.’ \u003ccite>(Photo: Keith Sutter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In program notes for \u003cem>Be Here Now\u003c/em>, Trey McIntyre writes eloquently and gloomily of the impact of the counterculture on his generation, born in the aftermath of the Summer of Love. “It is impossible for a child to understand the very adult Jenga of justifications that leads the world to point so much destruction at itself,” he writes. “The blissful utopia that the hippie movement sought was the perfect antidote. The goal was love and acceptance of all people. We banded together to fight for the rights of the oppressed and against the restrictive hold of outdated social models. We banded together to fight war.”\u003c/p>\n\u003cp>From such troubled times — then and now — works emerge, like \u003cem>Be Here Now\u003c/em> and \u003cem>Broken Open\u003c/em>, that are both exuberant and chilling.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Smuin’s ‘Dance Series 02’ runs through Sunday, May 28, at the Yerba Buena Center for the Arts in San Francisco. Click \u003ca href=\"http://www.smuinballet.org/buy-tickets-201617-season/dance-series-02/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a> for information and tickets.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "After Conversion Therapy, a Survivor's Sense of Pride",
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"content": "\u003cp>Before reading \u003cem>The Inheritance of Shame\u003c/em>, there were three things I knew about conversion therapy: that children who exhibit signs of homosexuality are whisked away into church basements for exorcisms, that adults are told they can withdraw from their sexuality, and that if they fail, it is portrayed as a lack of piety.\u003c/p>\n\u003cp>Peter Gajdics’ harrowing memoir goes deeper. Covering seven years spent struggling to change his sexual orientation, \u003cem>The Inheritance of Shame\u003c/em> is a profound journey to self-destruction, self-acceptance, and finally a reckoning with the dangers of shame and silence. This is a memoir that is hard to read, but one that must absolutely be read.\u003c/p>\n\u003cp>Conversion therapy (sometimes called reparative therapy, or ex-gay therapy) has been discredited and condemned by most medical organizations, including the American Medical Association and the American Psychological Association, and yet it is not illegal for a licensed psychiatrist to engage in conversion therapy. Only eight states in the country (including California) have instituted a ban on conversion therapy for minors. It continues to exist for adults through churches and faith-allied organizations, or as in the case of \u003cem>The Inheritance of Shame\u003c/em>, through a prejudiced psychiatrist.\u003c/p>\n\u003cfigure id=\"attachment_13252756\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Shame.jpg\" alt=\"'The Inheritance of Shame.'\" width=\"500\" height=\"800\" class=\"size-full wp-image-13252756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Shame.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Shame-160x256.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Shame-240x384.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Shame-375x600.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">‘The Inheritance of Shame.’\u003c/figcaption>\u003c/figure>\n\u003cp>How does one arrive at a place in life to want to seek conversion therapy? And how does one become, essentially, part of a cult?\u003c/p>\n\u003cp>For Gajdics, the answer to both questions is: not all at once. His story begins with \u003ca href=\"https://en.wikipedia.org/wiki/Primal_therapy\" target=\"_blank\" rel=\"noopener\">primal therapy\u003c/a>, wherein Gajdics lays on a mattress, relives repressed traumatic events, and expresses pain and anger through unrestrained screaming. He imagines the moment an older man abused him as a child, and the moments he felt unprotected by his parents.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a slow boil to the oncoming calamity as Gajdics’ psychiatrist, Dr. Alfonzo, says an odd thing here, does an odd thing there, insignificant enough to miss or forget. Then, Alfonzo says that he believes Gajdics to be heterosexual — that his true sexuality is buried under the abuse he experienced, and that homosexuality is something he can unlearn. Gajdics writes:\u003c/p>\n\u003cblockquote>\u003cp>This had always been my greatest fear: that my attraction for men had been created, and not by God; that my sexuality had been like a descending staircase I’d been pushed down, one step at a time, into the cellar of my homosexuality […] Alfonzo was saying that I could unlearn my homosexuality, unlock my trap door, and ascend into the light of heterosexuality. [His] words were like a lifeline thrown out to me at sea.\u003c/p>\u003c/blockquote>\n\u003cp>In just five more pages, Gajdics moves into a house with two other patients, where they receive intensive accelerated treatment. The inpatients aptly nickname the house The Styx, but there is no ferrying of the dead to the underworld. Rather, there is Gajdics and eventually five other residential patients who forsake their former lives in favor of Alfonzo, whom they begin to call Papa. He starts medicating them with ketamine (a horse tranquilizer), and bids them shave their heads so they may be like children and get to a place where they can rewire what each of them want changed.\u003c/p>\n\u003cp>https://twitter.com/HungarianWriter/status/855824916163309571\u003c/p>\n\u003cp>It is a relief to witness the full journey of this book, to get through the raw, horrifying parts and reach the other side. Everything is hard-earned in this book, vulnerable, naked, and luminous. Though it’s hard to imagine reaching acceptance after such an experience, Gajdics does. As he wrote in a 2012 op-ed for \u003cem>The Advocate\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>If my experiences taught me anything it was that a change to the ‘map’ of my identity from homosexual to heterosexual would never change the ‘territory’ of my experience from same-sex to opposite-sex desire […] Enacting laws to make it illegal to practice reparative therapy on anyone under the age of 18 is only a start. Reparative therapy may be a lie, but the lie begins not with the idea that we can change from gay to straight, but with the belief that we are who the culture tells us we are, that a change to the map of our identity is a change to the territory of our experience. And no one, no matter what age, is safe from that.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>The Inheritance of Shame\u003c/em> is an important story — one that isn’t soon forgotten.\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 Peter Gajdics on Tuesday, May 23, at Dog Eared Books (Castro store) in San Francisco. 7pm; \u003ca href=\"http://www.dogearedbooks.com/castro-events.html\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. Gajdics also reads from ‘The Inheritance of Shame’ on Thursday, May 25, at Laurel Bookstore in Oakland. 7pm; \u003ca href=\"http://www.laurelbookstore.com/event/6-years-gay-conversion-therapy-peter-gajdics-conversation-lucy-jane-bledsoe\" 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>Before reading \u003cem>The Inheritance of Shame\u003c/em>, there were three things I knew about conversion therapy: that children who exhibit signs of homosexuality are whisked away into church basements for exorcisms, that adults are told they can withdraw from their sexuality, and that if they fail, it is portrayed as a lack of piety.\u003c/p>\n\u003cp>Peter Gajdics’ harrowing memoir goes deeper. Covering seven years spent struggling to change his sexual orientation, \u003cem>The Inheritance of Shame\u003c/em> is a profound journey to self-destruction, self-acceptance, and finally a reckoning with the dangers of shame and silence. This is a memoir that is hard to read, but one that must absolutely be read.\u003c/p>\n\u003cp>Conversion therapy (sometimes called reparative therapy, or ex-gay therapy) has been discredited and condemned by most medical organizations, including the American Medical Association and the American Psychological Association, and yet it is not illegal for a licensed psychiatrist to engage in conversion therapy. Only eight states in the country (including California) have instituted a ban on conversion therapy for minors. It continues to exist for adults through churches and faith-allied organizations, or as in the case of \u003cem>The Inheritance of Shame\u003c/em>, through a prejudiced psychiatrist.\u003c/p>\n\u003cfigure id=\"attachment_13252756\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Shame.jpg\" alt=\"'The Inheritance of Shame.'\" width=\"500\" height=\"800\" class=\"size-full wp-image-13252756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Shame.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Shame-160x256.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Shame-240x384.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Shame-375x600.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">‘The Inheritance of Shame.’\u003c/figcaption>\u003c/figure>\n\u003cp>How does one arrive at a place in life to want to seek conversion therapy? And how does one become, essentially, part of a cult?\u003c/p>\n\u003cp>For Gajdics, the answer to both questions is: not all at once. His story begins with \u003ca href=\"https://en.wikipedia.org/wiki/Primal_therapy\" target=\"_blank\" rel=\"noopener\">primal therapy\u003c/a>, wherein Gajdics lays on a mattress, relives repressed traumatic events, and expresses pain and anger through unrestrained screaming. He imagines the moment an older man abused him as a child, and the moments he felt unprotected by his parents.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a slow boil to the oncoming calamity as Gajdics’ psychiatrist, Dr. Alfonzo, says an odd thing here, does an odd thing there, insignificant enough to miss or forget. Then, Alfonzo says that he believes Gajdics to be heterosexual — that his true sexuality is buried under the abuse he experienced, and that homosexuality is something he can unlearn. Gajdics writes:\u003c/p>\n\u003cblockquote>\u003cp>This had always been my greatest fear: that my attraction for men had been created, and not by God; that my sexuality had been like a descending staircase I’d been pushed down, one step at a time, into the cellar of my homosexuality […] Alfonzo was saying that I could unlearn my homosexuality, unlock my trap door, and ascend into the light of heterosexuality. [His] words were like a lifeline thrown out to me at sea.\u003c/p>\u003c/blockquote>\n\u003cp>In just five more pages, Gajdics moves into a house with two other patients, where they receive intensive accelerated treatment. The inpatients aptly nickname the house The Styx, but there is no ferrying of the dead to the underworld. Rather, there is Gajdics and eventually five other residential patients who forsake their former lives in favor of Alfonzo, whom they begin to call Papa. He starts medicating them with ketamine (a horse tranquilizer), and bids them shave their heads so they may be like children and get to a place where they can rewire what each of them want changed.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>It is a relief to witness the full journey of this book, to get through the raw, horrifying parts and reach the other side. Everything is hard-earned in this book, vulnerable, naked, and luminous. Though it’s hard to imagine reaching acceptance after such an experience, Gajdics does. As he wrote in a 2012 op-ed for \u003cem>The Advocate\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>If my experiences taught me anything it was that a change to the ‘map’ of my identity from homosexual to heterosexual would never change the ‘territory’ of my experience from same-sex to opposite-sex desire […] Enacting laws to make it illegal to practice reparative therapy on anyone under the age of 18 is only a start. Reparative therapy may be a lie, but the lie begins not with the idea that we can change from gay to straight, but with the belief that we are who the culture tells us we are, that a change to the map of our identity is a change to the territory of our experience. And no one, no matter what age, is safe from that.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>The Inheritance of Shame\u003c/em> is an important story — one that isn’t soon forgotten.\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 Peter Gajdics on Tuesday, May 23, at Dog Eared Books (Castro store) in San Francisco. 7pm; \u003ca href=\"http://www.dogearedbooks.com/castro-events.html\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. Gajdics also reads from ‘The Inheritance of Shame’ on Thursday, May 25, at Laurel Bookstore in Oakland. 7pm; \u003ca href=\"http://www.laurelbookstore.com/event/6-years-gay-conversion-therapy-peter-gajdics-conversation-lucy-jane-bledsoe\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Alien: Covenant' Continues to Mine Old Ground",
"headTitle": "‘Alien: Covenant’ Continues to Mine Old Ground | KQED",
"content": "\u003cp>Almost 40 years ago, \u003cem>Alien\u003c/em> was a B-movie with A+ production values and performances, and \u003ca href=\"http://www.npr.org/sections/monkeysee/2014/05/13/312139053/thanks-to-h-r-giger-for-all-the-sleepless-nights\" target=\"_blank\" rel=\"noopener\">the scariest monster the movies ever gave us\u003c/a>. The new \u003cem>Alien: Covenant\u003c/em> is a shamelessly high-minded, Byron-and-Shelley-quoting existential inquiry into the origin of three species and the nature of belief that goes slumming in genre territory just enough to get itself greenlit.\u003c/p>\n\u003cp>Guess which one is going to last? My money’s on the one that already has.\u003c/p>\n\u003cp>At least \u003cem>Covenant\u003c/em> is an artistic upgrade to \u003cem>Prometheus\u003c/em>, the \u003ca href=\"http://www.npr.org/sections/monkeysee/2012/06/08/154572020/hello-again-my-gooey-friends-on-loving-alien-and-seeing-prometheus\" target=\"_blank\" rel=\"noopener\">frustrating 2012 preamble\u003c/a> to which it is a direct sequel. In that film, septuagenarian director Ridley Scott returned to the \u003cem>Alien\u003c/em>-iverse he created and then left to others. Specifically, others who’ve had careers as celebrated and far more consistent than his own: James Cameron, David Fincher, Jean-Pierre Jeunet. Their follow-ups varied in quality and ambition (and yes, \u003cem>Aliens\u003c/em> is \u003ca href=\"http://www.npr.org/2016/07/18/486507610/aliens-turns-30-celebrating-the-iconic-sci-fi-sequel\" target=\"_blank\" rel=\"noopener\">a masterpiece in its own right\u003c/a>), but none addressed where their nightmare beasts came from, or who the long-dead, inhuman “space jockey” seen briefly in \u003cem>Alien\u003c/em> was. To Scott, this apparently amounted to artistic negligence. Because after 35 years away from the chest-bursting game, the thrice-Oscar-nominated director of the wretched \u003cem>Silence of the Lambs\u003c/em> sequel \u003cem>Hannibal\u003c/em>, among too many other films, opted to answer these questions… in the most ponderous, deflating way possible.\u003c/p>\n\u003cp>https://youtu.be/svnAD0TApb8\u003c/p>\n\u003cp>\u003cem>Prometheus\u003c/em> left enough of us — and \u003ca href=\"https://chrisklimek.com/2012/10/18/making-of-documentary-the-furious-gods-reveals-the-people-who-actually-made-prometheus-had-no-idea-wtf-either/\" target=\"_blank\" rel=\"noopener\">some members of its own creative team\u003c/a> — confounded that Sir Ridley has been forced to make a few concessions this time: Putting the word \u003cem>Alien\u003c/em> in the movie’s name, using the opening title cards from his 1979 landmark, and reprising elements of Jerry Goldsmith’s haunting \u003cem>Alien\u003c/em> score. These remedies all come from the latter-day “legacyquel” playbook that helped the likes of \u003cem>Jurassic World\u003c/em> and \u003cem>Creed\u003c/em> and \u003cem>Mad Max: Fury Road\u003c/em> and \u003cem>Star Wars: The Force Awakens\u003c/em> give their long-running franchises a second or third generation of fans. For \u003cem>Covenant\u003c/em>‘s CGI-slathered, perfunctory-feeling all-action finale, Scott even revives the classic H.R. Giger-designed “xenomorph” incarnation of the species, despite having publicly opined for years that too much acid-blood had been wrung from that particular stone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As in \u003cem>Prometheus\u003c/em>, a religious subtext is introduced and then immediately abandoned. The mostly doomed space travelers this time around are 22nd-century pilgrims, ferrying a couple of thousand or so hibernating humans (and unborn human embryos) to their new lives on the off-world colonies. (The distance between these movies and \u003cem>Blade Runner\u003c/em>, Scott’s other landmark sci-fi movie, grows narrower still.) After an exciting series of in-flight catastrophes, the Starship Covenant’s shaky new captain (a superb Billy Crudup) redirects the ship to a previously undetected planet—one suspiciously suitable for human habitation. Katherine Waterston steps into Sigourney Weaver’s sweaty old flight-suit to challenge this decision. She does an admirable job as the movie’s surrogate Ripley, the skeptical problem-solver who is clearly smarter and more reliable than the dude (always a dude) above her in the chain of command. Comedian Danny McBride plays Tennessee, a pilot whose enthusiasm for 20th century country music becomes one of \u003cem>Covenant\u003c/em>‘s weirder plot points. There are a lot of other crew members, but they don’t make an impression the way the crew of the Nostromo or the squad of Marines aboard the Sulaco did. (I did not have to look up the names of these spacecraft, people.)\u003c/p>\n\u003cp>But even more than \u003cem>Prometheus\u003c/em> did, \u003cem>Covenant\u003c/em> belongs to Michael Fassbender. As David — the megalomaniacal, \u003cem>Lawrence of Arabia\u003c/em>-loving android whose betrayal of his human creators is the sustained chord between these two 21st century \u003cem>Alien\u003c/em> flicks — he is the only character in whom Scott seems truly interested. Fassbender occupies two roles in \u003cem>Covenant\u003c/em>, the unbound David and also Walter, a later-model synthetic who is outwardly identical, but with hardwired inhibitions on his behavior and thinking. (David evokes Ash, the devious Ian Holm android from \u003cem>Alien\u003c/em>, while Walter represents Lance Henriksen’s tried-and-true Bishop from \u003cem>Aliens\u003c/em>.) The scenes wherein Fassbender engages himself in an existential rap session (and attempted seduction!) are surreal and campy and the freshest part of the movie. When David hands Walter a wind instrument to put in his mouth and says, “I’ll handle the fingering,” the snickering in the theatre will likely drown out the androids’ duet: It’s the title theme from \u003cem>Prometheus\u003c/em>, a weirdly meta… touch.\u003c/p>\n\u003cp>It’s also a clue that viewers of a certain stripe (hi!) will once again find it more fulfilling to mine this thing for subtext than to take anything Scott shows us at facehugging value. Though he certainly works himself into a lather trying to make \u003cem>Covenant’s\u003c/em> third act feel like the first two, universally beloved \u003cem>Alien\u003c/em> flicks, his emphasis on Fassbender represents a dramatic course-change for the series. The first trio of films presented unchecked intergalactic capitalism as a villain as vicious and amoral as any slime-dripping beast. The Weyland-Yutani Corporation was willing to bear whatever loss of life was necessary to obtain and patent xeno specimens. Scott’s latter-day chapters aren’t concerned with economic justice. Their Big Bad isn’t a corporation, but an individual, one endowed by his creator with free will and impatient with the weakness of the puny humans to whom he must feign subservience. “No one understands the lonely perfection of my dreams,” David murmurs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ridley Scott knows the feeling.\u003c/p>\n\n",
