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"slug": "d-i-r-t-festival-resists-land-grab-and-trump-agenda",
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"content": "\u003cp>With Dance Mission Theater losing its longstanding home on 24th Street as the inexorable gentrification of the Mission district marches on, the third annual \u003ca href=\"http://www.dancemission.com/programs/down_and_dirty.html\" target=\"_blank\" rel=\"noopener\">\u003cem>D.I.R.T. Festival of Dance in Revolt(ing) Times\u003c/em>\u003c/a>, a political dance festival hosted by Dance Mission, is taking its theme of “Holding Our Ground” seriously.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>The theme speaks eloquently not just to the issue of real estate, but also to that of political resistance. If the performance I attended last weekend — barely 24 hours after the defeat of the Trump Administration’s bid to “repeal and replace” Obamacare, and the same day a “Make America Great Again” (MAGA) rally in southern California turned violent — is anything to go by, the mood at \u003cem>D.I.R.T.\u003c/em> this coming weekend will be equally strident and feisty.\u003c/p>\n\u003cp>The diverse artists assembled for \u003cem>D.I.R.T.\u003c/em> channel their own anger, fears, frustrations and joys into physical acts – some of provocative beauty. These deserve a life beyond that afforded by the brief, small-scale festival. Though much of the program would very likely make the MAGA crowd see red.\u003c/p>\n\u003cfigure id=\"attachment_12967939\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12967939 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-800x484.jpg\" alt=\"Dexandro "D" Montalvo's 'Repealed' \" width=\"800\" height=\"484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-800x484.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-768x464.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-1020x616.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-1920x1160.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-1180x713.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-960x580.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-520x314.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354.jpg 2007w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dexandro “D” Montalvo’s ‘Repealed’ \u003ccite>(Photo: Andy Mogg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a work titled \u003cem>Repealed\u003c/em>, choreographer Dexandro “D” Montalvo plunges into the healthcare fracas, to the sonorities of industrial techno interspersed with recent soundbytes from the likes of senators Elizabeth Warren and Bernie Sanders denouncing the Republicans’ travesty of a healthcare proposal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Montalvo’s dancers enact a community struggling to care for each other as, one by one, they fall ill. Remarkably, even when racked with consumption, they manage the most physically heroic moves – whipping pirouettes and nervy group lifts. The community is decimated at the end. The outcome suggests that the lifeline furnished by the Trump Administration’s failure to repeal and replace is tenuous, and that what Americans have now by way of healthcare coverage remains broken.\u003c/p>\n\u003cp>Environmental issues and tribal rights are at the heart of a couple of other works in this year’s festival. In \u003cem>In the Name of Her\u003c/em>, choreographer and dancer Natalie Aceves responds to President Trump’s signing of an executive order clearing the way for the Dakota Access oil pipeline. The fiery piece which Aceves created for herself, Kaley Isabella and Jillian Hibbert, unspools against the potent backdrop of video clips documenting the struggles of indigenous populations. The work elegantly weaves in shards of poetry read by Aimee Suzara, tying the destruction of Philippine watersheds to American colonization and militarization from the turn of the 20th century.\u003c/p>\n\u003cfigure id=\"attachment_12967937\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12967937 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-800x451.jpg\" alt=\"Stephanie Bastos in Millicent Johnnie's 'Spoken Once' \" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961.jpg 2017w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephanie Bastos in Millicent Johnnie’s ‘Spoken Once’ \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Threats to Mother Earth also appear in Millicent Johnnie’s \u003cem>Spoken Once\u003c/em>, a solo for Stephanie Bastos, who swoops impetuously across the floor, her arms like an eagle’s wings as she hovers over sacred spaces. The dancer is missing the lower part of one leg, but that merely keeps her flight patterns low to the ground. At the wistful close, she examines her hands gravely, as if counting her fingers.\u003c/p>\n\u003cp>A third political theme at this year’s festival is women’s rights. Lisa Kusanagi’s \u003cem>16 Day Return Policy\u003c/em> is an indictment of misogyny by way of a strip-tease gone terribly wrong. Draped in a gold poncho and plowing through an inventory of flirtatious poses and facial expressions, Kusanagi jams her middle finger into her mouth, then her big toe. She turns her back on the audience and shimmies out of her panties from under the poncho.\u003c/p>\n\u003cfigure id=\"attachment_12967936\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12967936 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-800x451.jpg\" alt=\"Chris Evans and Byb Chanel Bibene \" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634.jpg 1149w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Evans and Byb Chanel Bibene \u003ccite>(Photo: Kimara Dixon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With many winks over her shoulder, she blithely traipses upstage, continuing to shed more panties along the way in a steady rhythm, leaving a trail of rainbow-colored underwear in her wake. This extraordinary performance takes a grim turn when Kusanagi cowers under the poncho and creeps and stumbles forward, her hair draped over her face. The performer’s undulating finger continues to beckon potential customers, like an aged street beggar.\u003c/p>\n\u003cp>When Kusanagi finally uncovers her face, only the whites of her eyes are visible, and the lighting lends her an inhuman pallor. The “show” over, she emerges naked from the poncho, dignified and erect, and walks slowly upstage into the deepening gloom. She’s just another woman used, discarded, and forgotten.\u003c/p>\n\u003cp>Next weekend’s audience can look forward to a slew of equally prescient work, ranging from Maurya Kerr and tinypistol’s \u003cem>anthem : two\u003c/em>, described as a “defiant and sorrowful refutation of America’s ‘national’ anthem” to Jory Horn’s focus on issues around cultural assimilation and the lives of children of refugees. (Horn’s parents fled the Khmer Rouge.)\u003c/p>\n\u003cfigure id=\"attachment_12967938\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12967938 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-800x451.jpg\" alt=\"Rachel Hernandez of Viver Brasil \" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155.jpg 1996w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Hernandez of Viver Brasil \u003ccite>(Photo: Linda Udin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ground may be shifting under Dance Mission Theater’s feet. But the venue’s audience has a passionate following for \u003cem>D.I.R.T.\u003c/em> and a myriad other programs that nurture the varied artistic voices of the Bay Area’s resistance.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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>D.I.R.T. Festival of Dance in Revolt(ing) Times\u003c/em> runs through Sunday, Apr. 2 at Dance Mission Theater in San Francisco. For tickets and information, please click \u003ca href=\"http://www.dancemission.com/programs/down_and_dirty.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "With Dance Mission Theater losing its current home to gentrification, the third annual 'D.I.R.T. Festival of Dance in Revolt(ing) Times' is taking this year’s theme of ‘Holding Our Ground’ seriously.",
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"title": "‘D.I.R.T Festival’ Resists Land Grab and Trump Agenda | KQED",
"description": "With Dance Mission Theater losing its current home to gentrification, the third annual 'D.I.R.T. Festival of Dance in Revolt(ing) Times' is taking this year’s theme of ‘Holding Our Ground’ seriously.",
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"headline": "‘D.I.R.T Festival’ Resists Land Grab and Trump Agenda",