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"excerpt": "While 'Alien: Covenant' is better than 'Prometheus,' the last franchise entry, it still lacks the basic elements that made 'Alien' and 'Aliens' so widely admired.",
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"title": "'Alien: Covenant' Continues to Mine Old Ground | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Almost 40 years ago, \u003cem>Alien\u003c/em> was a B-movie with A+ production values and performances, and \u003ca href=\"http://www.npr.org/sections/monkeysee/2014/05/13/312139053/thanks-to-h-r-giger-for-all-the-sleepless-nights\" target=\"_blank\" rel=\"noopener\">the scariest monster the movies ever gave us\u003c/a>. The new \u003cem>Alien: Covenant\u003c/em> is a shamelessly high-minded, Byron-and-Shelley-quoting existential inquiry into the origin of three species and the nature of belief that goes slumming in genre territory just enough to get itself greenlit.\u003c/p>\n\u003cp>Guess which one is going to last? My money’s on the one that already has.\u003c/p>\n\u003cp>At least \u003cem>Covenant\u003c/em> is an artistic upgrade to \u003cem>Prometheus\u003c/em>, the \u003ca href=\"http://www.npr.org/sections/monkeysee/2012/06/08/154572020/hello-again-my-gooey-friends-on-loving-alien-and-seeing-prometheus\" target=\"_blank\" rel=\"noopener\">frustrating 2012 preamble\u003c/a> to which it is a direct sequel. In that film, septuagenarian director Ridley Scott returned to the \u003cem>Alien\u003c/em>-iverse he created and then left to others. Specifically, others who’ve had careers as celebrated and far more consistent than his own: James Cameron, David Fincher, Jean-Pierre Jeunet. Their follow-ups varied in quality and ambition (and yes, \u003cem>Aliens\u003c/em> is \u003ca href=\"http://www.npr.org/2016/07/18/486507610/aliens-turns-30-celebrating-the-iconic-sci-fi-sequel\" target=\"_blank\" rel=\"noopener\">a masterpiece in its own right\u003c/a>), but none addressed where their nightmare beasts came from, or who the long-dead, inhuman “space jockey” seen briefly in \u003cem>Alien\u003c/em> was. To Scott, this apparently amounted to artistic negligence. Because after 35 years away from the chest-bursting game, the thrice-Oscar-nominated director of the wretched \u003cem>Silence of the Lambs\u003c/em> sequel \u003cem>Hannibal\u003c/em>, among too many other films, opted to answer these questions… in the most ponderous, deflating way possible.\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/svnAD0TApb8'\n title='//www.youtube.com/embed/svnAD0TApb8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Prometheus\u003c/em> left enough of us — and \u003ca href=\"https://chrisklimek.com/2012/10/18/making-of-documentary-the-furious-gods-reveals-the-people-who-actually-made-prometheus-had-no-idea-wtf-either/\" target=\"_blank\" rel=\"noopener\">some members of its own creative team\u003c/a> — confounded that Sir Ridley has been forced to make a few concessions this time: Putting the word \u003cem>Alien\u003c/em> in the movie’s name, using the opening title cards from his 1979 landmark, and reprising elements of Jerry Goldsmith’s haunting \u003cem>Alien\u003c/em> score. These remedies all come from the latter-day “legacyquel” playbook that helped the likes of \u003cem>Jurassic World\u003c/em> and \u003cem>Creed\u003c/em> and \u003cem>Mad Max: Fury Road\u003c/em> and \u003cem>Star Wars: The Force Awakens\u003c/em> give their long-running franchises a second or third generation of fans. For \u003cem>Covenant\u003c/em>‘s CGI-slathered, perfunctory-feeling all-action finale, Scott even revives the classic H.R. Giger-designed “xenomorph” incarnation of the species, despite having publicly opined for years that too much acid-blood had been wrung from that particular stone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As in \u003cem>Prometheus\u003c/em>, a religious subtext is introduced and then immediately abandoned. The mostly doomed space travelers this time around are 22nd-century pilgrims, ferrying a couple of thousand or so hibernating humans (and unborn human embryos) to their new lives on the off-world colonies. (The distance between these movies and \u003cem>Blade Runner\u003c/em>, Scott’s other landmark sci-fi movie, grows narrower still.) After an exciting series of in-flight catastrophes, the Starship Covenant’s shaky new captain (a superb Billy Crudup) redirects the ship to a previously undetected planet—one suspiciously suitable for human habitation. Katherine Waterston steps into Sigourney Weaver’s sweaty old flight-suit to challenge this decision. She does an admirable job as the movie’s surrogate Ripley, the skeptical problem-solver who is clearly smarter and more reliable than the dude (always a dude) above her in the chain of command. Comedian Danny McBride plays Tennessee, a pilot whose enthusiasm for 20th century country music becomes one of \u003cem>Covenant\u003c/em>‘s weirder plot points. There are a lot of other crew members, but they don’t make an impression the way the crew of the Nostromo or the squad of Marines aboard the Sulaco did. (I did not have to look up the names of these spacecraft, people.)\u003c/p>\n\u003cp>But even more than \u003cem>Prometheus\u003c/em> did, \u003cem>Covenant\u003c/em> belongs to Michael Fassbender. As David — the megalomaniacal, \u003cem>Lawrence of Arabia\u003c/em>-loving android whose betrayal of his human creators is the sustained chord between these two 21st century \u003cem>Alien\u003c/em> flicks — he is the only character in whom Scott seems truly interested. Fassbender occupies two roles in \u003cem>Covenant\u003c/em>, the unbound David and also Walter, a later-model synthetic who is outwardly identical, but with hardwired inhibitions on his behavior and thinking. (David evokes Ash, the devious Ian Holm android from \u003cem>Alien\u003c/em>, while Walter represents Lance Henriksen’s tried-and-true Bishop from \u003cem>Aliens\u003c/em>.) The scenes wherein Fassbender engages himself in an existential rap session (and attempted seduction!) are surreal and campy and the freshest part of the movie. When David hands Walter a wind instrument to put in his mouth and says, “I’ll handle the fingering,” the snickering in the theatre will likely drown out the androids’ duet: It’s the title theme from \u003cem>Prometheus\u003c/em>, a weirdly meta… touch.\u003c/p>\n\u003cp>It’s also a clue that viewers of a certain stripe (hi!) will once again find it more fulfilling to mine this thing for subtext than to take anything Scott shows us at facehugging value. Though he certainly works himself into a lather trying to make \u003cem>Covenant’s\u003c/em> third act feel like the first two, universally beloved \u003cem>Alien\u003c/em> flicks, his emphasis on Fassbender represents a dramatic course-change for the series. The first trio of films presented unchecked intergalactic capitalism as a villain as vicious and amoral as any slime-dripping beast. The Weyland-Yutani Corporation was willing to bear whatever loss of life was necessary to obtain and patent xeno specimens. Scott’s latter-day chapters aren’t concerned with economic justice. Their Big Bad isn’t a corporation, but an individual, one endowed by his creator with free will and impatient with the weakness of the puny humans to whom he must feign subservience. “No one understands the lonely perfection of my dreams,” David murmurs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ridley Scott knows the feeling.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Your Trash is Treasure for Three Artists at Recology San Francisco",
"headTitle": "Your Trash is Treasure for Three Artists at Recology San Francisco | KQED",
"content": "\u003cp>For just a few hours over the course of May 19-23, Bay Area artists \u003ca href=\"http://www.carriehott.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Carrie Hott\u003c/a>, \u003ca href=\"https://www.recology.com/recology_artist/nathan-byrne/\" target=\"_blank\" rel=\"noopener noreferrer\">Nathan Byrne\u003c/a> and \u003ca href=\"http://www.cybelelyle.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cybele Lyle\u003c/a> will display the results of four months of artistic (and manual) labor at \u003ca href=\"https://www.recology.com/recology-san-francisco/artist-in-residence-program/\" target=\"_blank\" rel=\"noopener noreferrer\">Recology San Francisco\u003c/a>. Over those four months, the three artists in residence have culled, sorted and made use of an impressive amount of stuff from Recology’s public disposal and recycling area, ranging from a truck’s camper shell to cubicle walls to a homemade Joy Division cassette tape.\u003c/p>\n\u003cp>The culminating projects — vastly different, but all sculptural in nature — mine the productive overlap between one artist’s material interests and another person’s refuse.\u003c/p>\n\u003cfigure id=\"attachment_13250949\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13250949\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-1020x574.jpg\" alt=\"Cybele Lyle, 'Are you me or Are You a Stranger,' 2017.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-520x293.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Cybele Lyle, ‘Are you me or Are You a Stranger,’ 2017. \u003ccite>(Courtesy of Recology San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Lyle — who started in printmaking, moved into photography and video work and increasingly enters the third dimension with the help of wooden frameworks and overlapping planes — the Recology residency was another step in the evolution of her own practice. Forced to break her habits and use found materials for the first time, she found herself drawn to particular textures (fabrics, laminate flooring) and chairs.\u003c/p>\n\u003cp>In \u003ci>Are You Me or Are You a Stranger\u003c/i>, Lyle breaks up her enormous light-filled Recology studio with smaller room-like spaces demarcated by flooring, frameworks and outdoor furniture. Many of the arrangements are spindly; thin metal poles support a wall of brightly colored monochrome rectangles, shiny fabric drapes over a spare wooden frame in the warehouse’s roll-up door.\u003c/p>\n\u003cfigure id=\"attachment_13250944\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13250944\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n.jpg\" alt=\"Cybele Lyle, Work in progress from 'Are You Me or Are You a Stranger,' 2017.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-150x150.jpg 150w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Cybele Lyle, Work in progress from ‘Are You Me or Are You a Stranger,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grids — in the form of painted patterns and metal barriers — appear throughout the installation, which feels like a modular theatrical set frozen in just one iteration of many. Which is, of course, how Lyle worked: pulling things out of piles, trying them out in the studio, altering them until they felt like they were no longer someone else’s, keeping some things, rejecting others, stacking, rearranging, attaching, ad infinitum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The chairs, each embodying a particular design sensibility, could be the characters within this set. Lyle’s work has long explored the relationship between queerness and architecture as a way to explore identity. “With this work, I’ve started exploring ways to bring in the figure without limiting or specifying the definitions of queerness,” she says. The process of determining when objects that once belonged to others are “hers” is a process of not just rejecting society’s binary structure, but of exploring her truest self.\u003c/p>\n\u003cfigure id=\"attachment_13250947\" class=\"wp-caption aligncenter\" style=\"max-width: 869px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13250947\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200.jpg\" alt=\"Carrie Hott, Detail view of 'Summer Night Forever,' 2017.\" width=\"869\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200.jpg 869w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200-800x1105.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200-768x1061.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200-240x331.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200-375x518.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200-520x718.jpg 520w\" sizes=\"(max-width: 869px) 100vw, 869px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Hott, Detail view of ‘Summer Night Forever,’ 2017. \u003ccite>(Courtesy of Recology San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Next door to Lyle’s additive permutations, Hott engages in a much more subtractive process in \u003ci>Summer Night Forever\u003c/i>. Digging through an enormous amount of electronic waste, she methodically broke down various sound-making machines into only their most vital parts — often just a few circuit boards and a speaker — to make visible their inner workings.\u003c/p>\n\u003cp>On blue-painted pegboard platforms she calls “islands,” Hott’s newly minimal electronics play CDs of whale songs, the aforementioned Joy Division tape, the second half of \u003ci>Titanic\u003c/i> on VHS and a white noise track called “Summer Night.” A baby monitor picks up the whale sounds from the central island and broadcasts them to an islet in the warehouse corner.\u003c/p>\n\u003cfigure id=\"attachment_13250945\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13250945\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n.jpg\" alt=\"Carrie Hott, Detail from 'Summer Night Forever,' 2017.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-150x150.jpg 150w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Hott, Detail from ‘Summer Night Forever,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lamps in various shades of blue (all paint culled from the Recology piles) light a scene of power cables, circuitry and automated machines. In an era when most of our technology is sealed within smooth, buttonless cases, the electronic guts of Hott’s installation are both refreshing and mesmerizing. (So \u003ci>that’s\u003c/i> what the inside of a CD changer looks like.) The overlapping tracks produced by the machines create a strange, anxious ambiance: post-punk, chirping crickets, the sound of an unsinkable ship breaking apart, screaming extras and whales communicating in their own haunting language.\u003c/p>\n\u003cp>Hott’s recent \u003ca href=\"https://ww2.kqed.org/arts/2016/03/14/carrie-hott-unlocks-a-mysterious-key-room-at-the-headlands/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Key Room\u003c/i> installation\u003c/a> at Headlands Center for the Arts includes a bank of telephones offering audio samples from or about the Marin Headlands. With \u003ci>Summer Night Forever\u003c/i>, it’s as if she turned those phones inside out. And instead of preserving history, the machines at Recology tell a story of cultural detritus, and how much we throw away.\u003c/p>\n\u003cp>[contextly_sidebar id=”WTMw574e54ZhxQB2BxUYdEEm5n94ojbr”]\u003c/p>\n\u003cp>Last but not least, Nathan Byrne’s \u003ci>I Wish I Knew for True: 12 Works by Nathan Byrne\u003c/i> occupies the Environmental Learning Center, work all the more impressive given the fact that it was made not in a cavernous studio like Lyle or Hott’s, but in a standard shipping container — long and low-ceilinged and windowless. Byrne, who graduates from San Francisco State University this month, presents a series of individual works that arrange familiar objects in unlikely juxtaposition.\u003c/p>\n\u003cp>Like Lyle’s work, there’s an element of precarity: an orb made from the metal bands of wine barrels is held together by compression and friction, an infamous hand chair cradles a pile of crushed mica and in a projected video, shattered glass rolls around in a foot massager. The exhibition’s titular piece, \u003ci>I Wish I Knew For True\u003c/i>, resembles an Eva Hesse work, the plastic tips of micropipettes used in science labs creating a glowing, anemone-like bowl.\u003c/p>\n\u003cfigure id=\"attachment_13250946\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13250946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n.jpg\" alt=\"Nathan Byrne, 'What We Talk About When We Talk About Love,' 2017. Installation view at Recology.\" width=\"1080\" height=\"1350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-960x1200.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-520x650.jpg 520w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Nathan Byrne, ‘What We Talk About When We Talk About Love,’ 2017. Installation view at Recology. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Byrne’s work is testament to the amazing variety of material available to the Recology AIRs: in a diptych made from two window frames, the collaged elements include leather postcards, stereoscope images, wrappers for old, strange products, and two photographs of a hand holding, he thinks, ecstasy and acid.\u003c/p>\n\u003cp>A rule of the Recology residency is that 95 percent of the materials artists use in their work must be scavenged from the public disposal and recycling area. The origin story behind all the objects used — and obsessed over — by Lyle, Hott and Byrne is the fact that it was discarded by someone. All three of the artists spoke to the overwhelming amount of stuff they sifted through in the course of their four-month residency period. And in addition to material experimentation and new bodies of work, that’s a fact that will stay with all of them. “It gets really real,” Hott says. “Just what people throw away and how much they throw away.”\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>‘Are You Me or Are You a Stranger,’ ‘Summer Night Forever’ and ‘I Wish I Knew for True: 12 Works by Nathan Byrne’ are on view at Recology San Francisco (401 and 503 Tunnel Ave) Friday, May 19, 5-8pm, Saturday, May 20, 1-3pm and Tuesday, May 23, 5-7pm. For more information, \u003ca href=\"https://www.recology.com/recology_news/recology-san-francisco-artist-residence-exhibitions-work-carrie-hott-cybele-lyle-nathan-byrne/\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Culminating -- and very different -- exhibitions from artists-in-residence Nathan Byrne, Carrie Hott and Cybele Lyle mine the detritus of others' lives.",
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"description": "Culminating -- and very different -- exhibitions from artists-in-residence Nathan Byrne, Carrie Hott and Cybele Lyle mine the detritus of others' lives.",
"title": "Your Trash is Treasure for Three Artists at Recology San Francisco | KQED",
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"headline": "Your Trash is Treasure for Three Artists at Recology San Francisco",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For just a few hours over the course of May 19-23, Bay Area artists \u003ca href=\"http://www.carriehott.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Carrie Hott\u003c/a>, \u003ca href=\"https://www.recology.com/recology_artist/nathan-byrne/\" target=\"_blank\" rel=\"noopener noreferrer\">Nathan Byrne\u003c/a> and \u003ca href=\"http://www.cybelelyle.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cybele Lyle\u003c/a> will display the results of four months of artistic (and manual) labor at \u003ca href=\"https://www.recology.com/recology-san-francisco/artist-in-residence-program/\" target=\"_blank\" rel=\"noopener noreferrer\">Recology San Francisco\u003c/a>. Over those four months, the three artists in residence have culled, sorted and made use of an impressive amount of stuff from Recology’s public disposal and recycling area, ranging from a truck’s camper shell to cubicle walls to a homemade Joy Division cassette tape.\u003c/p>\n\u003cp>The culminating projects — vastly different, but all sculptural in nature — mine the productive overlap between one artist’s material interests and another person’s refuse.\u003c/p>\n\u003cfigure id=\"attachment_13250949\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13250949\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-1020x574.jpg\" alt=\"Cybele Lyle, 'Are you me or Are You a Stranger,' 2017.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/cybele_lyle-COVER-520x293.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Cybele Lyle, ‘Are you me or Are You a Stranger,’ 2017. \u003ccite>(Courtesy of Recology San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Lyle — who started in printmaking, moved into photography and video work and increasingly enters the third dimension with the help of wooden frameworks and overlapping planes — the Recology residency was another step in the evolution of her own practice. Forced to break her habits and use found materials for the first time, she found herself drawn to particular textures (fabrics, laminate flooring) and chairs.\u003c/p>\n\u003cp>In \u003ci>Are You Me or Are You a Stranger\u003c/i>, Lyle breaks up her enormous light-filled Recology studio with smaller room-like spaces demarcated by flooring, frameworks and outdoor furniture. Many of the arrangements are spindly; thin metal poles support a wall of brightly colored monochrome rectangles, shiny fabric drapes over a spare wooden frame in the warehouse’s roll-up door.\u003c/p>\n\u003cfigure id=\"attachment_13250944\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13250944\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n.jpg\" alt=\"Cybele Lyle, Work in progress from 'Are You Me or Are You a Stranger,' 2017.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/17266076_1674497552845788_1129302246790529024_n-150x150.jpg 150w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Cybele Lyle, Work in progress from ‘Are You Me or Are You a Stranger,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grids — in the form of painted patterns and metal barriers — appear throughout the installation, which feels like a modular theatrical set frozen in just one iteration of many. Which is, of course, how Lyle worked: pulling things out of piles, trying them out in the studio, altering them until they felt like they were no longer someone else’s, keeping some things, rejecting others, stacking, rearranging, attaching, ad infinitum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The chairs, each embodying a particular design sensibility, could be the characters within this set. Lyle’s work has long explored the relationship between queerness and architecture as a way to explore identity. “With this work, I’ve started exploring ways to bring in the figure without limiting or specifying the definitions of queerness,” she says. The process of determining when objects that once belonged to others are “hers” is a process of not just rejecting society’s binary structure, but of exploring her truest self.\u003c/p>\n\u003cfigure id=\"attachment_13250947\" class=\"wp-caption aligncenter\" style=\"max-width: 869px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13250947\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200.jpg\" alt=\"Carrie Hott, Detail view of 'Summer Night Forever,' 2017.\" width=\"869\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200.jpg 869w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200-800x1105.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200-768x1061.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200-240x331.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200-375x518.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/carrie_hott-web_1200-520x718.jpg 520w\" sizes=\"(max-width: 869px) 100vw, 869px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Hott, Detail view of ‘Summer Night Forever,’ 2017. \u003ccite>(Courtesy of Recology San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Next door to Lyle’s additive permutations, Hott engages in a much more subtractive process in \u003ci>Summer Night Forever\u003c/i>. Digging through an enormous amount of electronic waste, she methodically broke down various sound-making machines into only their most vital parts — often just a few circuit boards and a speaker — to make visible their inner workings.\u003c/p>\n\u003cp>On blue-painted pegboard platforms she calls “islands,” Hott’s newly minimal electronics play CDs of whale songs, the aforementioned Joy Division tape, the second half of \u003ci>Titanic\u003c/i> on VHS and a white noise track called “Summer Night.” A baby monitor picks up the whale sounds from the central island and broadcasts them to an islet in the warehouse corner.\u003c/p>\n\u003cfigure id=\"attachment_13250945\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13250945\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n.jpg\" alt=\"Carrie Hott, Detail from 'Summer Night Forever,' 2017.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18382574_1911864972426650_6180077473561051136_n-150x150.jpg 150w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Hott, Detail from ‘Summer Night Forever,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lamps in various shades of blue (all paint culled from the Recology piles) light a scene of power cables, circuitry and automated machines. In an era when most of our technology is sealed within smooth, buttonless cases, the electronic guts of Hott’s installation are both refreshing and mesmerizing. (So \u003ci>that’s\u003c/i> what the inside of a CD changer looks like.) The overlapping tracks produced by the machines create a strange, anxious ambiance: post-punk, chirping crickets, the sound of an unsinkable ship breaking apart, screaming extras and whales communicating in their own haunting language.\u003c/p>\n\u003cp>Hott’s recent \u003ca href=\"https://ww2.kqed.org/arts/2016/03/14/carrie-hott-unlocks-a-mysterious-key-room-at-the-headlands/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Key Room\u003c/i> installation\u003c/a> at Headlands Center for the Arts includes a bank of telephones offering audio samples from or about the Marin Headlands. With \u003ci>Summer Night Forever\u003c/i>, it’s as if she turned those phones inside out. And instead of preserving history, the machines at Recology tell a story of cultural detritus, and how much we throw away.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Last but not least, Nathan Byrne’s \u003ci>I Wish I Knew for True: 12 Works by Nathan Byrne\u003c/i> occupies the Environmental Learning Center, work all the more impressive given the fact that it was made not in a cavernous studio like Lyle or Hott’s, but in a standard shipping container — long and low-ceilinged and windowless. Byrne, who graduates from San Francisco State University this month, presents a series of individual works that arrange familiar objects in unlikely juxtaposition.\u003c/p>\n\u003cp>Like Lyle’s work, there’s an element of precarity: an orb made from the metal bands of wine barrels is held together by compression and friction, an infamous hand chair cradles a pile of crushed mica and in a projected video, shattered glass rolls around in a foot massager. The exhibition’s titular piece, \u003ci>I Wish I Knew For True\u003c/i>, resembles an Eva Hesse work, the plastic tips of micropipettes used in science labs creating a glowing, anemone-like bowl.\u003c/p>\n\u003cfigure id=\"attachment_13250946\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13250946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n.jpg\" alt=\"Nathan Byrne, 'What We Talk About When We Talk About Love,' 2017. Installation view at Recology.\" width=\"1080\" height=\"1350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-960x1200.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/18444898_1869820999698478_3118588307815006208_n-520x650.jpg 520w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Nathan Byrne, ‘What We Talk About When We Talk About Love,’ 2017. Installation view at Recology. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Byrne’s work is testament to the amazing variety of material available to the Recology AIRs: in a diptych made from two window frames, the collaged elements include leather postcards, stereoscope images, wrappers for old, strange products, and two photographs of a hand holding, he thinks, ecstasy and acid.\u003c/p>\n\u003cp>A rule of the Recology residency is that 95 percent of the materials artists use in their work must be scavenged from the public disposal and recycling area. The origin story behind all the objects used — and obsessed over — by Lyle, Hott and Byrne is the fact that it was discarded by someone. All three of the artists spoke to the overwhelming amount of stuff they sifted through in the course of their four-month residency period. And in addition to material experimentation and new bodies of work, that’s a fact that will stay with all of them. “It gets really real,” Hott says. “Just what people throw away and how much they throw away.”\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>‘Are You Me or Are You a Stranger,’ ‘Summer Night Forever’ and ‘I Wish I Knew for True: 12 Works by Nathan Byrne’ are on view at Recology San Francisco (401 and 503 Tunnel Ave) Friday, May 19, 5-8pm, Saturday, May 20, 1-3pm and Tuesday, May 23, 5-7pm. For more information, \u003ca href=\"https://www.recology.com/recology_news/recology-san-francisco-artist-residence-exhibitions-work-carrie-hott-cybele-lyle-nathan-byrne/\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Robert Moses’ Kin Drops ‘Cultural Time Bombs’",
"headTitle": "Robert Moses’ Kin Drops ‘Cultural Time Bombs’ | KQED",
"content": "\u003cp>“When I’m through burying children, who will bury me?”\u003c/p>\n\u003cp>That’s the mournful chant that opens the latest offering from \u003ca href=\"https://www.robertmoseskin.org\">Robert Moses’ Kin\u003c/a>. Titled \u003ca href=\"https://www.robertmoseskin.org/performances\">\u003cem>Trick Bags/Trap Doors/Painted Corners\u003c/em>\u003c/a>, the three-part, evening-length collaboration between choreographer Robert Moses and guest choreographers Terence Marling and Latanya d. Tigner is billed as a reflection on the “cultural time bombs” created when children are raised to “buy into the ideas of colorblindness and meritocracy.”\u003c/p>\n\u003cp>Even without that precise and chilling backgrounder, the provocative score clearly situates the work in the divisive political landscape of today’s America. Yet the fabric of the triptych is woven so loosely that it doesn’t entirely hang together. The professed theme of raising children in an insidiously racist environment seems to give way to mysterious yet absorbing rituals of community.\u003c/p>\n\u003cfigure id=\"attachment_13244130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13244130 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-with-Norma-Fong-and-Dazaun-Soleyn-photo-by-Victor-Talledos-800x1111.jpg\" alt=\"Crystal dawn Bell with Norma Fong and Dazaun Soleyn\" width=\"800\" height=\"1111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-with-Norma-Fong-and-Dazaun-Soleyn-photo-by-Victor-Talledos-800x1111.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-with-Norma-Fong-and-Dazaun-Soleyn-photo-by-Victor-Talledos-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-with-Norma-Fong-and-Dazaun-Soleyn-photo-by-Victor-Talledos-768x1067.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-with-Norma-Fong-and-Dazaun-Soleyn-photo-by-Victor-Talledos-1020x1417.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-with-Norma-Fong-and-Dazaun-Soleyn-photo-by-Victor-Talledos-1920x2667.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-with-Norma-Fong-and-Dazaun-Soleyn-photo-by-Victor-Talledos-1180x1639.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-with-Norma-Fong-and-Dazaun-Soleyn-photo-by-Victor-Talledos-960x1334.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-with-Norma-Fong-and-Dazaun-Soleyn-photo-by-Victor-Talledos-240x333.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-with-Norma-Fong-and-Dazaun-Soleyn-photo-by-Victor-Talledos-375x521.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-with-Norma-Fong-and-Dazaun-Soleyn-photo-by-Victor-Talledos-520x722.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crystal dawn Bell with Norma Fong and Dazaun Soleyn. \u003ccite>(Photo: Victor Talledos)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moses choreographs the opening section of the triptych to a score crafted by recording artist/drummer PC Muñoz. It features parts of the soundtrack from \u003cem>The New York Times\u003c/em> mini-documentary \u003cem>\u003ca href=\"https://www.nytimes.com/2015/12/01/opinion/a-conversation-with-black-women-on-race.html?_r=0\">A Conversation with Black Women on Race\u003c/a>\u003c/em> and a glorious, pulsating song tinged with gospel, Latin American and West African rhythms titled “DIRT,” performed by the Oakland-based a cappella ensemble \u003ca href=\"http://sovoso.com/\">SoVoSó\u003c/a>.\u003c/p>\n\u003cp>Moses does not use movement to reenact the spoken narrative elements in the soundtrack that touch on violence, lynchings, and subtler acts of racism. Instead, the choreographer punctuates them with finely drawn anguish, irony and humor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the bare-bones black box of the intimate \u003ca href=\"http://www.dancemission.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dance Mission Theater\u003c/a>, six Robert Moses’ Kin dancers and 17 guest performers clad in simple white street wear undertake brief solos, duos and trios, emerging from a melee of bodies reminiscent of busy city streets and buzzing information highways. In one electrifying sequence, dancer Dazaun Soleyn twists and hurtles through a crowd of people oblivious to his suffering.\u003c/p>\n\u003cfigure id=\"attachment_13244127\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13244127 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Norma-Fong-and-Dazaun-Soleyn-photo-by-Steve-Disenhof-800x759.jpg\" alt=\"Norma Fong and Dazaun Soleyn \" width=\"800\" height=\"759\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Norma-Fong-and-Dazaun-Soleyn-photo-by-Steve-Disenhof-800x759.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Norma-Fong-and-Dazaun-Soleyn-photo-by-Steve-Disenhof-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Norma-Fong-and-Dazaun-Soleyn-photo-by-Steve-Disenhof-768x728.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Norma-Fong-and-Dazaun-Soleyn-photo-by-Steve-Disenhof-1020x967.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Norma-Fong-and-Dazaun-Soleyn-photo-by-Steve-Disenhof-1920x1821.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Norma-Fong-and-Dazaun-Soleyn-photo-by-Steve-Disenhof-1180x1119.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Norma-Fong-and-Dazaun-Soleyn-photo-by-Steve-Disenhof-960x910.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Norma-Fong-and-Dazaun-Soleyn-photo-by-Steve-Disenhof-240x228.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Norma-Fong-and-Dazaun-Soleyn-photo-by-Steve-Disenhof-375x356.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Norma-Fong-and-Dazaun-Soleyn-photo-by-Steve-Disenhof-520x493.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Norma Fong and Dazaun Soleyn \u003ccite>(Photo: Steve Disenhof)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the second section of the triptych, Marling enlists Dutch baroque composer Johannes Schenck, Japanese new age music, and Moondog’s brash symphonic “Theme” to color a somewhat trite spoken-word recording about those whom society brands outsiders.\u003c/p>\n\u003cp>In the third and closing section, Tigner dispenses with a soundscape altogether; the dancers’ syncopated footfalls and occasional chanting provide the only accompaniment to her choreography, which suggests a stalwart struggle against invisible forces of oppression.