"datePublished": "2017-03-30T12:00:30-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With Dance Mission Theater losing its longstanding home on 24th Street as the inexorable gentrification of the Mission district marches on, the third annual \u003ca href=\"http://www.dancemission.com/programs/down_and_dirty.html\" target=\"_blank\" rel=\"noopener\">\u003cem>D.I.R.T. Festival of Dance in Revolt(ing) Times\u003c/em>\u003c/a>, a political dance festival hosted by Dance Mission, is taking its theme of “Holding Our Ground” seriously.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>The theme speaks eloquently not just to the issue of real estate, but also to that of political resistance. If the performance I attended last weekend — barely 24 hours after the defeat of the Trump Administration’s bid to “repeal and replace” Obamacare, and the same day a “Make America Great Again” (MAGA) rally in southern California turned violent — is anything to go by, the mood at \u003cem>D.I.R.T.\u003c/em> this coming weekend will be equally strident and feisty.\u003c/p>\n\u003cp>The diverse artists assembled for \u003cem>D.I.R.T.\u003c/em> channel their own anger, fears, frustrations and joys into physical acts – some of provocative beauty. These deserve a life beyond that afforded by the brief, small-scale festival. Though much of the program would very likely make the MAGA crowd see red.\u003c/p>\n\u003cfigure id=\"attachment_12967939\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12967939 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-800x484.jpg\" alt=\"Dexandro "D" Montalvo's 'Repealed' \" width=\"800\" height=\"484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-800x484.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-768x464.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-1020x616.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-1920x1160.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-1180x713.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-960x580.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-520x314.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354.jpg 2007w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dexandro “D” Montalvo’s ‘Repealed’ \u003ccite>(Photo: Andy Mogg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a work titled \u003cem>Repealed\u003c/em>, choreographer Dexandro “D” Montalvo plunges into the healthcare fracas, to the sonorities of industrial techno interspersed with recent soundbytes from the likes of senators Elizabeth Warren and Bernie Sanders denouncing the Republicans’ travesty of a healthcare proposal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Montalvo’s dancers enact a community struggling to care for each other as, one by one, they fall ill. Remarkably, even when racked with consumption, they manage the most physically heroic moves – whipping pirouettes and nervy group lifts. The community is decimated at the end. The outcome suggests that the lifeline furnished by the Trump Administration’s failure to repeal and replace is tenuous, and that what Americans have now by way of healthcare coverage remains broken.\u003c/p>\n\u003cp>Environmental issues and tribal rights are at the heart of a couple of other works in this year’s festival. In \u003cem>In the Name of Her\u003c/em>, choreographer and dancer Natalie Aceves responds to President Trump’s signing of an executive order clearing the way for the Dakota Access oil pipeline. The fiery piece which Aceves created for herself, Kaley Isabella and Jillian Hibbert, unspools against the potent backdrop of video clips documenting the struggles of indigenous populations. The work elegantly weaves in shards of poetry read by Aimee Suzara, tying the destruction of Philippine watersheds to American colonization and militarization from the turn of the 20th century.\u003c/p>\n\u003cfigure id=\"attachment_12967937\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12967937 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-800x451.jpg\" alt=\"Stephanie Bastos in Millicent Johnnie's 'Spoken Once' \" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961.jpg 2017w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephanie Bastos in Millicent Johnnie’s ‘Spoken Once’ \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Threats to Mother Earth also appear in Millicent Johnnie’s \u003cem>Spoken Once\u003c/em>, a solo for Stephanie Bastos, who swoops impetuously across the floor, her arms like an eagle’s wings as she hovers over sacred spaces. The dancer is missing the lower part of one leg, but that merely keeps her flight patterns low to the ground. At the wistful close, she examines her hands gravely, as if counting her fingers.\u003c/p>\n\u003cp>A third political theme at this year’s festival is women’s rights. Lisa Kusanagi’s \u003cem>16 Day Return Policy\u003c/em> is an indictment of misogyny by way of a strip-tease gone terribly wrong. Draped in a gold poncho and plowing through an inventory of flirtatious poses and facial expressions, Kusanagi jams her middle finger into her mouth, then her big toe. She turns her back on the audience and shimmies out of her panties from under the poncho.\u003c/p>\n\u003cfigure id=\"attachment_12967936\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12967936 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-800x451.jpg\" alt=\"Chris Evans and Byb Chanel Bibene \" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634.jpg 1149w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Evans and Byb Chanel Bibene \u003ccite>(Photo: Kimara Dixon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With many winks over her shoulder, she blithely traipses upstage, continuing to shed more panties along the way in a steady rhythm, leaving a trail of rainbow-colored underwear in her wake. This extraordinary performance takes a grim turn when Kusanagi cowers under the poncho and creeps and stumbles forward, her hair draped over her face. The performer’s undulating finger continues to beckon potential customers, like an aged street beggar.\u003c/p>\n\u003cp>When Kusanagi finally uncovers her face, only the whites of her eyes are visible, and the lighting lends her an inhuman pallor. The “show” over, she emerges naked from the poncho, dignified and erect, and walks slowly upstage into the deepening gloom. She’s just another woman used, discarded, and forgotten.\u003c/p>\n\u003cp>Next weekend’s audience can look forward to a slew of equally prescient work, ranging from Maurya Kerr and tinypistol’s \u003cem>anthem : two\u003c/em>, described as a “defiant and sorrowful refutation of America’s ‘national’ anthem” to Jory Horn’s focus on issues around cultural assimilation and the lives of children of refugees. (Horn’s parents fled the Khmer Rouge.)\u003c/p>\n\u003cfigure id=\"attachment_12967938\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12967938 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-800x451.jpg\" alt=\"Rachel Hernandez of Viver Brasil \" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155.jpg 1996w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Hernandez of Viver Brasil \u003ccite>(Photo: Linda Udin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ground may be shifting under Dance Mission Theater’s feet. But the venue’s audience has a passionate following for \u003cem>D.I.R.T.\u003c/em> and a myriad other programs that nurture the varied artistic voices of the Bay Area’s resistance.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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>D.I.R.T. Festival of Dance in Revolt(ing) Times\u003c/em> runs through Sunday, Apr. 2 at Dance Mission Theater in San Francisco. For tickets and information, please click \u003ca href=\"http://www.dancemission.com/programs/down_and_dirty.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kerry James Marshall: A Black Presence in the Art World is 'Not Negotiable'",
"headTitle": "Kerry James Marshall: A Black Presence in the Art World is ‘Not Negotiable’ | KQED",
"content": "\u003cp>With his large-scale, exuberant paintings, artist Kerry James Marshall is on a mission: to make the presence of black people and black culture in the art world “indispensable” and “undeniable.” Now 61, Marshall was a young artist when he decided to paint exclusively black figures.\u003c/p>\n\u003cp>“One of the reasons I paint black people is because I am a black person …” he says. “There are fewer representations of black figures in the historical record …”\u003c/p>\n\u003cp>Marshall was born in Birmingham, Ala., in 1955, just before the Montgomery Bus Boycott began. He grew up in South Central, Los Angeles, and was living in the Watts neighborhood in 1965, when riots broke out in protest of police brutality.\u003c/p>\n\u003cp>“The hope was always to make sure these works found their way into museums so they could exist alongside everything else that people go into museums to look at,” Marshall says.\u003c/p>\n\u003cp>And it’s worked — a 35-year retrospective of his work has appeared at New York’s Metropolitan Museum of Art, Chicago’s Museum of Contemporary Art, and now, the Museum of Contemporary Art in Los Angeles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His paintings depict daily life — people planting gardens, picnicking and getting haircuts. Helen Molesworth, curator of the Museum of Contemporary Art exhibit, points out Marshall’s 1993 work, \u003cem>De Style.\u003c/em>\u003cem> \u003c/em>“I consider this to be Kerry’s first great painting,” she says. It’s a massive canvas that shows a scene in a barbershop.\u003c/p>\n\u003cfigure id=\"attachment_12969275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-800x690.jpg\" alt='\"De Style,\" acrylic and collage on canvas, 1993' width=\"800\" height=\"690\" class=\"size-medium wp-image-12969275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-800x690.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-768x662.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-1020x879.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-1920x1655.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-1180x1017.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-960x828.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-240x207.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-375x323.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-520x448.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“De Style,” acrylic and collage on canvas, 1993 \u003ccite>(Photo: LACMA, licensed by Art Resource, NY/Museum of Contemporary Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He’s going to give you an image of blackness, of African-American culture, of daily life that is both rooted in everyday pleasures, but also transcendent at the same time,” Molesworth says.\u003c/p>\n\u003cp>Molesworth’s favorite painting, \u003cem>School of Beauty, School of Culture\u003c/em> is monumental. It bursts with riotous colors and spirited life. The work shows women’s space — little kids play as ladies pose and primp.\u003c/p>\n\u003cp>“One of the things that these pictures show us over and over again is that the category of beauty is really large,” Molesworth says. “If whiteness is the only form of beauty you see, you are operating in a pretty small universe.”