\u003c/p>\n\u003cp>As a whole, the work seems to champion the individual and paint the resilience of a community. The juicy, poetic dance language – remarkably unified between the three choreographers – feels innate to each of the performers, while also amplifying and exalting the differences between them. The wide range of physiques and skin tones in this seemingly tight-knit company make a powerful statement of inclusivity. With its hints of martial arts, ballet, folk and street dance, the choreography defies tidy classification. The individual dancers defy classification, too.\u003c/p>\n\u003cfigure id=\"attachment_13244128\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13244128 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-and-Norma-Fong-rehearse-with-Robert-Moses-photo-by-Steve-Disenhof-800x534.jpg\" alt=\"Robert Moses rehearses Crystaldawn Bell and Norma Fong \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-and-Norma-Fong-rehearse-with-Robert-Moses-photo-by-Steve-Disenhof-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-and-Norma-Fong-rehearse-with-Robert-Moses-photo-by-Steve-Disenhof-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-and-Norma-Fong-rehearse-with-Robert-Moses-photo-by-Steve-Disenhof-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-and-Norma-Fong-rehearse-with-Robert-Moses-photo-by-Steve-Disenhof-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-and-Norma-Fong-rehearse-with-Robert-Moses-photo-by-Steve-Disenhof-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-and-Norma-Fong-rehearse-with-Robert-Moses-photo-by-Steve-Disenhof-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-and-Norma-Fong-rehearse-with-Robert-Moses-photo-by-Steve-Disenhof-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-and-Norma-Fong-rehearse-with-Robert-Moses-photo-by-Steve-Disenhof-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-and-Norma-Fong-rehearse-with-Robert-Moses-photo-by-Steve-Disenhof-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-and-Norma-Fong-rehearse-with-Robert-Moses-photo-by-Steve-Disenhof-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Moses rehearses Crystaldawn Bell and Norma Fong \u003ccite>(Photo: Steve Disenhof)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A quality they all share is a sense of living on a knife edge: the dancers make split-second shifts from boxing jabs to sweeping lyrical gestures; they whirl on a dime, shudder and quake, and negotiate turf issues with wordless wit and diplomacy. They offer pop-up shelters for each other within the curves of an outstretched limb or an arched back, and execute bodily contact with grave, tender precision.\u003c/p>\n\u003cp>[vimeo 216087066 w=640 h=360]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>One of the most arresting sequences happens at the close of Moses’ section. As the music dies down, the commanding dancer Jill Breckenridge continues to hold court with the rest of the ensemble at her feet. Her magnificent solo is both a lament and a call to arms. Breckenridge pitches forward daringly and flicks one leg behind her, as if to warn any enemies lurking on the perimeter not to mess with her tribe.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Robert Moses’ Kin in ‘Trick Bags/Trap Doors/Painted Corners’ runs for a final weekend from Friday, May 19, to Sunday, May 21, at Dance Mission Theater in San Francisco. See \u003ca href=\"https://www.robertmoseskin.org/performances\">here\u003c/a> for more information.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The San Francisco company’s intriguing latest work explores the divisive political landscape of today’s America.",
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"title": "Robert Moses’ Kin Drops ‘Cultural Time Bombs’ | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“When I’m through burying children, who will bury me?”\u003c/p>\n\u003cp>That’s the mournful chant that opens the latest offering from \u003ca href=\"https://www.robertmoseskin.org\">Robert Moses’ Kin\u003c/a>. Titled \u003ca href=\"https://www.robertmoseskin.org/performances\">\u003cem>Trick Bags/Trap Doors/Painted Corners\u003c/em>\u003c/a>, the three-part, evening-length collaboration between choreographer Robert Moses and guest choreographers Terence Marling and Latanya d. Tigner is billed as a reflection on the “cultural time bombs” created when children are raised to “buy into the ideas of colorblindness and meritocracy.”\u003c/p>\n\u003cp>Even without that precise and chilling backgrounder, the provocative score clearly situates the work in the divisive political landscape of today’s America. Yet the fabric of the triptych is woven so loosely that it doesn’t entirely hang together. The professed theme of raising children in an insidiously racist environment seems to give way to mysterious yet absorbing rituals of community.\u003c/p>\n\u003cfigure id=\"attachment_13244130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13244130 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-with-Norma-Fong-and-Dazaun-Soleyn-photo-by-Victor-Talledos-800x1111.jpg\" alt=\"Crystal dawn Bell with Norma Fong and Dazaun Soleyn\" width=\"800\" height=\"1111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-with-Norma-Fong-and-Dazaun-Soleyn-photo-by-Victor-Talledos-800x1111.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-with-Norma-Fong-and-Dazaun-Soleyn-photo-by-Victor-Talledos-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-with-Norma-Fong-and-Dazaun-Soleyn-photo-by-Victor-Talledos-768x1067.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-with-Norma-Fong-and-Dazaun-Soleyn-photo-by-Victor-Talledos-1020x1417.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-with-Norma-Fong-and-Dazaun-Soleyn-photo-by-Victor-Talledos-1920x2667.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-with-Norma-Fong-and-Dazaun-Soleyn-photo-by-Victor-Talledos-1180x1639.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-with-Norma-Fong-and-Dazaun-Soleyn-photo-by-Victor-Talledos-960x1334.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-with-Norma-Fong-and-Dazaun-Soleyn-photo-by-Victor-Talledos-240x333.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-with-Norma-Fong-and-Dazaun-Soleyn-photo-by-Victor-Talledos-375x521.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-with-Norma-Fong-and-Dazaun-Soleyn-photo-by-Victor-Talledos-520x722.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crystal dawn Bell with Norma Fong and Dazaun Soleyn. \u003ccite>(Photo: Victor Talledos)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moses choreographs the opening section of the triptych to a score crafted by recording artist/drummer PC Muñoz. It features parts of the soundtrack from \u003cem>The New York Times\u003c/em> mini-documentary \u003cem>\u003ca href=\"https://www.nytimes.com/2015/12/01/opinion/a-conversation-with-black-women-on-race.html?_r=0\">A Conversation with Black Women on Race\u003c/a>\u003c/em> and a glorious, pulsating song tinged with gospel, Latin American and West African rhythms titled “DIRT,” performed by the Oakland-based a cappella ensemble \u003ca href=\"http://sovoso.com/\">SoVoSó\u003c/a>.\u003c/p>\n\u003cp>Moses does not use movement to reenact the spoken narrative elements in the soundtrack that touch on violence, lynchings, and subtler acts of racism. Instead, the choreographer punctuates them with finely drawn anguish, irony and humor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the bare-bones black box of the intimate \u003ca href=\"http://www.dancemission.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dance Mission Theater\u003c/a>, six Robert Moses’ Kin dancers and 17 guest performers clad in simple white street wear undertake brief solos, duos and trios, emerging from a melee of bodies reminiscent of busy city streets and buzzing information highways. In one electrifying sequence, dancer Dazaun Soleyn twists and hurtles through a crowd of people oblivious to his suffering.\u003c/p>\n\u003cfigure id=\"attachment_13244127\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13244127 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Norma-Fong-and-Dazaun-Soleyn-photo-by-Steve-Disenhof-800x759.jpg\" alt=\"Norma Fong and Dazaun Soleyn \" width=\"800\" height=\"759\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Norma-Fong-and-Dazaun-Soleyn-photo-by-Steve-Disenhof-800x759.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Norma-Fong-and-Dazaun-Soleyn-photo-by-Steve-Disenhof-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Norma-Fong-and-Dazaun-Soleyn-photo-by-Steve-Disenhof-768x728.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Norma-Fong-and-Dazaun-Soleyn-photo-by-Steve-Disenhof-1020x967.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Norma-Fong-and-Dazaun-Soleyn-photo-by-Steve-Disenhof-1920x1821.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Norma-Fong-and-Dazaun-Soleyn-photo-by-Steve-Disenhof-1180x1119.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Norma-Fong-and-Dazaun-Soleyn-photo-by-Steve-Disenhof-960x910.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Norma-Fong-and-Dazaun-Soleyn-photo-by-Steve-Disenhof-240x228.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Norma-Fong-and-Dazaun-Soleyn-photo-by-Steve-Disenhof-375x356.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Norma-Fong-and-Dazaun-Soleyn-photo-by-Steve-Disenhof-520x493.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Norma Fong and Dazaun Soleyn \u003ccite>(Photo: Steve Disenhof)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the second section of the triptych, Marling enlists Dutch baroque composer Johannes Schenck, Japanese new age music, and Moondog’s brash symphonic “Theme” to color a somewhat trite spoken-word recording about those whom society brands outsiders.\u003c/p>\n\u003cp>In the third and closing section, Tigner dispenses with a soundscape altogether; the dancers’ syncopated footfalls and occasional chanting provide the only accompaniment to her choreography, which suggests a stalwart struggle against invisible forces of oppression.\u003c/p>\n\u003cp>As a whole, the work seems to champion the individual and paint the resilience of a community. The juicy, poetic dance language – remarkably unified between the three choreographers – feels innate to each of the performers, while also amplifying and exalting the differences between them. The wide range of physiques and skin tones in this seemingly tight-knit company make a powerful statement of inclusivity. With its hints of martial arts, ballet, folk and street dance, the choreography defies tidy classification. The individual dancers defy classification, too.\u003c/p>\n\u003cfigure id=\"attachment_13244128\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13244128 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-and-Norma-Fong-rehearse-with-Robert-Moses-photo-by-Steve-Disenhof-800x534.jpg\" alt=\"Robert Moses rehearses Crystaldawn Bell and Norma Fong \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-and-Norma-Fong-rehearse-with-Robert-Moses-photo-by-Steve-Disenhof-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-and-Norma-Fong-rehearse-with-Robert-Moses-photo-by-Steve-Disenhof-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-and-Norma-Fong-rehearse-with-Robert-Moses-photo-by-Steve-Disenhof-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-and-Norma-Fong-rehearse-with-Robert-Moses-photo-by-Steve-Disenhof-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-and-Norma-Fong-rehearse-with-Robert-Moses-photo-by-Steve-Disenhof-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-and-Norma-Fong-rehearse-with-Robert-Moses-photo-by-Steve-Disenhof-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-and-Norma-Fong-rehearse-with-Robert-Moses-photo-by-Steve-Disenhof-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-and-Norma-Fong-rehearse-with-Robert-Moses-photo-by-Steve-Disenhof-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-and-Norma-Fong-rehearse-with-Robert-Moses-photo-by-Steve-Disenhof-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Robert-Moses-Kin-2017-Crystaldawn-Bell-and-Norma-Fong-rehearse-with-Robert-Moses-photo-by-Steve-Disenhof-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Moses rehearses Crystaldawn Bell and Norma Fong \u003ccite>(Photo: Steve Disenhof)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A quality they all share is a sense of living on a knife edge: the dancers make split-second shifts from boxing jabs to sweeping lyrical gestures; they whirl on a dime, shudder and quake, and negotiate turf issues with wordless wit and diplomacy. They offer pop-up shelters for each other within the curves of an outstretched limb or an arched back, and execute bodily contact with grave, tender precision.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>One of the most arresting sequences happens at the close of Moses’ section. As the music dies down, the commanding dancer Jill Breckenridge continues to hold court with the rest of the ensemble at her feet. Her magnificent solo is both a lament and a call to arms. Breckenridge pitches forward daringly and flicks one leg behind her, as if to warn any enemies lurking on the perimeter not to mess with her tribe.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Robert Moses’ Kin in ‘Trick Bags/Trap Doors/Painted Corners’ runs for a final weekend from Friday, May 19, to Sunday, May 21, at Dance Mission Theater in San Francisco. See \u003ca href=\"https://www.robertmoseskin.org/performances\">here\u003c/a> for more information.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Since seeing \u003ca href=\"http://www.royalnonesuchgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Emily Mast and Henna Vainio: Step of Two\u003c/em>\u003c/a> at Oakland’s Royal NoneSuch Gallery (on view through June 4), I can’t get T. Rex’s 1973 song, “Life is Strange,” out of my head. With its overly simplistic and repetitive lyrics on life’s impermanence, human behavior and (if I stretch) diversity of experiences, the classic-rock earworm — which \u003ca href=\"http://emilymast.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mast\u003c/a> uses in her two videos — is a fitting framework for two artists who use absurdist tactics to estrange viewers from common objects and experiences.\u003c/p>\n\u003cp>Both Mast and Vainio amplify and defamiliarize very mundane objects, like cardboard, fruit, bread and pencils, but with extremely different approaches. Mast draws upon conceptual choreography to create collaborative performances she documents with video, while \u003ca href=\"http://hennavainio.com/index/\" target=\"_blank\" rel=\"noopener noreferrer\">Vainio\u003c/a> makes meticulous plaster sculptures and wall-hangings, using casting techniques to imprint textures from found objects. Mast’s video pieces focus on people and emotions, and Vainio’s abstracted, sparsely decorated works only hint at bodily presences.\u003c/p>\n\u003cfigure id=\"attachment_13238345\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13238345\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RNG_StepOfTwo_InstallShot3-e1494982771566.jpg\" alt=\"Installation view of 'Emily Mast and Henna Vainio: Step of Two,' 2017.\" width=\"1200\" height=\"736\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Emily Mast and Henna Vainio: Step of Two,’ 2017. \u003ccite>(Courtesy of Royal NoneSuch Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aesthetically, both artists’ works skew towards warm, earthy tones — especially soft browns and golden yellows — and the curation embraces these peppy hues with two painted gallery walls. Vainio’s two \u003cem>Legs\u003c/em> sculptures, one yellow and the other orange, demand attention with their bold color and height. At over six feet tall, these sculptures appear upon first pass to be carefully posed, painted cardboard with the corrugated side out.\u003c/p>\n\u003cp>However, the surfaces’ seamlessness, and the unnatural soft folds at the bends, tell another story. They’re cast plaster, molds of which Vainio allows to slouch while setting. The textural disconnect between the supple, paper-based original and the hardened, though still fragile, plaster replica is alluring. (Vainio’s wall hangings, comparatively restrained in color and size, repeat the technique of casting found objects in plaster; however, the original objects for these imprints are less recognizable, which increases the abstraction.) Each “leg” sags and folds with character, lending a surprisingly human personality to the objects.\u003c/p>\n\u003cfigure id=\"attachment_13238395\" class=\"wp-caption aligncenter\" style=\"max-width: 1888px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13238395\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump.jpg\" alt=\"Emily Mast, Still from 'ENDE (Like a New Beginning),' 2014.\" width=\"1888\" height=\"1062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump.jpg 1888w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-520x293.jpg 520w\" sizes=\"(max-width: 1888px) 100vw, 1888px\">\u003cfigcaption class=\"wp-caption-text\">Emily Mast, Still from ‘ENDE (Like a New Beginning),’ 2014. \u003ccite>(Photo by Martin Dicicco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vainio’s gentle method of turning familiar objects towards the uncanny segues nicely into Mast’s work. Her two media pieces are in conversation with each other, one as a “footnote” to the other, and \u003ca href=\"https://hammer.ucla.edu/programs-events/2014/08/public-engagement-flash-talk-on-emily-mast-ende-like-a-new-beginning/\" target=\"_blank\" rel=\"noopener noreferrer\">were commissioned\u003c/a> by the \u003ca href=\"https://hammer.ucla.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Hammer Museum\u003c/a> for its 2014 \u003cem>Made in L.A.\u003c/em> exhibition. \u003cem>ENDE (Like a New Beginning)\u003c/em> shows a fast-paced montage of actors moving through the museum as they perform bizarre poses and dance with seemingly random props: lemons, baguettes, soccer balls, pencils and cardboard boxes. The resulting movements range from humorous \u003cem>tableaux vivants\u003c/em> to excruciating balancing acts, evoking emotions of delight, precarity, frustration and fear.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the background of \u003ci>ENDE\u003c/i>, the acoustic guitar chords of “Life is Strange” at times sync up with the audio of the second video, located in a different part of the gallery. \u003cem>ENDE (Like a New Beginning) Footnote\u003c/em> loops two scenes of individuals — one child, one adult — singing acoustic versions of “Life is Strange” in an empty, tiled room (a restroom at the Hammer). Mast’s choice of a catchy tune stems from her continued \u003ca href=\"http://notesonlooking.com/2013/05/emily-mast-birdbrain-in-ny-other-things/\" target=\"_blank\" rel=\"noopener noreferrer\">interest in musical “contagion,”\u003c/a> but her video does much more than lodge the song in the viewer’s head.\u003c/p>\n\u003cfigure id=\"attachment_13238346\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13238346\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RNG_StepOfTwo_InstallShot-e1494982748882.jpg\" alt=\"Installation view of 'Emily Mast and Henna Vainio: Step of Two,' 2017.\" width=\"1200\" height=\"709\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Emily Mast and Henna Vainio: Step of Two,’ 2017. \u003ccite>(Courtesy of Royal NoneSuch Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The child’s expressive face looks around as the camera stays still, and she draws out nuance from the basic lyrics, presenting youth’s fresh curiosity, if not innocence. When she croons the line “some don’t even ask ya how you’ve been,” her eyes seem bewildered at how uncaring people might be. In contrast, the older woman’s attitude is internal and contemplative, a more solemn reflection on life’s tragicomedy as someone wizened and hardened — her face shifts when she sings “people come, people go.” At the end of her song, she holds a thoughtful expression, perhaps feeling the weight of the simple statement: Life \u003cem>is\u003c/em> strange.\u003c/p>\n\u003cp>The exhibition concludes on June 4 with a special event of Mast’s latest project, “\u003ca href=\"http://www.royalnonesuchgallery.com/special-event/\" target=\"\" rel=\"noopener\">Animal Empathy Exercises\u003c/a>,” in collaboration with Southern Exposure (whose upcoming group exhibition, \u003cem>\u003ca href=\"https://www.soex.org/projects-exhibitions/curious-poses\" target=\"_blank\" rel=\"noopener noreferrer\">Curious Poses\u003c/a>\u003c/em>, also includes Mast’s work). The workshop explores animality and interspecies connections through somatic exercises — and promises to further embrace the process of learning from the strange.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Emily Mast and Henna Vainio: Step of Two’ is on view at Oakland’s Royal NoneSuch Gallery through June 4, 2017. For more information, \u003ca href=\"http://www.royalnonesuchgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since seeing \u003ca href=\"http://www.royalnonesuchgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Emily Mast and Henna Vainio: Step of Two\u003c/em>\u003c/a> at Oakland’s Royal NoneSuch Gallery (on view through June 4), I can’t get T. Rex’s 1973 song, “Life is Strange,” out of my head. With its overly simplistic and repetitive lyrics on life’s impermanence, human behavior and (if I stretch) diversity of experiences, the classic-rock earworm — which \u003ca href=\"http://emilymast.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mast\u003c/a> uses in her two videos — is a fitting framework for two artists who use absurdist tactics to estrange viewers from common objects and experiences.\u003c/p>\n\u003cp>Both Mast and Vainio amplify and defamiliarize very mundane objects, like cardboard, fruit, bread and pencils, but with extremely different approaches. Mast draws upon conceptual choreography to create collaborative performances she documents with video, while \u003ca href=\"http://hennavainio.com/index/\" target=\"_blank\" rel=\"noopener noreferrer\">Vainio\u003c/a> makes meticulous plaster sculptures and wall-hangings, using casting techniques to imprint textures from found objects. Mast’s video pieces focus on people and emotions, and Vainio’s abstracted, sparsely decorated works only hint at bodily presences.\u003c/p>\n\u003cfigure id=\"attachment_13238345\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13238345\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RNG_StepOfTwo_InstallShot3-e1494982771566.jpg\" alt=\"Installation view of 'Emily Mast and Henna Vainio: Step of Two,' 2017.\" width=\"1200\" height=\"736\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Emily Mast and Henna Vainio: Step of Two,’ 2017. \u003ccite>(Courtesy of Royal NoneSuch Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aesthetically, both artists’ works skew towards warm, earthy tones — especially soft browns and golden yellows — and the curation embraces these peppy hues with two painted gallery walls. Vainio’s two \u003cem>Legs\u003c/em> sculptures, one yellow and the other orange, demand attention with their bold color and height. At over six feet tall, these sculptures appear upon first pass to be carefully posed, painted cardboard with the corrugated side out.\u003c/p>\n\u003cp>However, the surfaces’ seamlessness, and the unnatural soft folds at the bends, tell another story. They’re cast plaster, molds of which Vainio allows to slouch while setting. The textural disconnect between the supple, paper-based original and the hardened, though still fragile, plaster replica is alluring. (Vainio’s wall hangings, comparatively restrained in color and size, repeat the technique of casting found objects in plaster; however, the original objects for these imprints are less recognizable, which increases the abstraction.) Each “leg” sags and folds with character, lending a surprisingly human personality to the objects.\u003c/p>\n\u003cfigure id=\"attachment_13238395\" class=\"wp-caption aligncenter\" style=\"max-width: 1888px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13238395\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump.jpg\" alt=\"Emily Mast, Still from 'ENDE (Like a New Beginning),' 2014.\" width=\"1888\" height=\"1062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump.jpg 1888w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EmilyMast_ENDE-lump-520x293.jpg 520w\" sizes=\"(max-width: 1888px) 100vw, 1888px\">\u003cfigcaption class=\"wp-caption-text\">Emily Mast, Still from ‘ENDE (Like a New Beginning),’ 2014. \u003ccite>(Photo by Martin Dicicco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vainio’s gentle method of turning familiar objects towards the uncanny segues nicely into Mast’s work. Her two media pieces are in conversation with each other, one as a “footnote” to the other, and \u003ca href=\"https://hammer.ucla.edu/programs-events/2014/08/public-engagement-flash-talk-on-emily-mast-ende-like-a-new-beginning/\" target=\"_blank\" rel=\"noopener noreferrer\">were commissioned\u003c/a> by the \u003ca href=\"https://hammer.ucla.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Hammer Museum\u003c/a> for its 2014 \u003cem>Made in L.A.\u003c/em> exhibition. \u003cem>ENDE (Like a New Beginning)\u003c/em> shows a fast-paced montage of actors moving through the museum as they perform bizarre poses and dance with seemingly random props: lemons, baguettes, soccer balls, pencils and cardboard boxes. The resulting movements range from humorous \u003cem>tableaux vivants\u003c/em> to excruciating balancing acts, evoking emotions of delight, precarity, frustration and fear.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the background of \u003ci>ENDE\u003c/i>, the acoustic guitar chords of “Life is Strange” at times sync up with the audio of the second video, located in a different part of the gallery. \u003cem>ENDE (Like a New Beginning) Footnote\u003c/em> loops two scenes of individuals — one child, one adult — singing acoustic versions of “Life is Strange” in an empty, tiled room (a restroom at the Hammer). Mast’s choice of a catchy tune stems from her continued \u003ca href=\"http://notesonlooking.com/2013/05/emily-mast-birdbrain-in-ny-other-things/\" target=\"_blank\" rel=\"noopener noreferrer\">interest in musical “contagion,”\u003c/a> but her video does much more than lodge the song in the viewer’s head.\u003c/p>\n\u003cfigure id=\"attachment_13238346\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13238346\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RNG_StepOfTwo_InstallShot-e1494982748882.jpg\" alt=\"Installation view of 'Emily Mast and Henna Vainio: Step of Two,' 2017.\" width=\"1200\" height=\"709\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Emily Mast and Henna Vainio: Step of Two,’ 2017. \u003ccite>(Courtesy of Royal NoneSuch Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The child’s expressive face looks around as the camera stays still, and she draws out nuance from the basic lyrics, presenting youth’s fresh curiosity, if not innocence. When she croons the line “some don’t even ask ya how you’ve been,” her eyes seem bewildered at how uncaring people might be. In contrast, the older woman’s attitude is internal and contemplative, a more solemn reflection on life’s tragicomedy as someone wizened and hardened — her face shifts when she sings “people come, people go.” At the end of her song, she holds a thoughtful expression, perhaps feeling the weight of the simple statement: Life \u003cem>is\u003c/em> strange.\u003c/p>\n\u003cp>The exhibition concludes on June 4 with a special event of Mast’s latest project, “\u003ca href=\"http://www.royalnonesuchgallery.com/special-event/\" target=\"\" rel=\"noopener\">Animal Empathy Exercises\u003c/a>,” in collaboration with Southern Exposure (whose upcoming group exhibition, \u003cem>\u003ca href=\"https://www.soex.org/projects-exhibitions/curious-poses\" target=\"_blank\" rel=\"noopener noreferrer\">Curious Poses\u003c/a>\u003c/em>, also includes Mast’s work). The workshop explores animality and interspecies connections through somatic exercises — and promises to further embrace the process of learning from the strange.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Emily Mast and Henna Vainio: Step of Two’ is on view at Oakland’s Royal NoneSuch Gallery through June 4, 2017. For more information, \u003ca href=\"http://www.royalnonesuchgallery.com/\" 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 Events,' We Cannot Escape the Killer In Our Community",
"headTitle": "In ‘The Events,’ We Cannot Escape the Killer In Our Community | KQED",
"content": "\u003cp>By the end of David Greig’s \u003cem>The Events\u003c/em> under Susannah Martin’s superb direction for \u003ca href=\"https://shotgunplayers.org/Online/events\" target=\"_blank\" rel=\"noopener noreferrer\">Shotgun Players\u003c/a>, I wondered about just what kind of achievement I had witnessed. Some moments soared in odd and surprising ways, while others weren’t quite credible, though never to the detriment of what turned out to be a strange and special evening. In the age of President Donald Trump and an ascendant and revolutionary right, here was a full-throated liberal plea for a different world and most definitely a different theater.\u003c/p>\n\u003cfigure id=\"attachment_13235767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235767\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-800x456.jpg\" alt=\"Claire (Julia McNeal) gets ready to conduct in the Shotgun Player's production of 'The Events' by David Grieg.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-1020x581.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-1180x673.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-960x547.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-520x296.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claire (Julia McNeal) gets ready to conduct in the Shotgun Player’s production of ‘The Events’ by David Greig. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That the show begins with a song sung by a local community choir (apparently every performance features a different group) is the first of \u003cem>The Events’ \u003c/em>many beauties. At opening night, the \u003ca href=\"http://www.gallimaufrysings.org\">Gallimaufry Chamber Chorus \u003c/a>milled about, clutching their scores, and drinking coffee. I almost walked on stage to join them, thinking it was a pre-performance audience mixer. So even before \u003cem>The Events\u003c/em> begin we’re thrust into a disorienting realism.\u003c/p>\n\u003cp>When the choristers begin to sing, you can’t help but feel the church the Ashby Stage once was coming back to life. Without espousing or demanding belief, Greig reorders the theater-going experience. We aren’t just watching a play, but also taking on the roles of witness and congregant. It’s what will make the ripped-from-the-headlines tragedy of a young man’s mass shooting of an immigrant chorus bearable and worthy of our attention. There’s not one moment of the sensational.\u003c/p>\n\u003cp>And so the play doesn’t so much start but instead comes to life. We instantly become acutely aware of space and physical relations. Choir members tend to bunch together, and so we naturally notice who is outside the group, outside the sphere of music. Claire (Julia McNeal),\u003cb> \u003c/b>the parish priest who leads the choir, sits behind the singers listening with pride and appreciation, and a young man — called “the boy” in the play (Caleb Cabrera)\u003cb> \u003c/b>— stands in the shadows of the auditorium, just off stage.\u003c/p>\n\u003cfigure id=\"attachment_13235768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235768\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-800x458.jpg\" alt=\"The boy (Caleb Cabrera) begins in the shadows and then takes center stage in the Shotgun Players' production of 'The Events' by David Grieg.\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-800x458.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-768x440.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-1020x584.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-1180x676.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-960x550.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-375x215.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-520x298.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The boy (Caleb Cabrera) begins in the shadows and then takes center stage in the Shotgun Players’ production of ‘The Events’ by David Greig. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is a wonderful geometry here: the guardian priest and the killer boy, both hovering on the edge of the community. In one of the play’s stinging ironies, it is Claire, playing the protector, who invites the killer into the sanctuary. And the actor who plays the boy plays everyone else in Claire’s life — her psychologist, her lover Catriona, the boy’s drunken father, a new age shaman she hires for a healing ceremony, a far-right politician — which twists the knot of pain even tighter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Claire, who has molded a group of disparate immigrants into a choir, now sees her killer in every single person she encounters. The playwright insists against all our instincts of justice that we are somehow the same, one single entity. To banish the killer from our lives is to banish the most complex and human part of our souls.\u003c/p>\n\u003cp>These are vast ambitions. And Greig doesn’t always succeed in attaining them. Many of the scenes between Claire and the various people who try to help her or give her some understanding of the boy come off as sketchy and perfunctory. The boy’s father acts like no parent I’ve ever come across. The psychologist is less a character than a tool to get Claire to talk. A choir member’s complaint of Claire’s post-assault leadership is unconvincing, as if the playwright felt it necessary for the chorus to at some point reject his heroine.\u003c/p>\n\u003cfigure id=\"attachment_13235765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235765\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-800x456.jpg\" alt=\"The boy (Caleb Cabrera) takes an ominous turn conducting the chorus in the Shotgun Player's production of 'The Events' by David Grieg.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-1020x581.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-1180x673.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-960x547.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-520x296.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The boy (Caleb Cabrera) takes an ominous turn conducting the choir in the Shotgun Player’s production of ‘The Events’ by David Greig. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You want Greig to think and feel with greater sense, to imbue each and every moment of the play with the texture and uncertainty of actual life. Yet, what the dramatist doesn’t fully provide, Shotgun’s thrilling production does. Martin’s direction possesses an electric clarity that keeps us focused on what’s best in Greig’s script. McNeal and Cabrera’s performances are astonishing in their restraint, as muted as they are explosive. And the presence of a chorus of non-actors creates a kind of relaxed beauty to the evening.\u003c/p>\n\u003cp>We’re in the midst of real cultural change, where some theaters are seeking to take the place of the church. Not as a new cosmogony, but rather as a place where people go to heal and be healed. What type of art will come of this? Well, it’s hard to predict the future, but Shotgun’s attempt to grab hold of these events and give them meaning is surprisingly persuasive and moving.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Shotgun Players’ ‘The Events’ runs through Sunday, Jun. 11 at the Ashby Stage in Berkeley. For tickes and information \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Shotgun Players' take on a tragedy of a young man’s mass shooting of an immigrant choir is worthy of our attention. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By the end of David Greig’s \u003cem>The Events\u003c/em> under Susannah Martin’s superb direction for \u003ca href=\"https://shotgunplayers.org/Online/events\" target=\"_blank\" rel=\"noopener noreferrer\">Shotgun Players\u003c/a>, I wondered about just what kind of achievement I had witnessed. Some moments soared in odd and surprising ways, while others weren’t quite credible, though never to the detriment of what turned out to be a strange and special evening. In the age of President Donald Trump and an ascendant and revolutionary right, here was a full-throated liberal plea for a different world and most definitely a different theater.\u003c/p>\n\u003cfigure id=\"attachment_13235767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235767\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-800x456.jpg\" alt=\"Claire (Julia McNeal) gets ready to conduct in the Shotgun Player's production of 'The Events' by David Grieg.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-1020x581.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-1180x673.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-960x547.