\u003c/p>\n\u003cp>People can get emotional in front of these paintings.\u003c/p>\n\u003cp>“I’ve seen people kiss in front of Kerry James Marshall paintings …” Molesworth says. “These paintings are emotional — they are filled with love.”\u003c/p>\n\u003cp>It’s not all happiness on these walls, though — there are funerals, killers, lost boys, anger and grief — but always depicted in bright, bold colors and powerful shapes.\u003c/p>\n\u003cp>Marshall’s 1994 “Garden Project” series shows the early, utopian days of public housing in Chicago and Los Angeles. Lovers stroll along groomed lawns, men rake and plant flowers, children ride bikes and run dogs.\u003c/p>\n\u003cfigure id=\"attachment_12969276\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-800x372.jpg\" alt=\"Marshall's 1994 "Garden Project" series shows the early, utopian days of public housing in Chicago and Los Angeles.\" width=\"800\" height=\"372\" class=\"size-medium wp-image-12969276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-800x372.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-768x357.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-1020x474.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-1920x893.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-1180x549.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-960x446.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-240x112.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-375x174.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-520x242.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshall’s 1994 “Garden Project” series shows the early, utopian days of public housing in Chicago and Los Angeles. \u003ccite>(Photo: Brian Forrest/Museum of Contemporary Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s kind of a mixed message and it has everything to do with what people expect in a painting that’s about housing projects,” Marshall says.\u003c/p>\n\u003cp>In one, a man sits on one hip, leaning forward on the grass, supported by extended arms. He stares directly at us — very seriously. Behind him, white paint blots a big sign that says \u003cem>Welcome to Altgeld Gardens.\u003c/em> \u003ca href=\"https://s-media-cache-ak0.pinimg.com/originals/16/9b/1d/169b1d75062c5294a9f9ae7c97c6663c.jpg\" target=\"_blank\" rel=\"noopener\">Click here to get a closer look at the painting.\u003c/a> Some might perceive desperation in his eyes — but not the artist.\u003c/p>\n\u003cp>“I know better,” says Marshall, who has lived in public housing. “I know it’s not so despairing. … When I look at his demeanor, I see contentment. That’s what I see. The gaze out at the spectator, there’s a certain uncertainty about the way he sees himself being perceived by the spectator.”\u003c/p>\n\u003cp>These are not romanticized images; they are vivid, energetic, real-life reports — and Marshall wants those reports on museums walls. His works have sold at auction for $1 million and $2 million. And his paintings are part of the permanent collections of the Met, the National Gallery, the Museum of Fine Arts Boston and more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What you’re trying to create is a certain kind of an indispensable presence,” Marshall says. “Where your position in the narrative is not contingent on whether somebody likes you, or somebody knows you, or somebody’s a friend, or somebody’s being generous to you. But you want a presence in the narrative that’s not negotiable, that’s undeniable.” \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=Kerry+James+Marshall%3A+A+Black+Presence+In+The+Art+World+Is+%27Not+Negotiable%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "For decades, the 61-year-old artist has depicted black lives on canvas. He says inclusion in museums must not be contingent on \"whether somebody likes you ... or somebody's being generous to you.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With his large-scale, exuberant paintings, artist Kerry James Marshall is on a mission: to make the presence of black people and black culture in the art world “indispensable” and “undeniable.” Now 61, Marshall was a young artist when he decided to paint exclusively black figures.\u003c/p>\n\u003cp>“One of the reasons I paint black people is because I am a black person …” he says. “There are fewer representations of black figures in the historical record …”\u003c/p>\n\u003cp>Marshall was born in Birmingham, Ala., in 1955, just before the Montgomery Bus Boycott began. He grew up in South Central, Los Angeles, and was living in the Watts neighborhood in 1965, when riots broke out in protest of police brutality.\u003c/p>\n\u003cp>“The hope was always to make sure these works found their way into museums so they could exist alongside everything else that people go into museums to look at,” Marshall says.\u003c/p>\n\u003cp>And it’s worked — a 35-year retrospective of his work has appeared at New York’s Metropolitan Museum of Art, Chicago’s Museum of Contemporary Art, and now, the Museum of Contemporary Art in Los Angeles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His paintings depict daily life — people planting gardens, picnicking and getting haircuts. Helen Molesworth, curator of the Museum of Contemporary Art exhibit, points out Marshall’s 1993 work, \u003cem>De Style.\u003c/em>\u003cem> \u003c/em>“I consider this to be Kerry’s first great painting,” she says. It’s a massive canvas that shows a scene in a barbershop.\u003c/p>\n\u003cfigure id=\"attachment_12969275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-800x690.jpg\" alt='\"De Style,\" acrylic and collage on canvas, 1993' width=\"800\" height=\"690\" class=\"size-medium wp-image-12969275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-800x690.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-768x662.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-1020x879.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-1920x1655.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-1180x1017.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-960x828.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-240x207.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-375x323.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-520x448.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“De Style,” acrylic and collage on canvas, 1993 \u003ccite>(Photo: LACMA, licensed by Art Resource, NY/Museum of Contemporary Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He’s going to give you an image of blackness, of African-American culture, of daily life that is both rooted in everyday pleasures, but also transcendent at the same time,” Molesworth says.\u003c/p>\n\u003cp>Molesworth’s favorite painting, \u003cem>School of Beauty, School of Culture\u003c/em> is monumental. It bursts with riotous colors and spirited life. The work shows women’s space — little kids play as ladies pose and primp.\u003c/p>\n\u003cp>“One of the things that these pictures show us over and over again is that the category of beauty is really large,” Molesworth says. “If whiteness is the only form of beauty you see, you are operating in a pretty small universe.”\u003c/p>\n\u003cp>People can get emotional in front of these paintings.\u003c/p>\n\u003cp>“I’ve seen people kiss in front of Kerry James Marshall paintings …” Molesworth says. “These paintings are emotional — they are filled with love.”\u003c/p>\n\u003cp>It’s not all happiness on these walls, though — there are funerals, killers, lost boys, anger and grief — but always depicted in bright, bold colors and powerful shapes.\u003c/p>\n\u003cp>Marshall’s 1994 “Garden Project” series shows the early, utopian days of public housing in Chicago and Los Angeles. Lovers stroll along groomed lawns, men rake and plant flowers, children ride bikes and run dogs.\u003c/p>\n\u003cfigure id=\"attachment_12969276\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-800x372.jpg\" alt=\"Marshall's 1994 "Garden Project" series shows the early, utopian days of public housing in Chicago and Los Angeles.\" width=\"800\" height=\"372\" class=\"size-medium wp-image-12969276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-800x372.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-768x357.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-1020x474.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-1920x893.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-1180x549.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-960x446.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-240x112.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-375x174.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-520x242.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshall’s 1994 “Garden Project” series shows the early, utopian days of public housing in Chicago and Los Angeles. \u003ccite>(Photo: Brian Forrest/Museum of Contemporary Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s kind of a mixed message and it has everything to do with what people expect in a painting that’s about housing projects,” Marshall says.\u003c/p>\n\u003cp>In one, a man sits on one hip, leaning forward on the grass, supported by extended arms. He stares directly at us — very seriously. Behind him, white paint blots a big sign that says \u003cem>Welcome to Altgeld Gardens.\u003c/em> \u003ca href=\"https://s-media-cache-ak0.pinimg.com/originals/16/9b/1d/169b1d75062c5294a9f9ae7c97c6663c.jpg\" target=\"_blank\" rel=\"noopener\">Click here to get a closer look at the painting.\u003c/a> Some might perceive desperation in his eyes — but not the artist.\u003c/p>\n\u003cp>“I know better,” says Marshall, who has lived in public housing. “I know it’s not so despairing. … When I look at his demeanor, I see contentment. That’s what I see. The gaze out at the spectator, there’s a certain uncertainty about the way he sees himself being perceived by the spectator.”