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-520x296.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claire (Julia McNeal) gets ready to conduct in the Shotgun Player’s production of ‘The Events’ by David Greig. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That the show begins with a song sung by a local community choir (apparently every performance features a different group) is the first of \u003cem>The Events’ \u003c/em>many beauties. At opening night, the \u003ca href=\"http://www.gallimaufrysings.org\">Gallimaufry Chamber Chorus \u003c/a>milled about, clutching their scores, and drinking coffee. I almost walked on stage to join them, thinking it was a pre-performance audience mixer. So even before \u003cem>The Events\u003c/em> begin we’re thrust into a disorienting realism.\u003c/p>\n\u003cp>When the choristers begin to sing, you can’t help but feel the church the Ashby Stage once was coming back to life. Without espousing or demanding belief, Greig reorders the theater-going experience. We aren’t just watching a play, but also taking on the roles of witness and congregant. It’s what will make the ripped-from-the-headlines tragedy of a young man’s mass shooting of an immigrant chorus bearable and worthy of our attention. There’s not one moment of the sensational.\u003c/p>\n\u003cp>And so the play doesn’t so much start but instead comes to life. We instantly become acutely aware of space and physical relations. Choir members tend to bunch together, and so we naturally notice who is outside the group, outside the sphere of music. Claire (Julia McNeal),\u003cb> \u003c/b>the parish priest who leads the choir, sits behind the singers listening with pride and appreciation, and a young man — called “the boy” in the play (Caleb Cabrera)\u003cb> \u003c/b>— stands in the shadows of the auditorium, just off stage.\u003c/p>\n\u003cfigure id=\"attachment_13235768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235768\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-800x458.jpg\" alt=\"The boy (Caleb Cabrera) begins in the shadows and then takes center stage in the Shotgun Players' production of 'The Events' by David Grieg.\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-800x458.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-768x440.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-1020x584.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-1180x676.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-960x550.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-375x215.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-520x298.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The boy (Caleb Cabrera) begins in the shadows and then takes center stage in the Shotgun Players’ production of ‘The Events’ by David Greig. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is a wonderful geometry here: the guardian priest and the killer boy, both hovering on the edge of the community. In one of the play’s stinging ironies, it is Claire, playing the protector, who invites the killer into the sanctuary. And the actor who plays the boy plays everyone else in Claire’s life — her psychologist, her lover Catriona, the boy’s drunken father, a new age shaman she hires for a healing ceremony, a far-right politician — which twists the knot of pain even tighter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Claire, who has molded a group of disparate immigrants into a choir, now sees her killer in every single person she encounters. The playwright insists against all our instincts of justice that we are somehow the same, one single entity. To banish the killer from our lives is to banish the most complex and human part of our souls.\u003c/p>\n\u003cp>These are vast ambitions. And Greig doesn’t always succeed in attaining them. Many of the scenes between Claire and the various people who try to help her or give her some understanding of the boy come off as sketchy and perfunctory. The boy’s father acts like no parent I’ve ever come across. The psychologist is less a character than a tool to get Claire to talk. A choir member’s complaint of Claire’s post-assault leadership is unconvincing, as if the playwright felt it necessary for the chorus to at some point reject his heroine.\u003c/p>\n\u003cfigure id=\"attachment_13235765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235765\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-800x456.jpg\" alt=\"The boy (Caleb Cabrera) takes an ominous turn conducting the chorus in the Shotgun Player's production of 'The Events' by David Grieg.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-1020x581.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-1180x673.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-960x547.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-520x296.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The boy (Caleb Cabrera) takes an ominous turn conducting the choir in the Shotgun Player’s production of ‘The Events’ by David Greig. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You want Greig to think and feel with greater sense, to imbue each and every moment of the play with the texture and uncertainty of actual life. Yet, what the dramatist doesn’t fully provide, Shotgun’s thrilling production does. Martin’s direction possesses an electric clarity that keeps us focused on what’s best in Greig’s script. McNeal and Cabrera’s performances are astonishing in their restraint, as muted as they are explosive. And the presence of a chorus of non-actors creates a kind of relaxed beauty to the evening.\u003c/p>\n\u003cp>We’re in the midst of real cultural change, where some theaters are seeking to take the place of the church. Not as a new cosmogony, but rather as a place where people go to heal and be healed. What type of art will come of this? Well, it’s hard to predict the future, but Shotgun’s attempt to grab hold of these events and give them meaning is surprisingly persuasive and moving.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Shotgun Players’ ‘The Events’ runs through Sunday, Jun. 11 at the Ashby Stage in Berkeley. For tickes and information \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "There’s No ‘I’ in ‘RELAY,’ Where the Emerging Art Scene is a Team Sport | KQED",
"content": "\u003cp>We don’t have much in the way of regional surveys here in the Bay Area. There’s Yerba Buena Center for the Arts’ \u003ci>Bay Area Now\u003c/i> (usually a triennial, though \u003ci>BAN8\u003c/i> isn’t returning until 2018), and SFMOMA’s SECA Award (usually a biennial, though this year’s exhibition comes after a five-year gap), but to get a regular taste of what’s happening in the local art scene, the onus falls on viewers to do the legwork of piecing together the bigger picture.\u003c/p>\n\u003cp>Thankfully, group exhibitions like \u003ci>\u003ca href=\"http://cargocollective.com/relay\" target=\"_blank\" rel=\"noopener\">RELAY\u003c/a>\u003c/i> at the West Oakland gallery and studio collective \u003ca href=\"http://ctrlshftcollective.com/\" target=\"_blank\" rel=\"noopener\">CTRL+SHFT\u003c/a> happen often enough to fill in some of the gaps between the major institutional -ennials. Organized by artists \u003ca href=\"http://www.sophielourdesknight.com/\" target=\"_blank\" rel=\"noopener\">Sophie Lourdes Knight\u003c/a> and \u003ca href=\"http://www.hannahpmode.com/\" target=\"_blank\" rel=\"noopener\">Hannah Perrine Mode\u003c/a>, the show features work by 15 emerging woman-identified artists, all Bay Area residents, working in painting, sculpture, textiles and photography. \u003c/p>\n\u003cfigure id=\"attachment_13243285\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Rokas1200.jpg\" alt=\"Laura Rokas, 'Once in Two Moons,' 2017.\" width=\"1200\" height=\"1221\" class=\"size-full wp-image-13243285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-160x163.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-800x814.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-768x781.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-1020x1038.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-1180x1201.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-960x977.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-240x244.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-375x382.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-520x529.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-64x64.jpg 64w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Laura Rokas, ‘Once in Two Moons,’ 2017. \u003ccite>(Courtesy of the artist and CTRL+SHFT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inspired by the SFAC’s most recent \u003ci>\u003ca href=\"https://ww2.kqed.org/arts/2016/06/13/chain-reaction-proves-theres-at-least-21-artists-left-in-san-francisco/\" target=\"_blank\" rel=\"noopener\">Chain Reaction\u003c/a>\u003c/i> show, five initial artists, Knight and Mode included, selected an artist whose work inspires them — that second artist then selected a third. A hand-drawn map of the show (with charming illustrations of each piece) identifies the work and the order in which it entered this web of connections. According to the organizers, many of the pieces were made specifically for the exhibition, carrying the conversation that started with the selection process into the final display.\u003c/p>\n\u003cfigure id=\"attachment_13243287\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Stimage1200.jpg\" alt=\"Tosha Stimage, 'Disappearing Act,' 2016.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13243287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Tosha Stimage, ‘Disappearing Act,’ 2016. \u003ccite>(Courtesy of the artist and CTRL+SHFT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Little rewards for close viewing are scattered throughout. Behind \u003ca href=\"http://www.lukazabranfman-verissimo.com/\" target=\"_blank\" rel=\"noopener\">Lukaza Branfman-Verissimo\u003c/a>’s signboard painting \u003ci>the new story, for the future\u003c/i> sits a blue step stool and a stack of takeaways with quotes credited to Grace Lee Boggs. “What time is it on the clock of the world?” repeats again and again between statements of purpose for a more equitable, human-centered society. Underneath one corner of Maria Guzmán Capron’s marvelously textured pedestal for \u003ci>Pepa\u003c/i> are the legs and tail of a small stuffed animal in yellow pants.\u003c/p>\n\u003cfigure id=\"attachment_13243286\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Stallings1200.jpg\" alt=\"Rachel Cardenas Stallings, 'Somatic Awareness Coats and Curtain,' 2017.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13243286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Cardenas Stallings, ‘Somatic Awareness Coats and Curtain,’ 2017. \u003ccite>(Courtesy of the artist and CTRL+SHFT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If any conclusions can be drawn about the proclivities of Bay Area artists from a self-selected group of 15, \u003ci>RELAY\u003c/i> makes an argument for a preoccupation with vivid colors (\u003ca href=\"http://www.meganreed.net/\" target=\"_blank\" rel=\"noopener\">Megan Reed\u003c/a>’s fuchsia, vermillion and ultramarine floor sculpture), tactile experimentation (Rachel Cardenas Stallings’ satiny multi-hued coats) and faces (\u003ca href=\"http://www.maryamyousif.com/\" target=\"_blank\" rel=\"noopener\">Maryam Yousif\u003c/a>’s sphinx-like, cloud-wrapped columns). \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other visual connections between the works — created both by coincidence and influence — are part of the pleasure of viewing \u003ci>RELAY\u003c/i> firsthand. Like the show’s illustrated map, Knight and Mode give shape to often-invisible networks of mutual support in a region where being an artist is never an individual undertaking. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘RELAY’ is on view at West Oakland’s CTRL+SHFT (1430 34th St.) through June 4, 2017. Gallery hour are Saturdays and Sundays, 12-6pm and by appointment. For more information, \u003ca href=\"http://relayrelayrelay.com\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We don’t have much in the way of regional surveys here in the Bay Area. There’s Yerba Buena Center for the Arts’ \u003ci>Bay Area Now\u003c/i> (usually a triennial, though \u003ci>BAN8\u003c/i> isn’t returning until 2018), and SFMOMA’s SECA Award (usually a biennial, though this year’s exhibition comes after a five-year gap), but to get a regular taste of what’s happening in the local art scene, the onus falls on viewers to do the legwork of piecing together the bigger picture.\u003c/p>\n\u003cp>Thankfully, group exhibitions like \u003ci>\u003ca href=\"http://cargocollective.com/relay\" target=\"_blank\" rel=\"noopener\">RELAY\u003c/a>\u003c/i> at the West Oakland gallery and studio collective \u003ca href=\"http://ctrlshftcollective.com/\" target=\"_blank\" rel=\"noopener\">CTRL+SHFT\u003c/a> happen often enough to fill in some of the gaps between the major institutional -ennials. Organized by artists \u003ca href=\"http://www.sophielourdesknight.com/\" target=\"_blank\" rel=\"noopener\">Sophie Lourdes Knight\u003c/a> and \u003ca href=\"http://www.hannahpmode.com/\" target=\"_blank\" rel=\"noopener\">Hannah Perrine Mode\u003c/a>, the show features work by 15 emerging woman-identified artists, all Bay Area residents, working in painting, sculpture, textiles and photography. \u003c/p>\n\u003cfigure id=\"attachment_13243285\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Rokas1200.jpg\" alt=\"Laura Rokas, 'Once in Two Moons,' 2017.\" width=\"1200\" height=\"1221\" class=\"size-full wp-image-13243285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-160x163.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-800x814.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-768x781.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-1020x1038.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-1180x1201.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-960x977.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-240x244.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-375x382.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-520x529.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Rokas1200-64x64.jpg 64w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Laura Rokas, ‘Once in Two Moons,’ 2017. \u003ccite>(Courtesy of the artist and CTRL+SHFT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inspired by the SFAC’s most recent \u003ci>\u003ca href=\"https://ww2.kqed.org/arts/2016/06/13/chain-reaction-proves-theres-at-least-21-artists-left-in-san-francisco/\" target=\"_blank\" rel=\"noopener\">Chain Reaction\u003c/a>\u003c/i> show, five initial artists, Knight and Mode included, selected an artist whose work inspires them — that second artist then selected a third. A hand-drawn map of the show (with charming illustrations of each piece) identifies the work and the order in which it entered this web of connections. According to the organizers, many of the pieces were made specifically for the exhibition, carrying the conversation that started with the selection process into the final display.\u003c/p>\n\u003cfigure id=\"attachment_13243287\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Stimage1200.jpg\" alt=\"Tosha Stimage, 'Disappearing Act,' 2016.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13243287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stimage1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Tosha Stimage, ‘Disappearing Act,’ 2016. \u003ccite>(Courtesy of the artist and CTRL+SHFT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Little rewards for close viewing are scattered throughout. Behind \u003ca href=\"http://www.lukazabranfman-verissimo.com/\" target=\"_blank\" rel=\"noopener\">Lukaza Branfman-Verissimo\u003c/a>’s signboard painting \u003ci>the new story, for the future\u003c/i> sits a blue step stool and a stack of takeaways with quotes credited to Grace Lee Boggs. “What time is it on the clock of the world?” repeats again and again between statements of purpose for a more equitable, human-centered society. Underneath one corner of Maria Guzmán Capron’s marvelously textured pedestal for \u003ci>Pepa\u003c/i> are the legs and tail of a small stuffed animal in yellow pants.\u003c/p>\n\u003cfigure id=\"attachment_13243286\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Stallings1200.jpg\" alt=\"Rachel Cardenas Stallings, 'Somatic Awareness Coats and Curtain,' 2017.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13243286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stallings1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Cardenas Stallings, ‘Somatic Awareness Coats and Curtain,’ 2017. \u003ccite>(Courtesy of the artist and CTRL+SHFT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If any conclusions can be drawn about the proclivities of Bay Area artists from a self-selected group of 15, \u003ci>RELAY\u003c/i> makes an argument for a preoccupation with vivid colors (\u003ca href=\"http://www.meganreed.net/\" target=\"_blank\" rel=\"noopener\">Megan Reed\u003c/a>’s fuchsia, vermillion and ultramarine floor sculpture), tactile experimentation (Rachel Cardenas Stallings’ satiny multi-hued coats) and faces (\u003ca href=\"http://www.maryamyousif.com/\" target=\"_blank\" rel=\"noopener\">Maryam Yousif\u003c/a>’s sphinx-like, cloud-wrapped columns). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other visual connections between the works — created both by coincidence and influence — are part of the pleasure of viewing \u003ci>RELAY\u003c/i> firsthand. Like the show’s illustrated map, Knight and Mode give shape to often-invisible networks of mutual support in a region where being an artist is never an individual undertaking. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘RELAY’ is on view at West Oakland’s CTRL+SHFT (1430 34th St.) through June 4, 2017. Gallery hour are Saturdays and Sundays, 12-6pm and by appointment. For more information, \u003ca href=\"http://relayrelayrelay.com\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning",
"title": "The Definitive Documentary on East Bay Punk is Here (@: Pit Warning)",