\u003c/p>\n\u003cp>These are not romanticized images; they are vivid, energetic, real-life reports — and Marshall wants those reports on museums walls. His works have sold at auction for $1 million and $2 million. And his paintings are part of the permanent collections of the Met, the National Gallery, the Museum of Fine Arts Boston and more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What you’re trying to create is a certain kind of an indispensable presence,” Marshall says. “Where your position in the narrative is not contingent on whether somebody likes you, or somebody knows you, or somebody’s a friend, or somebody’s being generous to you. But you want a presence in the narrative that’s not negotiable, that’s undeniable.” \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=Kerry+James+Marshall%3A+A+Black+Presence+In+The+Art+World+Is+%27Not+Negotiable%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Pioneers and fools are deficient in judgment and sense, but brimming with vision. This is what I learned as I stayed up reading a collection of John Muir’s “most thrilling experiences”— as the back cover of \u003ca href=\"http://www.yosemiteconservancystore.com/prod-235-1-22-34/the-wild-muir-22-of-john-muir-s-greatest-adventures.htm\">\u003cem>Th\u003c/em>\u003cem>e Wild Muir\u003c/em>\u003c/a> assures me. They are in fact adventures that by sheer miracle did not end in death.\u003c/p>\n\u003cp>I am only a third of the book in, but Muir has already rushed two grizzlies (on \u003cem>two\u003c/em> separate occasions) and inched sideways for 30 feet like a tightrope walker on a three-inch cliff ledge, just so that he could espy a \u003cem>different\u003c/em> \u003cem>view\u003c/em> of the Yosemite Falls. Following this last exploit Muir wrote that “looking down into Yosemite, the death song of Yosemite Creek, and its flight over the vast cliff” was enjoyment enough “to kill if that were possible.” Or die, as the case may be.\u003c/p>\n\u003cfigure id=\"attachment_12935461\" class=\"wp-caption alignright\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12935461 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/muir.jpg\" alt=\"John Muir\" width=\"1000\" height=\"890\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir-800x712.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir-768x684.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir-960x854.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir-240x214.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir-375x334.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir-520x463.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">John Muir. 1902. (Wikimedia Commons)\u003c/figcaption>\u003c/figure>\n\u003cp>If the fictional characters in Jim Shepard’s new short story collection \u003cem>The World to Come\u003c/em> had any driving ethos, this would be it: \u003cem>Enjoyment enough to kill if that were possible — or die as the case may be\u003c/em>. With stories that take place anywhere from Crete 1300 B.C. to the contemporary United States, \u003cem>The World to Come\u003c/em> is a book peopled by the fateful desire of the pioneering spirit and that high-risk, high-gain situation, where the unreachable may be grasped.\u003c/p>\n\u003cp>As with his other work, Shepard’s storytelling powers seem to lie with pulling you along scenes in which even the language seems to be smirking up at you. There you are, making your way past words like \u003cem>kablooie\u003c/em>—when suddenly, in just a turn of phrase, sometimes a word, you find yourself treading an indefinite, beautiful depth of human longing, or the unfixable, wrenching self-knowledge of failure.\u003c/p>\n\u003cp>These short stories are so evenly masterful, it’s hard to pick a favorite. As it happens, most of them are based on real-life events—the failed Franklin expedition to the Arctic in 1845, for example, the first offshore Navy platform, the WWII suicide mission of the small British submarine \u003cem>Telemachus, \u003c/em>the Montgolfier brothers and their invention of hot air balloons. Even so, Shepard allows for a wide interpretation of risk, training his eye on stunning disasters as well as quiet dramas—the two frontier wives who yearn for each other in this book’s title story is infinitely touching.\u003c/p>\n\u003cfigure id=\"attachment_12935462\" class=\"wp-caption alignright\" style=\"max-width: 1756px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12935462 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104.jpg\" alt=\"Montgolfier Hot Air Baloon\" width=\"1756\" height=\"1991\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104.jpg 1756w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-160x181.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-800x907.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-768x871.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-1020x1157.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-1180x1338.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-960x1088.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-240x272.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-375x425.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-520x590.jpg 520w\" sizes=\"(max-width: 1756px) 100vw, 1756px\">\u003cfigcaption class=\"wp-caption-text\">The first manned hot-air balloon, designed by the Montgolfier brothers, takes tethered off at the garden of the Reveillon workshop, Paris, on October 19, 1783. (Wikimedia Commons)\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps the most beautifully imagined story is \u003cem>The Ocean of Air\u003c/em>. Told from the point of view of Joseph-Michel Montgolfier, whose large imagination prototyped the first hot air balloon, this is a story of an inventor left behind. Joseph-Michel stays at home drowning in debt as his older brother goes to Paris to conduct the business of their invention. The language is at most beautiful as Joseph-Michel grasps with creative intemperance at the confines of our world: “I often have fancied that man in his relation to the sky resembled marine organisms confined to the ocean’s floor, and that in order to discover the true conditions of the atmosphere it would be necessary to observe them from considerable heights. We live in the depths of an ocean of air.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Is there anything more exhilarating than carrying on alone out on the edge of a doomed world?” asks another character in another story.\u003c/p>\n\u003cp>Is there, indeed?\u003c/p>\n\u003cp>\u003cem>The World to Come\u003c/em> is wholly imagined, spectacularly heartbreaking, and dismally entertaining. If John Muir were alive, he would have loved this book.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12935470 aligncenter\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"Spine\" 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>Jim Shepard reads at the Booksmith on Haight on Monday, March 27, at 7:30pm. More details \u003ca href=\"http://www.booksmith.com/event/jim-shepard-world-come\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pioneers and fools are deficient in judgment and sense, but brimming with vision. This is what I learned as I stayed up reading a collection of John Muir’s “most thrilling experiences”— as the back cover of \u003ca href=\"http://www.yosemiteconservancystore.com/prod-235-1-22-34/the-wild-muir-22-of-john-muir-s-greatest-adventures.htm\">\u003cem>Th\u003c/em>\u003cem>e Wild Muir\u003c/em>\u003c/a> assures me. They are in fact adventures that by sheer miracle did not end in death.\u003c/p>\n\u003cp>I am only a third of the book in, but Muir has already rushed two grizzlies (on \u003cem>two\u003c/em> separate occasions) and inched sideways for 30 feet like a tightrope walker on a three-inch cliff ledge, just so that he could espy a \u003cem>different\u003c/em> \u003cem>view\u003c/em> of the Yosemite Falls. Following this last exploit Muir wrote that “looking down into Yosemite, the death song of Yosemite Creek, and its flight over the vast cliff” was enjoyment enough “to kill if that were possible.” Or die, as the case may be.\u003c/p>\n\u003cfigure id=\"attachment_12935461\" class=\"wp-caption alignright\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12935461 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/muir.jpg\" alt=\"John Muir\" width=\"1000\" height=\"890\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir-800x712.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir-768x684.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir-960x854.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir-240x214.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir-375x334.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir-520x463.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">John Muir. 1902. (Wikimedia Commons)\u003c/figcaption>\u003c/figure>\n\u003cp>If the fictional characters in Jim Shepard’s new short story collection \u003cem>The World to Come\u003c/em> had any driving ethos, this would be it: \u003cem>Enjoyment enough to kill if that were possible — or die as the case may be\u003c/em>. With stories that take place anywhere from Crete 1300 B.C. to the contemporary United States, \u003cem>The World to Come\u003c/em> is a book peopled by the fateful desire of the pioneering spirit and that high-risk, high-gain situation, where the unreachable may be grasped.\u003c/p>\n\u003cp>As with his other work, Shepard’s storytelling powers seem to lie with pulling you along scenes in which even the language seems to be smirking up at you. There you are, making your way past words like \u003cem>kablooie\u003c/em>—when suddenly, in just a turn of phrase, sometimes a word, you find yourself treading an indefinite, beautiful depth of human longing, or the unfixable, wrenching self-knowledge of failure.\u003c/p>\n\u003cp>These short stories are so evenly masterful, it’s hard to pick a favorite. As it happens, most of them are based on real-life events—the failed Franklin expedition to the Arctic in 1845, for example, the first offshore Navy platform, the WWII suicide mission of the small British submarine \u003cem>Telemachus, \u003c/em>the Montgolfier brothers and their invention of hot air balloons. Even so, Shepard allows for a wide interpretation of risk, training his eye on stunning disasters as well as quiet dramas—the two frontier wives who yearn for each other in this book’s title story is infinitely touching.\u003c/p>\n\u003cfigure id=\"attachment_12935462\" class=\"wp-caption alignright\" style=\"max-width: 1756px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12935462 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104.jpg\" alt=\"Montgolfier Hot Air Baloon\" width=\"1756\" height=\"1991\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104.jpg 1756w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-160x181.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-800x907.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-768x871.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-1020x1157.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-1180x1338.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-960x1088.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-240x272.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-375x425.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-520x590.jpg 520w\" sizes=\"(max-width: 1756px) 100vw, 1756px\">\u003cfigcaption class=\"wp-caption-text\">The first manned hot-air balloon, designed by the Montgolfier brothers, takes tethered off at the garden of the Reveillon workshop, Paris, on October 19, 1783. (Wikimedia Commons)\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps the most beautifully imagined story is \u003cem>The Ocean of Air\u003c/em>. Told from the point of view of Joseph-Michel Montgolfier, whose large imagination prototyped the first hot air balloon, this is a story of an inventor left behind. Joseph-Michel stays at home drowning in debt as his older brother goes to Paris to conduct the business of their invention. The language is at most beautiful as Joseph-Michel grasps with creative intemperance at the confines of our world: “I often have fancied that man in his relation to the sky resembled marine organisms confined to the ocean’s floor, and that in order to discover the true conditions of the atmosphere it would be necessary to observe them from considerable heights. We live in the depths of an ocean of air.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Is there anything more exhilarating than carrying on alone out on the edge of a doomed world?” asks another character in another story.\u003c/p>\n\u003cp>Is there, indeed?\u003c/p>\n\u003cp>\u003cem>The World to Come\u003c/em> is wholly imagined, spectacularly heartbreaking, and dismally entertaining. If John Muir were alive, he would have loved this book.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12935470 aligncenter\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"Spine\" 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>Jim Shepard reads at the Booksmith on Haight on Monday, March 27, at 7:30pm. More details \u003ca href=\"http://www.booksmith.com/event/jim-shepard-world-come\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Should You *Really* Pay $600 to See 'Hamilton' in San Francisco?",
"headTitle": "Should You *Really* Pay $600 to See ‘Hamilton’ in San Francisco? | KQED",
"content": "\u003cp>Let’s get this out of the way: \u003cem>Hamilton\u003c/em>, which opens in San Francisco this week, is way more than a musical at this point. \u003c/p>\n\u003cp>The \u003cem>Hamilton\u003c/em> that barreled into town last night at the Orpheum Theatre for a four-month touring run is a cultural phenomenon, a juggernaut, an 18-wheeler of theater. Ticket sales in San Francisco caused the largest stampede of people willing to part with their hard-earned money for a musical in my lifetime. If you’re not the one percent or the very, very lucky, your only hope of seeing the show that dominated both \u003ca href=\"http://www.broadway.com/buzz/185131/hamilton-dominates-2016-tony-awards-but-just-short-of-record-complete-list-of-winners/\" target=\"_blank\" rel=\"noopener\">the Tonys\u003c/a> and \u003ca href=\"http://www.cnn.com/2016/11/20/politics/donald-trump-hamilton-feud/\" target=\"_blank\" rel=\"noopener\">the President\u003c/a> is the resale market, with single tickets averaging a whopping $350 for nosebleeds and over $1,000 for premium seats. \u003c/p>\n\u003cp>For you, the reader hoping to see the show, there’s really only one question hanging over this whole business: Is \u003cem>Hamilton\u003c/em> really worth several hundred dollars?\u003c/p>\n\u003cp>I saw the \u003cem>Hamilton\u003c/em>’s \u003ca href=\"https://twitter.com/gmeline/status/845156941038968834\" target=\"_blank\" rel=\"noopener\">star-studded\u003c/a> opening preview at the Orpheum last night, and I’ll be straight with you: it’s great, and far exceeded my expectations. Whether or not it’s worth a sizable chunk of your paycheck depends on a few factors — not the least of which is the total size of your paycheck. (More on that later.) \u003c/p>\n\u003cp>Let’s run down some pros and cons.\u003c/p>\n\u003cfigure id=\"attachment_12946728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/HamiltonSisters-800x450.jpg\" alt=\"Solea Pfeiffer, Emmy Raver-Lampman and Amber Iman in the 'Hamilton' national tour, currently running at SHN Orpheum Theatre in San Francisco.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12946728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solea Pfeiffer, Emmy Raver-Lampman and Amber Iman in the ‘Hamilton’ national tour, currently running at SHN Orpheum Theatre in San Francisco. \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Yes, You Should Pay $600 to See ‘Hamilton’ in San Francisco If:\u003c/h3>\n\u003cp>\u003cstrong>1. You genuinely love the soundtrack.\u003c/strong> This is obvious, but it addresses a major problem. Many people who see this show are going just to say they saw \u003cem>Hamilton\u003c/em>. (Don’t do this.) If you truly love the soundtrack, go for it. You’ll be able to sing along with King George III’s soft-rock comedy, scream with the rest of the fans at the introductory shut-off-your-cell-phones announcement (yes, people cheered for it Thursday night), and whoop it up to every major character’s grand entrance. If you’re a diehard, it’s a communal celebration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>2. History is your jam and you don’t sweat the details.\u003c/strong> If you’re one of those people who can’t see a historical epic without raising a finger and saying, “Yes, but…” — look elsewhere. There’s a lot to love in \u003cem>Hamilton\u003c/em>, but if you’re an American history buff, you’ll inevitably call a few things out as exaggerated or glossed over. If you’re happy to be taken for a ride and fact-check the plot afterward, you’re good.\u003c/p>\n\u003cp>\u003cstrong>3. You can be patient for a show to get going.\u003c/strong> Honestly, for the first handful of songs, \u003cem>Hamilton\u003c/em> is just plain silly. Really. Guys in 18th-century getups shouting “Layyyydies!” and quoting Grandmaster Flash in the same breath as Gilbert & Sullivan? Songs that seem like lectures from your professor? Yeah. Hang in there until the Schuyler Sisters come on stage. If you get to “Satisfied” or “Wait For It” and you’re not invested in Hamilton’s possibilities — he’s got an important job with George Washington, he’s married, he has his whole life ahead of him — you’ve probably picked the wrong show. \u003c/p>\n\u003cfigure id=\"attachment_12946930\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-800x1200.jpg\" alt=\"Michael Luwoye as Alexander Hamilton in the 'Hamilton' national tour, currently at SHN Orpheum Theatre in San Francisco.\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-12946930\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Luwoye as Alexander Hamilton in the ‘Hamilton’ national tour, currently at SHN Orpheum Theatre in San Francisco. \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>4. You like Pentatonix.\u003c/strong> Bear with me, but I swear that everything lovable and cute about \u003cem>Hamilton\u003c/em> springs from the same seed that birthed cheeky, clever, inventive \u003cem>a capella\u003c/em> groups. (See also: Waldorf schools, putting celery in jello, singing at campouts, driving a Subaru wagon.)\u003c/p>\n\u003cp>\u003cstrong>5. You think interesting women are important.\u003c/strong> For as much turmoil as Hamilton, Madison, Washington and Jefferson deal with in the show, there’s not a lot of emotional complexity to their characters. The women appear much more multidimensional than the men, who show the most heart when under the women’s spell. Cast-wise, Emmy Raver-Lampman as Angelica and Solea Pfeiffer as Eliza are both incredible, and the closing number gives additional depth to their roles.\u003c/p>\n\u003cp>\u003cstrong>6. You love a good dramatic climax.\u003c/strong> You know the scene you’re waiting for in \u003cem>Hamilton\u003c/em>? The part you learned in eighth grade U.S. History class? The thing that should only take a split second? It’s a masterful display of set design, choreography, writing, blocking, lighting — I can’t stop thinking about it.\u003c/p>\n\u003cp>\u003cstrong>7. You just plain have a lot of money.\u003c/strong> Why not, right? Heck, Alexander Hamilton did helm the first Treasury Department, after all. (But here’s my request: if you’re in a position to do so, also donate tickets to some low-income high-school drama program for students who know every line of “Ten Duel Commandments” but can’t afford to go.)