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"content": "\u003cp>After watching the new documentary \u003cem>Turn It Around: The Story of East Bay Punk\u003c/em>, I can’t help but think about a teenager named Jimmy Mahoney, who last year was \u003ca href=\"https://youtu.be/rC2zISCslcI?t=3m4s\" target=\"_blank\" rel=\"noopener noreferrer\">called up on stage by Billie Joe Armstrong\u003c/a> from Green Day for a dream opportunity: to play guitar with his favorite band in front of thousands of people.\u003c/p>\n\u003cp>The band does this for a fan routinely, almost every night on tour, but on this night at the Oracle Arena, after two songs, Billie Joe unexpectedly gave Mahoney his guitar to keep, covered in stickers from early-’90s East Bay punk bands like Monsula, Econochrist and Spitboy.\u003c/p>\n\u003cp>You have to wonder: Was the guitar intentionally decorated with those band’s stickers beforehand? As clues, perhaps, for its young new owner in a musical treasure hunt? Did Jimmy bring the guitar home and Google those bands, and discover the influence they had on his teenage heroes?\u003c/p>\n\u003cfigure id=\"attachment_13243288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13243288\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Kamala Parks at a backyard show in Pinole, 1989.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamala Parks at a backyard show in Pinole, 1989. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003ca href=\"https://eastbaypunk.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Turn It Around\u003c/a>\u003c/em>, a 158-minute documentary produced by members of Green Day which opens May 31, is that same idea in extended cinematic form. Released during Green Day’s current world tour of sold-out arenas, it’s their way of telling the world: \u003cem>We didn’t do this alone. The East Bay is special. Here’s where we came from\u003c/em>.\u003c/p>\n\u003cp>It’s a job that tireless director Corbett Redford, 41, didn’t take lightly. “I know I’ve been tasked to represent a sacred history,” the musician, filmmaker and Pinole native says. “I spent four years of my life letting it consume me. But it had to be done right.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Narrated by Iggy Pop and featuring commentary from 150 band members, zine editors, volunteers and more, \u003cem>Turn It Around\u003c/em> is a massive, authoritative document of the scene around the Berkeley all-ages club 924 Gilman that would eventually change punk rock all over the world. Packed with previously unseen footage — Operation Ivy’s early rehearsals, Miranda July’s 1992 play staged at Gilman, unearthed images from photographer Murray Bowles’ vast archive — the film brings in perspective from observant outsiders like Bikini Kill’s Kathleen Hanna and Fugazi’s Ian MacKaye on down to less-celebrated contributors like the drummer of \u003ca href=\"https://www.youtube.com/watch?v=QHgMQwmHRmY\" target=\"_blank\" rel=\"noopener noreferrer\">Sewer Trout\u003c/a> and that one guy who got too drunk once in Eggplant’s backyard.\u003c/p>\n\u003cfigure id=\"attachment_13243289\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13243289\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-800x530.jpg\" alt=\"Director Corbett Redford interview Adrienne Melanie Stone of Spitboy for 'Turn It Around.'\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director Corbett Redford interviews Adrienne Melanie Stone of Spitboy for ‘Turn It Around.’ \u003ccite>(Melissa Dale)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Because of this breadth and length, there’s no singular narrative driving \u003cem>Turn It Around\u003c/em>, no easy-entry character study for a mainstream public. It’s unlikely the film will have the same crossover success as, say, \u003cem>Searching for Sugarman\u003c/em> or \u003cem>Standing in the Shadows of Motown\u003c/em>, or other \u003ca href=\"http://www.twingalaxies.com/forumdisplay.php/406-The-King-of-Kong-Official-Statement\" target=\"_blank\" rel=\"noopener noreferrer\">looser documentaries\u003c/a> that don’t let the truth get in the way of a good story.\u003c/p>\n\u003cp>But that’s why it’s definitive. As someone who spent his formative teenage years going to Gilman, volunteering there and yes, even sleeping at the club during the years in the film (which, full disclosure, I’m seen in for a split second), I can’t find much that it omits. For others who were there, and for the growing number of kids worldwide interested in the era, there’s value in this. Redford says he originally cut a five-hour version from 500 hours of footage before the final two-and-a-half-hour cut, and with any luck, that extra footage will surface as DVD extras or on streaming services after this theatrical run. Ask anyone involved in the punk scene at the time, and they’ll tell you that it’s impossible to boil it down to one simple story. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-800x354.jpg\" alt=\"\" width=\"800\" height=\"354\" class=\"aligncenter size-medium wp-image-13243602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-800x354.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-160x71.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-768x340.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-1020x452.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-1180x522.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-960x425.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-375x166.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-520x230.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The film crew itself evinces a “by the punks, for the punks” philosophy: both \u003cem>Absolutely Zippo\u003c/em> editor Robert Eggplant and drummer and booker Kamala Parks served on the production crew, and the titles and illustrations were hand-drawn by \u003cem>Cometbus\u003c/em> editor Aaron Cometbus, Rancid’s Tim Armstrong and Operation Ivy’s Jesse Michaels. Before this, his first full-length film, Redford had mainly directed videos for his band, Bobby Joe Ebola and the Children Macnuggits.\u003c/p>\n\u003cp>That band name hints at the humor in the film, and also the idea, embraced by figures like \u003cem>Tales of Blarg\u003c/em> editor Janelle Hessig (and bands like \u003ca href=\"https://www.youtube.com/watch?v=u7MOxF5gz9A\" target=\"_blank\" rel=\"noopener noreferrer\">Stikky\u003c/a>), that despite the East Bay punk scene’s impact, it isn’t to be taken too seriously. \u003cem>Turn it Around\u003c/em>’s release during the current \u003ca href=\"https://ww2.kqed.org/arts/2017/04/12/de-young-summer-of-love-50th-anniversary/\" target=\"_blank\" rel=\"noopener noreferrer\">50th anniversary bonanza for the Summer of Love\u003c/a> is a curious study in contrasts on how to commemorate a musical moment.\u003c/p>\n\u003cfigure id=\"attachment_13243291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13243291\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive-800x600.jpg\" alt=\"Tim Armstrong, Murray Bowles, Robert Eggplant and Corbett Redford, sorting through Bowles' 30,000-strong photo archive. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive.jpg 808w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tim Armstrong, Robert Eggplant, Murray Bowles, and Corbett Redford, after sorting through Bowles’ 30,000-strong photo archive.\u003c/figcaption>\u003c/figure>\n\u003cp>“One thing we’re not trying to do is mystify that time,” Redford says, citing the Chicago punk documentary title \u003cem>\u003ca href=\"http://www.imdb.com/title/tt1340142/\" target=\"_blank\" rel=\"noopener noreferrer\">You Weren’t There\u003c/a>\u003c/em> as an elitist idea he wanted to oppose. “We’re just trying to show how human or normal a lot of these larger-than-life figures were, how they did their best to try to make something good. We’re not saying, ‘This is the best scene ever.’ You know?”\u003c/p>\n\u003cp>That said, the film doesn’t lack in context. It opens with then-California governor Ronald Reagan ordering gas to be dropped on protesting students at People’s Park in Berkeley, soon moving to \u003cem>MaximumRockNRoll\u003c/em> founder Tim Yohannon’s on-air argument about punk with rock promoter Bill Graham. Many cultural forces coalesced in the 1970s to guide Bay Area punk, and even Kirk Hammett from Metallica and Duff McKagan from Guns ‘N’ Roses attest to the notion of the 1980s San Francisco punk scene as the country’s strongest.\u003c/p>\n\u003cfigure id=\"attachment_13243299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13243299\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-800x533.jpg\" alt=\"The 'Turn It Around' production crew packs for an interview, with Corbett Redford at left.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Turn It Around’ production crew packs for an interview, with Corbett Redford at left. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley was a bastard child of it all, a place where kids of hippies and college professors resisted trends. The film hits its stride with the founding of the Gilman Street Project, and its philosophical opposition to knuckleheaded thrash shows with drink minimums and violent pits. In fact, the pits at Gilman are decidedly silly: “geekcore” punks play leapfrog in a circle, or ride tricycles. The band Isocracy hauls in hundreds of pounds of garbage from dumpsters, and throws it on the crowd and themselves. Inexplicably, an odd trend emerges of stagediving into bushes, and \u003ca href=\"https://www.youtube.com/watch?v=46ZtNtiZrCc\" target=\"_blank\" rel=\"noopener noreferrer\">an anthem for it\u003c/a> is written.\u003c/p>\n\u003cp>Gilman goes through various changes, including an infiltration by skinheads (in an uplifting segment of the film, the geeks fight back), but a running theme is the folly of fame. Operation Ivy breaks up because they get too popular. Yohannon suddenly closes Gilman when he feels it’s achieved all it can. The insider nature of “\u003ca href=\"http://www.foopee.com/punk/the-list/\" target=\"_blank\" rel=\"noopener noreferrer\">THE LIST\u003c/a>,” replete with “@:pit warnings” by veteran Steve Koepke, is lauded as a secret, pre-internet social network. When Gilman reopens, and Green Day starts packing in a more normal, preppy crowd than usually frequents the club, many diehards get nervous. By the film’s end, Green Day signs to a major label, a trenchant debate over what constitutes “punk” rages, Tim Yohannon passes away, and Gilman goes on to enjoy an influx — continuing to this day — of enthusiastic kids ready to start something new.\u003c/p>\n\u003cfigure id=\"attachment_13243294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13243294\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Green Day with first drummer John Kiffmeyer at Gilman, circa 1990.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day with first drummer John Kiffmeyer at Gilman, circa 1990. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No punk scene is without its scandals, and \u003cem>Turn it Around\u003c/em> conspicuously ignores them and other unsavory bits of lore: Jello Biafra getting his leg broken by crust punks; Sam McBride from Fang being convicted of killing his girlfriend; the Feederz throwing a dead dog into the crowd. (Readers can find these stories in Jack Boulware and Silke Tudor’s \u003ca href=\"http://www.bohemian.com/northbay/yellin-in-my-ear/Content?oid=2173776\" target=\"_blank\" rel=\"noopener noreferrer\">excellent oral history\u003c/a> \u003cem>Gimme Something Better: The Profound, Progressive, and Occasionally Pointless History of Bay Area Punk\u003c/em>.)\u003c/p>\n\u003cp>That’s intentional, Redford says, and ultimately, the film’s theme isn’t Do It Yourself so much as Do It Together. “The emergence of the Gilman Street Project is a pretty good example of the good things that can happen when people are nice to each other, when they decide to cooperate and build as opposed to destroy or backbite,” he says. “And again, our scene isn’t perfect, but I think that in the world today, places where outliers can converge are very important.”\u003c/p>\n\u003cfigure id=\"attachment_13243293\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13243293\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-800x796.jpg\" alt=\"Orlando and Turner Babcock of Special Forces.\" width=\"800\" height=\"796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-800x796.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-768x764.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-240x239.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-375x373.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-520x518.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces.jpg 853w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Orlando and Turner Babcock of Special Forces. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s evident in the diverse alumni of Gilman’s scene. Queercore groups like Tribe 8 and Pansy Division; feminist bands Spitboy and the Yeastie Girlz; black performers like the Beatnigs’ Michael Franti or Special Forces’ Orlando all weigh in. Stylistically, too, the music ranges from the Beatles-inspired harmonies of Sweet Baby to the nascent emo of Jawbreaker and the hardcore nihilism of Christ on Parade. Billie Joe, singer for one of the poppiest bands on the planet, saves his strongest words of enthusiasm for apocalyptic doom-punk overlords Neurosis.\u003c/p>\n\u003cp>And that may be the underpinning lesson of \u003cem>Turn it Around\u003c/em>: that it’s about something bigger than music.\u003c/p>\n\u003cp>“East Bay punk to me was always just a thoughtful, heartfelt, intellectual kind of thing,” says Redford. “And it taught me that punk, as opposed to just a costume or spitting on authority, is about potentially being a better citizen of the world. You know?”\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>\u003cem>‘Turn it Around: The Story of East Bay Punk’ premieres on \u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=284925~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=accf668f-e555-48ca-a4fc-f10c8aa7f53d&\" target=\"_blank\" rel=\"noopener noreferrer\">Wednesday, May 31\u003c/a>, at the Alamo Drafthouse New Mission Theater in San Francisco as part of SF DocFest. A Q&A with the director, an afterparty, and others from the cast and crew are all part of the premiere; \u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=284925~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=accf668f-e555-48ca-a4fc-f10c8aa7f53d&\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. A national theatrical run begins June 2. For more details and photos from the film, \u003ca href=\"https://eastbaypunk.com/\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "'Turn It Around' centers on the fertile years of 1986–1994, when a new club on Gilman Street in Berkeley spawned an all-ages scene that changed punk around the world.",
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"title": "The Definitive Documentary on East Bay Punk is Here (@: Pit Warning) | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After watching the new documentary \u003cem>Turn It Around: The Story of East Bay Punk\u003c/em>, I can’t help but think about a teenager named Jimmy Mahoney, who last year was \u003ca href=\"https://youtu.be/rC2zISCslcI?t=3m4s\" target=\"_blank\" rel=\"noopener noreferrer\">called up on stage by Billie Joe Armstrong\u003c/a> from Green Day for a dream opportunity: to play guitar with his favorite band in front of thousands of people.\u003c/p>\n\u003cp>The band does this for a fan routinely, almost every night on tour, but on this night at the Oracle Arena, after two songs, Billie Joe unexpectedly gave Mahoney his guitar to keep, covered in stickers from early-’90s East Bay punk bands like Monsula, Econochrist and Spitboy.\u003c/p>\n\u003cp>You have to wonder: Was the guitar intentionally decorated with those band’s stickers beforehand? As clues, perhaps, for its young new owner in a musical treasure hunt? Did Jimmy bring the guitar home and Google those bands, and discover the influence they had on his teenage heroes?\u003c/p>\n\u003cfigure id=\"attachment_13243288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13243288\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Kamala Parks at a backyard show in Pinole, 1989.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamala Parks at a backyard show in Pinole, 1989. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003ca href=\"https://eastbaypunk.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Turn It Around\u003c/a>\u003c/em>, a 158-minute documentary produced by members of Green Day which opens May 31, is that same idea in extended cinematic form. Released during Green Day’s current world tour of sold-out arenas, it’s their way of telling the world: \u003cem>We didn’t do this alone. The East Bay is special. Here’s where we came from\u003c/em>.\u003c/p>\n\u003cp>It’s a job that tireless director Corbett Redford, 41, didn’t take lightly. “I know I’ve been tasked to represent a sacred history,” the musician, filmmaker and Pinole native says. “I spent four years of my life letting it consume me. But it had to be done right.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Narrated by Iggy Pop and featuring commentary from 150 band members, zine editors, volunteers and more, \u003cem>Turn It Around\u003c/em> is a massive, authoritative document of the scene around the Berkeley all-ages club 924 Gilman that would eventually change punk rock all over the world. Packed with previously unseen footage — Operation Ivy’s early rehearsals, Miranda July’s 1992 play staged at Gilman, unearthed images from photographer Murray Bowles’ vast archive — the film brings in perspective from observant outsiders like Bikini Kill’s Kathleen Hanna and Fugazi’s Ian MacKaye on down to less-celebrated contributors like the drummer of \u003ca href=\"https://www.youtube.com/watch?v=QHgMQwmHRmY\" target=\"_blank\" rel=\"noopener noreferrer\">Sewer Trout\u003c/a> and that one guy who got too drunk once in Eggplant’s backyard.\u003c/p>\n\u003cfigure id=\"attachment_13243289\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13243289\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-800x530.jpg\" alt=\"Director Corbett Redford interview Adrienne Melanie Stone of Spitboy for 'Turn It Around.'\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director Corbett Redford interviews Adrienne Melanie Stone of Spitboy for ‘Turn It Around.’ \u003ccite>(Melissa Dale)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Because of this breadth and length, there’s no singular narrative driving \u003cem>Turn It Around\u003c/em>, no easy-entry character study for a mainstream public. It’s unlikely the film will have the same crossover success as, say, \u003cem>Searching for Sugarman\u003c/em> or \u003cem>Standing in the Shadows of Motown\u003c/em>, or other \u003ca href=\"http://www.twingalaxies.com/forumdisplay.php/406-The-King-of-Kong-Official-Statement\" target=\"_blank\" rel=\"noopener noreferrer\">looser documentaries\u003c/a> that don’t let the truth get in the way of a good story.