\u003c/p>\n\u003cp>That about sums up the pros. And now…\u003c/p>\n\u003cfigure id=\"attachment_12946932\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/HamiltonAction-800x450.jpg\" alt=\"The 'Hamilton' company of the 'Hamilton' national tour, currently at SHN Orpheum Theatre in San Francisco. (Joan Marcus)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12946932\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Hamilton’ company of the ‘Hamilton’ national tour, currently at SHN Orpheum Theatre in San Francisco. \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>You Should Not Pay $600 to See ‘Hamilton’ in San Francisco If:\u003c/h3>\n\u003cp>\u003cstrong>1. You are a hardcore rap fan.\u003c/strong> I can’t stress this enough. Hamilton’s songs are the Disney version of rap music. They’re simple, with uninteresting beats, and though the lyrical wordplay is clever, the meter and flow don’t change up much because it was all written by the same person. This, along with its crystal-clear enunciation, could be a function of the theater context. But so much of the art of rapping is developing one’s own personal style, and in \u003cem>Hamilton\u003c/em>, everyone has the same style. (If you’re looking for the sonic and lexical explorations by rap music’s recent innovators like Young Thug, Future and Migos, you won’t find them.) Even if your love of rap music is limited to the 1990s, this will basically still feel like rap music for people who don’t like rap music. \u003c/p>\n\u003cp>\u003cstrong>2. You fall asleep in the second act easily.\u003c/strong> OK, OK. I know you saw the big ol’ reprise-every-song-in-medley-form-and-bring-out-the-whole-cast finale of Act I coming from a mile away. But my friend! The second act is where it’s at! The first act starts to get going about 2/3 of the way in, but everything the first act lacks — emotional resonance, complex characters, edge-of-your-seat drama — comes in the second act. During “Cabinet Battle #2” I saw a man asleep on his wife’s shoulder and was like, \u003cem>How could anyone be sleeping through this?!\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>3. You’re a stickler about cultural appropriation.\u003c/strong> Most of the show’s laughs come from interjecting overt hip-hop slang, phrases, and dances into the “formal” script. The juxtaposition of the two is low-hanging fruit, but it’s not offensive — unless if you’re protective of black culture being co-opted for a white man’s history lesson on Broadway, and well, that’s basically this whole show. \u003c/p>\n\u003cfigure id=\"attachment_12946933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-800x450.jpg\" alt=\"Amber Iman, Emmy Raver-Lampman and the 'Hamilton' company of the 'Hamilton' national tour, currently at SHN Orpheum Theatre in San Francisco.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12946933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amber Iman, Emmy Raver-Lampman and the ‘Hamilton’ company of the ‘Hamilton’ national tour, currently at SHN Orpheum Theatre in San Francisco. \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>4. You’re looking for a political message.\u003c/strong> Most of the night’s biggest cheers came from social-commentary one-liners. “Immigrants — we get the job done” is a famous one, but it only occurs once. Another line about women needing to be written into the constitution gets applause. But for all the chatter about \u003ca href=\"https://ww2.kqed.org/arts/2016/11/19/counterpoint-the-theater-should-not-be-a-safe-place/\" target=\"_blank\" rel=\"noopener\">the Broadway cast’s speech to Mike Pence\u003c/a>, and what the show “says” about America, I was not moved to patriotism, or dissent, or to really think about politics much at all. There’s also nothing that overtly speaks to Trump’s America. (Unless you count the line: “Winning was easy, young man — governing’s hard.”) \u003c/p>\n\u003cp>\u003cstrong>5. You can be patient.\u003c/strong> Look, a show like \u003cem>Hamilton\u003c/em>’s not going anywhere in the long term. Wait a few years and it’ll be back in a revival or tour. The way things are going, by that time, a theatrical EDM/dubstep adaptation of the Louisiana Purchase will be all the rage and \u003cem>Hamilton\u003c/em> will cost $60.\u003c/p>\n\u003cp>\u003cstrong>6. You really love Daveed Diggs.\u003c/strong> As Alexander Hamilton, lead actor Michael Luwoye is excellent and workmanlike in filling Lin-Manuel Miranda’s humongous shoes. Joshua Henry as Aaron Burr? Isaiah Johnson as George Washington? All fine. But Jordan Donica plays Thomas Jefferson in a juvenile, clownish fashion, as if director Thomas Kail explicitly asked him to make Jefferson look uncool. (This is exemplified in the way Donica delivers a Notorious B.I.G. line in the cabinet battle, with a seemingly intentional lack of style.) I’m not arguing that the real-life Jefferson was a cool dude, but the portrayal here doesn’t fit. \u003c/p>\n\u003cp>\u003cstrong>7. You’re a set/costume/design nerd.\u003c/strong> The set for Hamilton is essentially static — a balcony on the perimeter, a rotating turntable on stage, and intermittent lighting and props to mix it up. The costumes are perfectly executed but nothing groundbreaking. The cast does a lot with this mostly unchanging landscape, but it’s not going to blow anyone away.\u003c/p>\n\u003cp>So there you have it. Still want to join the wave and be part of theatre history? You’re now armed with all the knowledge you need. The show’s only in town ’til August, so don’t throw away your sh… oh, you know how it goes by now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Hamilton’ runs through Aug. 5, 2017, at SHN Orpheum Theatre. For full details, \u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "After seeing opening night in San Francisco, we're gonna give it to you straight: 'Hamilton' is great. But is it worth a few Benjamins? Here are your pros and cons.",
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"description": "After seeing opening night in San Francisco, we're gonna give it to you straight: 'Hamilton' is great. But is it worth a few Benjamins? Here are your pros and cons.",
"title": "Should You *Really* Pay $600 to See 'Hamilton' in San Francisco? | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s get this out of the way: \u003cem>Hamilton\u003c/em>, which opens in San Francisco this week, is way more than a musical at this point. \u003c/p>\n\u003cp>The \u003cem>Hamilton\u003c/em> that barreled into town last night at the Orpheum Theatre for a four-month touring run is a cultural phenomenon, a juggernaut, an 18-wheeler of theater. Ticket sales in San Francisco caused the largest stampede of people willing to part with their hard-earned money for a musical in my lifetime. If you’re not the one percent or the very, very lucky, your only hope of seeing the show that dominated both \u003ca href=\"http://www.broadway.com/buzz/185131/hamilton-dominates-2016-tony-awards-but-just-short-of-record-complete-list-of-winners/\" target=\"_blank\" rel=\"noopener\">the Tonys\u003c/a> and \u003ca href=\"http://www.cnn.com/2016/11/20/politics/donald-trump-hamilton-feud/\" target=\"_blank\" rel=\"noopener\">the President\u003c/a> is the resale market, with single tickets averaging a whopping $350 for nosebleeds and over $1,000 for premium seats. \u003c/p>\n\u003cp>For you, the reader hoping to see the show, there’s really only one question hanging over this whole business: Is \u003cem>Hamilton\u003c/em> really worth several hundred dollars?\u003c/p>\n\u003cp>I saw the \u003cem>Hamilton\u003c/em>’s \u003ca href=\"https://twitter.com/gmeline/status/845156941038968834\" target=\"_blank\" rel=\"noopener\">star-studded\u003c/a> opening preview at the Orpheum last night, and I’ll be straight with you: it’s great, and far exceeded my expectations. Whether or not it’s worth a sizable chunk of your paycheck depends on a few factors — not the least of which is the total size of your paycheck. (More on that later.) \u003c/p>\n\u003cp>Let’s run down some pros and cons.\u003c/p>\n\u003cfigure id=\"attachment_12946728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/HamiltonSisters-800x450.jpg\" alt=\"Solea Pfeiffer, Emmy Raver-Lampman and Amber Iman in the 'Hamilton' national tour, currently running at SHN Orpheum Theatre in San Francisco.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12946728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solea Pfeiffer, Emmy Raver-Lampman and Amber Iman in the ‘Hamilton’ national tour, currently running at SHN Orpheum Theatre in San Francisco. \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Yes, You Should Pay $600 to See ‘Hamilton’ in San Francisco If:\u003c/h3>\n\u003cp>\u003cstrong>1. You genuinely love the soundtrack.\u003c/strong> This is obvious, but it addresses a major problem. Many people who see this show are going just to say they saw \u003cem>Hamilton\u003c/em>. (Don’t do this.) If you truly love the soundtrack, go for it. You’ll be able to sing along with King George III’s soft-rock comedy, scream with the rest of the fans at the introductory shut-off-your-cell-phones announcement (yes, people cheered for it Thursday night), and whoop it up to every major character’s grand entrance. If you’re a diehard, it’s a communal celebration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>2. History is your jam and you don’t sweat the details.\u003c/strong> If you’re one of those people who can’t see a historical epic without raising a finger and saying, “Yes, but…” — look elsewhere. There’s a lot to love in \u003cem>Hamilton\u003c/em>, but if you’re an American history buff, you’ll inevitably call a few things out as exaggerated or glossed over. If you’re happy to be taken for a ride and fact-check the plot afterward, you’re good.\u003c/p>\n\u003cp>\u003cstrong>3. You can be patient for a show to get going.\u003c/strong> Honestly, for the first handful of songs, \u003cem>Hamilton\u003c/em> is just plain silly. Really. Guys in 18th-century getups shouting “Layyyydies!” and quoting Grandmaster Flash in the same breath as Gilbert & Sullivan? Songs that seem like lectures from your professor? Yeah. Hang in there until the Schuyler Sisters come on stage. If you get to “Satisfied” or “Wait For It” and you’re not invested in Hamilton’s possibilities — he’s got an important job with George Washington, he’s married, he has his whole life ahead of him — you’ve probably picked the wrong show. \u003c/p>\n\u003cfigure id=\"attachment_12946930\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-800x1200.jpg\" alt=\"Michael Luwoye as Alexander Hamilton in the 'Hamilton' national tour, currently at SHN Orpheum Theatre in San Francisco.\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-12946930\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Luwoye as Alexander Hamilton in the ‘Hamilton’ national tour, currently at SHN Orpheum Theatre in San Francisco. \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>4. You like Pentatonix.\u003c/strong> Bear with me, but I swear that everything lovable and cute about \u003cem>Hamilton\u003c/em> springs from the same seed that birthed cheeky, clever, inventive \u003cem>a capella\u003c/em> groups. (See also: Waldorf schools, putting celery in jello, singing at campouts, driving a Subaru wagon.)\u003c/p>\n\u003cp>\u003cstrong>5. You think interesting women are important.\u003c/strong> For as much turmoil as Hamilton, Madison, Washington and Jefferson deal with in the show, there’s not a lot of emotional complexity to their characters. The women appear much more multidimensional than the men, who show the most heart when under the women’s spell. Cast-wise, Emmy Raver-Lampman as Angelica and Solea Pfeiffer as Eliza are both incredible, and the closing number gives additional depth to their roles.\u003c/p>\n\u003cp>\u003cstrong>6. You love a good dramatic climax.\u003c/strong> You know the scene you’re waiting for in \u003cem>Hamilton\u003c/em>? The part you learned in eighth grade U.S. History class? The thing that should only take a split second? It’s a masterful display of set design, choreography, writing, blocking, lighting — I can’t stop thinking about it.\u003c/p>\n\u003cp>\u003cstrong>7. You just plain have a lot of money.\u003c/strong> Why not, right? Heck, Alexander Hamilton did helm the first Treasury Department, after all. (But here’s my request: if you’re in a position to do so, also donate tickets to some low-income high-school drama program for students who know every line of “Ten Duel Commandments” but can’t afford to go.)\u003c/p>\n\u003cp>That about sums up the pros. And now…\u003c/p>\n\u003cfigure id=\"attachment_12946932\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/HamiltonAction-800x450.jpg\" alt=\"The 'Hamilton' company of the 'Hamilton' national tour, currently at SHN Orpheum Theatre in San Francisco. (Joan Marcus)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12946932\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Hamilton’ company of the ‘Hamilton’ national tour, currently at SHN Orpheum Theatre in San Francisco. \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>You Should Not Pay $600 to See ‘Hamilton’ in San Francisco If:\u003c/h3>\n\u003cp>\u003cstrong>1. You are a hardcore rap fan.\u003c/strong> I can’t stress this enough. Hamilton’s songs are the Disney version of rap music. They’re simple, with uninteresting beats, and though the lyrical wordplay is clever, the meter and flow don’t change up much because it was all written by the same person. This, along with its crystal-clear enunciation, could be a function of the theater context. But so much of the art of rapping is developing one’s own personal style, and in \u003cem>Hamilton\u003c/em>, everyone has the same style. (If you’re looking for the sonic and lexical explorations by rap music’s recent innovators like Young Thug, Future and Migos, you won’t find them.) Even if your love of rap music is limited to the 1990s, this will basically still feel like rap music for people who don’t like rap music. \u003c/p>\n\u003cp>\u003cstrong>2. You fall asleep in the second act easily.\u003c/strong> OK, OK. I know you saw the big ol’ reprise-every-song-in-medley-form-and-bring-out-the-whole-cast finale of Act I coming from a mile away. But my friend! The second act is where it’s at! The first act starts to get going about 2/3 of the way in, but everything the first act lacks — emotional resonance, complex characters, edge-of-your-seat drama — comes in the second act. During “Cabinet Battle #2” I saw a man asleep on his wife’s shoulder and was like, \u003cem>How could anyone be sleeping through this?!\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>3. You’re a stickler about cultural appropriation.\u003c/strong> Most of the show’s laughs come from interjecting overt hip-hop slang, phrases, and dances into the “formal” script. The juxtaposition of the two is low-hanging fruit, but it’s not offensive — unless if you’re protective of black culture being co-opted for a white man’s history lesson on Broadway, and well, that’s basically this whole show. \u003c/p>\n\u003cfigure id=\"attachment_12946933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-800x450.jpg\" alt=\"Amber Iman, Emmy Raver-Lampman and the 'Hamilton' company of the 'Hamilton' national tour, currently at SHN Orpheum Theatre in San Francisco.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12946933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amber Iman, Emmy Raver-Lampman and the ‘Hamilton’ company of the ‘Hamilton’ national tour, currently at SHN Orpheum Theatre in San Francisco. \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>4. You’re looking for a political message.\u003c/strong> Most of the night’s biggest cheers came from social-commentary one-liners. “Immigrants — we get the job done” is a famous one, but it only occurs once. Another line about women needing to be written into the constitution gets applause. But for all the chatter about \u003ca href=\"https://ww2.kqed.org/arts/2016/11/19/counterpoint-the-theater-should-not-be-a-safe-place/\" target=\"_blank\" rel=\"noopener\">the Broadway cast’s speech to Mike Pence\u003c/a>, and what the show “says” about America, I was not moved to patriotism, or dissent, or to really think about politics much at all. There’s also nothing that overtly speaks to Trump’s America. (Unless you count the line: “Winning was easy, young man — governing’s hard.”) \u003c/p>\n\u003cp>\u003cstrong>5. You can be patient.\u003c/strong> Look, a show like \u003cem>Hamilton\u003c/em>’s not going anywhere in the long term. Wait a few years and it’ll be back in a revival or tour. The way things are going, by that time, a theatrical EDM/dubstep adaptation of the Louisiana Purchase will be all the rage and \u003cem>Hamilton\u003c/em> will cost $60.\u003c/p>\n\u003cp>\u003cstrong>6. You really love Daveed Diggs.\u003c/strong> As Alexander Hamilton, lead actor Michael Luwoye is excellent and workmanlike in filling Lin-Manuel Miranda’s humongous shoes. Joshua Henry as Aaron Burr? Isaiah Johnson as George Washington? All fine. But Jordan Donica plays Thomas Jefferson in a juvenile, clownish fashion, as if director Thomas Kail explicitly asked him to make Jefferson look uncool. (This is exemplified in the way Donica delivers a Notorious B.I.G. line in the cabinet battle, with a seemingly intentional lack of style.) I’m not arguing that the real-life Jefferson was a cool dude, but the portrayal here doesn’t fit. \u003c/p>\n\u003cp>\u003cstrong>7. You’re a set/costume/design nerd.\u003c/strong> The set for Hamilton is essentially static — a balcony on the perimeter, a rotating turntable on stage, and intermittent lighting and props to mix it up. The costumes are perfectly executed but nothing groundbreaking. The cast does a lot with this mostly unchanging landscape, but it’s not going to blow anyone away.\u003c/p>\n\u003cp>So there you have it. Still want to join the wave and be part of theatre history? You’re now armed with all the knowledge you need. The show’s only in town ’til August, so don’t throw away your sh… oh, you know how it goes by now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hamilton’ runs through Aug. 5, 2017, at SHN Orpheum Theatre. For full details, \u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Curmudgeonly Know-It-All Meets The Daughter He Doesn't: 'Wilson'",
"headTitle": "A Curmudgeonly Know-It-All Meets The Daughter He Doesn’t: ‘Wilson’ | KQED",