\u003c/p>\n\u003cp>But that’s why it’s definitive. As someone who spent his formative teenage years going to Gilman, volunteering there and yes, even sleeping at the club during the years in the film (which, full disclosure, I’m seen in for a split second), I can’t find much that it omits. For others who were there, and for the growing number of kids worldwide interested in the era, there’s value in this. Redford says he originally cut a five-hour version from 500 hours of footage before the final two-and-a-half-hour cut, and with any luck, that extra footage will surface as DVD extras or on streaming services after this theatrical run. Ask anyone involved in the punk scene at the time, and they’ll tell you that it’s impossible to boil it down to one simple story. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-800x354.jpg\" alt=\"\" width=\"800\" height=\"354\" class=\"aligncenter size-medium wp-image-13243602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-800x354.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-160x71.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-768x340.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-1020x452.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-1180x522.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-960x425.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-375x166.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-520x230.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The film crew itself evinces a “by the punks, for the punks” philosophy: both \u003cem>Absolutely Zippo\u003c/em> editor Robert Eggplant and drummer and booker Kamala Parks served on the production crew, and the titles and illustrations were hand-drawn by \u003cem>Cometbus\u003c/em> editor Aaron Cometbus, Rancid’s Tim Armstrong and Operation Ivy’s Jesse Michaels. Before this, his first full-length film, Redford had mainly directed videos for his band, Bobby Joe Ebola and the Children Macnuggits.\u003c/p>\n\u003cp>That band name hints at the humor in the film, and also the idea, embraced by figures like \u003cem>Tales of Blarg\u003c/em> editor Janelle Hessig (and bands like \u003ca href=\"https://www.youtube.com/watch?v=u7MOxF5gz9A\" target=\"_blank\" rel=\"noopener noreferrer\">Stikky\u003c/a>), that despite the East Bay punk scene’s impact, it isn’t to be taken too seriously. \u003cem>Turn it Around\u003c/em>’s release during the current \u003ca href=\"https://ww2.kqed.org/arts/2017/04/12/de-young-summer-of-love-50th-anniversary/\" target=\"_blank\" rel=\"noopener noreferrer\">50th anniversary bonanza for the Summer of Love\u003c/a> is a curious study in contrasts on how to commemorate a musical moment.\u003c/p>\n\u003cfigure id=\"attachment_13243291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13243291\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive-800x600.jpg\" alt=\"Tim Armstrong, Murray Bowles, Robert Eggplant and Corbett Redford, sorting through Bowles' 30,000-strong photo archive. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive.jpg 808w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tim Armstrong, Robert Eggplant, Murray Bowles, and Corbett Redford, after sorting through Bowles’ 30,000-strong photo archive.\u003c/figcaption>\u003c/figure>\n\u003cp>“One thing we’re not trying to do is mystify that time,” Redford says, citing the Chicago punk documentary title \u003cem>\u003ca href=\"http://www.imdb.com/title/tt1340142/\" target=\"_blank\" rel=\"noopener noreferrer\">You Weren’t There\u003c/a>\u003c/em> as an elitist idea he wanted to oppose. “We’re just trying to show how human or normal a lot of these larger-than-life figures were, how they did their best to try to make something good. We’re not saying, ‘This is the best scene ever.’ You know?”\u003c/p>\n\u003cp>That said, the film doesn’t lack in context. It opens with then-California governor Ronald Reagan ordering gas to be dropped on protesting students at People’s Park in Berkeley, soon moving to \u003cem>MaximumRockNRoll\u003c/em> founder Tim Yohannon’s on-air argument about punk with rock promoter Bill Graham. Many cultural forces coalesced in the 1970s to guide Bay Area punk, and even Kirk Hammett from Metallica and Duff McKagan from Guns ‘N’ Roses attest to the notion of the 1980s San Francisco punk scene as the country’s strongest.\u003c/p>\n\u003cfigure id=\"attachment_13243299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13243299\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-800x533.jpg\" alt=\"The 'Turn It Around' production crew packs for an interview, with Corbett Redford at left.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Turn It Around’ production crew packs for an interview, with Corbett Redford at left. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley was a bastard child of it all, a place where kids of hippies and college professors resisted trends. The film hits its stride with the founding of the Gilman Street Project, and its philosophical opposition to knuckleheaded thrash shows with drink minimums and violent pits. In fact, the pits at Gilman are decidedly silly: “geekcore” punks play leapfrog in a circle, or ride tricycles. The band Isocracy hauls in hundreds of pounds of garbage from dumpsters, and throws it on the crowd and themselves. Inexplicably, an odd trend emerges of stagediving into bushes, and \u003ca href=\"https://www.youtube.com/watch?v=46ZtNtiZrCc\" target=\"_blank\" rel=\"noopener noreferrer\">an anthem for it\u003c/a> is written.\u003c/p>\n\u003cp>Gilman goes through various changes, including an infiltration by skinheads (in an uplifting segment of the film, the geeks fight back), but a running theme is the folly of fame. Operation Ivy breaks up because they get too popular. Yohannon suddenly closes Gilman when he feels it’s achieved all it can. The insider nature of “\u003ca href=\"http://www.foopee.com/punk/the-list/\" target=\"_blank\" rel=\"noopener noreferrer\">THE LIST\u003c/a>,” replete with “@:pit warnings” by veteran Steve Koepke, is lauded as a secret, pre-internet social network. When Gilman reopens, and Green Day starts packing in a more normal, preppy crowd than usually frequents the club, many diehards get nervous. By the film’s end, Green Day signs to a major label, a trenchant debate over what constitutes “punk” rages, Tim Yohannon passes away, and Gilman goes on to enjoy an influx — continuing to this day — of enthusiastic kids ready to start something new.\u003c/p>\n\u003cfigure id=\"attachment_13243294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13243294\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Green Day with first drummer John Kiffmeyer at Gilman, circa 1990.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day with first drummer John Kiffmeyer at Gilman, circa 1990. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No punk scene is without its scandals, and \u003cem>Turn it Around\u003c/em> conspicuously ignores them and other unsavory bits of lore: Jello Biafra getting his leg broken by crust punks; Sam McBride from Fang being convicted of killing his girlfriend; the Feederz throwing a dead dog into the crowd. (Readers can find these stories in Jack Boulware and Silke Tudor’s \u003ca href=\"http://www.bohemian.com/northbay/yellin-in-my-ear/Content?oid=2173776\" target=\"_blank\" rel=\"noopener noreferrer\">excellent oral history\u003c/a> \u003cem>Gimme Something Better: The Profound, Progressive, and Occasionally Pointless History of Bay Area Punk\u003c/em>.)\u003c/p>\n\u003cp>That’s intentional, Redford says, and ultimately, the film’s theme isn’t Do It Yourself so much as Do It Together. “The emergence of the Gilman Street Project is a pretty good example of the good things that can happen when people are nice to each other, when they decide to cooperate and build as opposed to destroy or backbite,” he says. “And again, our scene isn’t perfect, but I think that in the world today, places where outliers can converge are very important.”\u003c/p>\n\u003cfigure id=\"attachment_13243293\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13243293\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-800x796.jpg\" alt=\"Orlando and Turner Babcock of Special Forces.\" width=\"800\" height=\"796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-800x796.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-768x764.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-240x239.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-375x373.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-520x518.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces.jpg 853w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Orlando and Turner Babcock of Special Forces. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s evident in the diverse alumni of Gilman’s scene. Queercore groups like Tribe 8 and Pansy Division; feminist bands Spitboy and the Yeastie Girlz; black performers like the Beatnigs’ Michael Franti or Special Forces’ Orlando all weigh in. Stylistically, too, the music ranges from the Beatles-inspired harmonies of Sweet Baby to the nascent emo of Jawbreaker and the hardcore nihilism of Christ on Parade. Billie Joe, singer for one of the poppiest bands on the planet, saves his strongest words of enthusiasm for apocalyptic doom-punk overlords Neurosis.\u003c/p>\n\u003cp>And that may be the underpinning lesson of \u003cem>Turn it Around\u003c/em>: that it’s about something bigger than music.\u003c/p>\n\u003cp>“East Bay punk to me was always just a thoughtful, heartfelt, intellectual kind of thing,” says Redford. “And it taught me that punk, as opposed to just a costume or spitting on authority, is about potentially being a better citizen of the world. You know?”\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>\u003cem>‘Turn it Around: The Story of East Bay Punk’ premieres on \u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=284925~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=accf668f-e555-48ca-a4fc-f10c8aa7f53d&\" target=\"_blank\" rel=\"noopener noreferrer\">Wednesday, May 31\u003c/a>, at the Alamo Drafthouse New Mission Theater in San Francisco as part of SF DocFest. A Q&A with the director, an afterparty, and others from the cast and crew are all part of the premiere; \u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=284925~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=accf668f-e555-48ca-a4fc-f10c8aa7f53d&\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. A national theatrical run begins June 2. For more details and photos from the film, \u003ca href=\"https://eastbaypunk.com/\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Iranian Expat Grabs Our Ear in S.F.-shot ‘Radio Dreams’",
"headTitle": "Iranian Expat Grabs Our Ear in S.F.-shot ‘Radio Dreams’ | KQED",
"content": "\u003cp>San Francisco used to be a magnet for all kinds of dreamers — Midwestern misfits, on-the-road explorers, Beat poets and percussionists, Haight-inspired hippies, utopian commune-ists, Irish emigrés, Latin American refugees, experimental artists and gay men and women of every persuasion and denomination. In \u003ci>Radio Dreams\u003c/i>, the renowned Iranian author Hamid Royani (played by the gifted singer-songwriter Mohsen Namjoo) has followed the beaten path to our rather unwelcoming burg, where he is programming director of the no-frills Iranian radio station PARS. Catering to an audience of similarly alienated and semi-assimilated listeners, the protagonist of Babak Jalali’s mournfully comic independent feature is a soulful artist in a world of crass commercialism and blank-eyed apathy.\u003c/p>\n\u003cfigure id=\"attachment_13236670\" class=\"wp-caption aligncenter\" style=\"max-width: 636px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Radio-Dreams1.jpg\" alt=\"Still from 'Radio Dreams.'\" width=\"636\" height=\"357\" class=\"size-full wp-image-13236670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Radio-Dreams1.jpg 636w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Radio-Dreams1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Radio-Dreams1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Radio-Dreams1-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Radio-Dreams1-520x292.jpg 520w\" sizes=\"(max-width: 636px) 100vw, 636px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Radio Dreams.’ \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Radio Dreams\u003c/em>, which played the 2016 S.F. International Film Festival and begins its theatrical run at the \u003ca href=\"http://www.roxie.com/ai1ec_event/radio-dreams/?instance_id=19418\" target=\"_blank\" rel=\"noopener\">Roxie\u003c/a> this Friday, May 19 with several of the actors and producers on hand, spans a day in Hamid’s life of surreal frustration. It begins with the rainy SFO arrival of Kabul Dreams, a hard-rock trio who’ve have made the long trek to the West to jam in PARS’ studio with their musical heroes Metallica. Another movie would milk every bit of suspense en route to a will-they-or-won’t-they-meet climax, but that would be untrue to the state of suspended animation in which Hamid and his semi-catatonic staff exist. (A Farsi cover of Dylan’s \u003cem>You Ain’t Going Nowhere\u003c/em> would have been an appropriate addition to the soundtrack, although too on the nose.)\u003c/p>\n\u003cfigure id=\"attachment_13236667\" class=\"wp-caption aligncenter\" style=\"max-width: 670px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/radiodreams2.png\" alt=\"Still from 'Radio Dreams.'\" width=\"670\" height=\"377\" class=\"size-full wp-image-13236667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/radiodreams2.png 670w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/radiodreams2-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/radiodreams2-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/radiodreams2-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/radiodreams2-520x293.png 520w\" sizes=\"(max-width: 670px) 100vw, 670px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Radio Dreams.’ \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Radio Dreams\u003c/em> delivers moments of catharsis but the prevailing mood of persistence is expressed in the Kabul Dreams lyric, “We move towards fate/We move towards peace.” It is Hamid’s fate to be on his own with no direction home, stuck inside of Frisco with the Tehran blues again.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "At the Roxie, Babak Jalali’s mournfully comic independent feature depicts a day of surreal frustration in a displaced novelist's life.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco used to be a magnet for all kinds of dreamers — Midwestern misfits, on-the-road explorers, Beat poets and percussionists, Haight-inspired hippies, utopian commune-ists, Irish emigrés, Latin American refugees, experimental artists and gay men and women of every persuasion and denomination. In \u003ci>Radio Dreams\u003c/i>, the renowned Iranian author Hamid Royani (played by the gifted singer-songwriter Mohsen Namjoo) has followed the beaten path to our rather unwelcoming burg, where he is programming director of the no-frills Iranian radio station PARS. Catering to an audience of similarly alienated and semi-assimilated listeners, the protagonist of Babak Jalali’s mournfully comic independent feature is a soulful artist in a world of crass commercialism and blank-eyed apathy.\u003c/p>\n\u003cfigure id=\"attachment_13236670\" class=\"wp-caption aligncenter\" style=\"max-width: 636px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Radio-Dreams1.jpg\" alt=\"Still from 'Radio Dreams.'\" width=\"636\" height=\"357\" class=\"size-full wp-image-13236670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Radio-Dreams1.jpg 636w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Radio-Dreams1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Radio-Dreams1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Radio-Dreams1-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Radio-Dreams1-520x292.jpg 520w\" sizes=\"(max-width: 636px) 100vw, 636px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Radio Dreams.’ \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Radio Dreams\u003c/em>, which played the 2016 S.F. International Film Festival and begins its theatrical run at the \u003ca href=\"http://www.roxie.com/ai1ec_event/radio-dreams/?instance_id=19418\" target=\"_blank\" rel=\"noopener\">Roxie\u003c/a> this Friday, May 19 with several of the actors and producers on hand, spans a day in Hamid’s life of surreal frustration. It begins with the rainy SFO arrival of Kabul Dreams, a hard-rock trio who’ve have made the long trek to the West to jam in PARS’ studio with their musical heroes Metallica. Another movie would milk every bit of suspense en route to a will-they-or-won’t-they-meet climax, but that would be untrue to the state of suspended animation in which Hamid and his semi-catatonic staff exist. (A Farsi cover of Dylan’s \u003cem>You Ain’t Going Nowhere\u003c/em> would have been an appropriate addition to the soundtrack, although too on the nose.)\u003c/p>\n\u003cfigure id=\"attachment_13236667\" class=\"wp-caption aligncenter\" style=\"max-width: 670px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/radiodreams2.png\" alt=\"Still from 'Radio Dreams.'\" width=\"670\" height=\"377\" class=\"size-full wp-image-13236667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/radiodreams2.png 670w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/radiodreams2-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/radiodreams2-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/radiodreams2-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/radiodreams2-520x293.png 520w\" sizes=\"(max-width: 670px) 100vw, 670px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Radio Dreams.’ \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Radio Dreams\u003c/em> delivers moments of catharsis but the prevailing mood of persistence is expressed in the Kabul Dreams lyric, “We move towards fate/We move towards peace.” It is Hamid’s fate to be on his own with no direction home, stuck inside of Frisco with the Tehran blues again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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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": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
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"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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