"content": "\u003cp>The namesake of \u003cem>Wilson\u003c/em> is the kind of guy people try to avoid on the bus, at the sidewalk cafe, or while using the adjacent urinal. Yet the makers of this deadpan comedy want us to spend 90 minutes with him.\u003c/p>\n\u003cp>The experience isn’t painful, but it is a little frustrating. Playing the reclusive, misanthropic, yet oddly gregarious title character, Woody Harrelson is as engaging as the man’s personality allows. But \u003cem>Wilson\u003c/em> struggles with tone, shifting from monotonously bleak to predictably satirical to improbably sanguine.\u003c/p>\n\u003cp>The movie was adapted from a graphic novel by Daniel Clowes, and offers another take on the premise of \u003cem>Ghost World\u003c/em>, the best of the three films derived from his work: A disaffected middle-aged man bonds with an alienated teenage girl. But this time the story takes the viewpoint of the man, who lacks the winning adolescent sass of \u003cem>Ghost World\u003c/em>‘s Enid and her pal, Rebecca. (The other\u003csup>\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=520412045#footnote\">1\u003c/a>\u003c/sup> film based on Clowes comic was 2006’s \u003cem>Art School Confidential\u003c/em>.)\u003c/p>\n\u003cp>https://youtu.be/w9S6bDzLUgk\u003c/p>\n\u003cp>Wilson is a lonely guy who’s about to get lonelier: His dad is dying and his best friend is moving to St. Louis. (Wilson’s tattered, semi-urban habitat is not identified, but the comic is set in Oakland, where Clowes lives.) Wilson will be left with just his adorable terrier, so he makes some tentative attempts to broaden his social circle. He fails, but in the process is introduced to something he’s been carefully avoiding: the Internet.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Suddenly, it becomes possible to track Pippi (Laura Dern), the ex-wife who abandoned him 17 years ago. She reluctantly renews their acquaintance, and casually reveals that she didn’t terminate the pregnancy that began around the time their marriage ended. Wilson, as needful of human connection as he is disdainful of it, is elated. He’s a dad!\u003c/p>\n\u003cp>There’s a complication. Claire (Isabella Amara) was put up for adoption, and Wilson has no legal right to see her. He introduces himself anyway, and the goth girl develops an affinity for the eccentric curmudgeon who says he’s her father. Pippi joins in, and the three pretend to be a family. Briefly.\u003c/p>\n\u003cp>Things go very wrong, but then sort of right again. One reason for the turnaround is the presence of easygoing Shelly (Judy Greer), a dogsitter who later becomes a fitness instructor. That’s two more jobs than are indicated for Wilson, who seems to be independently not very wealthy.\u003c/p>\n\u003cp>This material was more striking in its original form because Clowes took an experimental approach, dividing the story into short vignettes and varying his drawing style. The cartoonist scripted the movie, but it was directed by Craig Johnson, who previously balanced the gamy and the sweet in \u003cem>The Skeleton Twins\u003c/em>. Like \u003cem>Wilson\u003c/em>, that semi-tragic farce took a conventional approach to outlandish events.\u003c/p>\n\u003cp>“Modern civilization is a scam,” announces Wilson in his opening narration, and that stance is something else this film shares with \u003cem>Ghost World\u003c/em>. Yet while Wilson takes the occasional swipe at recent cultural abominations — teen pop, shops that sell nothing but multiple varieties of olive oil — it never marshals much vehemence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Clowes’ vision of an ideal world is reduced to such throwaways as the film on the marquee of the local cinema: \u003cem>Umberto D\u003c/em>., a 1952 Italian neorealist drama about a solitary man who, unlike Wilson, is actually battling to survive in a hostile world. Compared to Umberto D.’s travails, Wilson’s existential funk seems something of a scam.\u003c/p>\n\u003ch5>\u003csup>1\u003c/sup>\u003ca name=\"footnote\">\u003c/a>The 2012 short film by Shia LaBeouf, \u003cem>HowardCantour.com\u003c/em>, \u003ca href=\"http://www.avclub.com/article/shia-labeouf-plagiarizes-daniel-clowes-comic-for-h-106565\" target=\"_blank\" rel=\"noopener\">plagiarized Clowes’ comic \u003c/a>\u003cem>\u003ca href=\"http://www.avclub.com/article/shia-labeouf-plagiarizes-daniel-clowes-comic-for-h-106565\" target=\"_blank\" rel=\"noopener\">Justin M. Damiano\u003c/a>. \u003c/em>So let’s not count that one.\u003c/h5>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The namesake of \u003cem>Wilson\u003c/em> is the kind of guy people try to avoid on the bus, at the sidewalk cafe, or while using the adjacent urinal. Yet the makers of this deadpan comedy want us to spend 90 minutes with him.\u003c/p>\n\u003cp>The experience isn’t painful, but it is a little frustrating. Playing the reclusive, misanthropic, yet oddly gregarious title character, Woody Harrelson is as engaging as the man’s personality allows. But \u003cem>Wilson\u003c/em> struggles with tone, shifting from monotonously bleak to predictably satirical to improbably sanguine.\u003c/p>\n\u003cp>The movie was adapted from a graphic novel by Daniel Clowes, and offers another take on the premise of \u003cem>Ghost World\u003c/em>, the best of the three films derived from his work: A disaffected middle-aged man bonds with an alienated teenage girl. But this time the story takes the viewpoint of the man, who lacks the winning adolescent sass of \u003cem>Ghost World\u003c/em>‘s Enid and her pal, Rebecca. (The other\u003csup>\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=520412045#footnote\">1\u003c/a>\u003c/sup> film based on Clowes comic was 2006’s \u003cem>Art School Confidential\u003c/em>.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/w9S6bDzLUgk'\n title='//www.youtube.com/embed/w9S6bDzLUgk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Wilson is a lonely guy who’s about to get lonelier: His dad is dying and his best friend is moving to St. Louis. (Wilson’s tattered, semi-urban habitat is not identified, but the comic is set in Oakland, where Clowes lives.) Wilson will be left with just his adorable terrier, so he makes some tentative attempts to broaden his social circle. He fails, but in the process is introduced to something he’s been carefully avoiding: the Internet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Suddenly, it becomes possible to track Pippi (Laura Dern), the ex-wife who abandoned him 17 years ago. She reluctantly renews their acquaintance, and casually reveals that she didn’t terminate the pregnancy that began around the time their marriage ended. Wilson, as needful of human connection as he is disdainful of it, is elated. He’s a dad!\u003c/p>\n\u003cp>There’s a complication. Claire (Isabella Amara) was put up for adoption, and Wilson has no legal right to see her. He introduces himself anyway, and the goth girl develops an affinity for the eccentric curmudgeon who says he’s her father. Pippi joins in, and the three pretend to be a family. Briefly.\u003c/p>\n\u003cp>Things go very wrong, but then sort of right again. One reason for the turnaround is the presence of easygoing Shelly (Judy Greer), a dogsitter who later becomes a fitness instructor. That’s two more jobs than are indicated for Wilson, who seems to be independently not very wealthy.\u003c/p>\n\u003cp>This material was more striking in its original form because Clowes took an experimental approach, dividing the story into short vignettes and varying his drawing style. The cartoonist scripted the movie, but it was directed by Craig Johnson, who previously balanced the gamy and the sweet in \u003cem>The Skeleton Twins\u003c/em>. Like \u003cem>Wilson\u003c/em>, that semi-tragic farce took a conventional approach to outlandish events.\u003c/p>\n\u003cp>“Modern civilization is a scam,” announces Wilson in his opening narration, and that stance is something else this film shares with \u003cem>Ghost World\u003c/em>. Yet while Wilson takes the occasional swipe at recent cultural abominations — teen pop, shops that sell nothing but multiple varieties of olive oil — it never marshals much vehemence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Clowes’ vision of an ideal world is reduced to such throwaways as the film on the marquee of the local cinema: \u003cem>Umberto D\u003c/em>., a 1952 Italian neorealist drama about a solitary man who, unlike Wilson, is actually battling to survive in a hostile world. Compared to Umberto D.’s travails, Wilson’s existential funk seems something of a scam.\u003c/p>\n\u003ch5>\u003csup>1\u003c/sup>\u003ca name=\"footnote\">\u003c/a>The 2012 short film by Shia LaBeouf, \u003cem>HowardCantour.com\u003c/em>, \u003ca href=\"http://www.avclub.com/article/shia-labeouf-plagiarizes-daniel-clowes-comic-for-h-106565\" target=\"_blank\" rel=\"noopener\">plagiarized Clowes’ comic \u003c/a>\u003cem>\u003ca href=\"http://www.avclub.com/article/shia-labeouf-plagiarizes-daniel-clowes-comic-for-h-106565\" target=\"_blank\" rel=\"noopener\">Justin M. Damiano\u003c/a>. \u003c/em>So let’s not count that one.\u003c/h5>\n\n\u003c/div>\u003c/p>",
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"title": "French Director François Ozon Brings the Trauma of War Home in ‘Frantz’",
"headTitle": "French Director François Ozon Brings the Trauma of War Home in ‘Frantz’ | KQED",
"content": "\u003cp>When the German filmmaker Rainer Werner Fassbinder died in 1982, François Ozon was 15 years old. Thirty-five years later the French director still acknowledges Fassbinder’s cinematic influence on his formative years. “When I discovered his films, I had the feeling that all of my problems were solved. I had the feeling of real freedom,” Ozon said in a recent telephone interview. “It was very important for me to know that it was possible to feel like that, totally free to follow your instincts making movies.”\u003c/p>\n\u003cp>From \u003cem>Water Drops on Burning Rocks\u003c/em> (2000) to \u003cem>Frantz\u003c/em>, Ozon’s latest release, Fassbinder’s impact on the contemporary director is unmistakable. Most obviously: Ozon adapted \u003cem>Water Drops\u003c/em> from a Fassbinder play. With \u003ci>Frantz\u003c/i>, opening March 24 in Bay Area theaters, the influence is more oblique; in the period piece Ozon harkens back to Fassbinder’s \u003cem>Effi Briest\u003c/em> (1974), depicting a world of forgotten etiquette and a society insistent on emotional restraint.\u003c/p>\n\u003cfigure id=\"attachment_12936519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12936519\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small-800x532.jpg\" alt=\"Pierre Niney and Paula Beer in 'Frantz'. (Photo: Jean-Claude Moireau - Foz/Courtesy of Music Box Films)\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small.jpg 903w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pierre Niney and Paula Beer in ‘Frantz’. (Photo:\u003cbr>Jean-Claude Moireau – Foz/Courtesy of Music Box Films)\u003c/figcaption>\u003c/figure>\n\u003cp>Ozon first discovered the story of a French soldier carrying the trauma of World War I home in a play by Maurice Rostand. After he’d made \u003ci>Frantz\u003c/i>, a loose adaptation of Rostand’s play, Ozon discovered that director Ernst Lubitsch beat him to it in the 1932 film \u003cem>Broken Lullaby\u003c/em>.\u003c/p>\n\u003cp>“I was a little bit depressed. I wanted to give up,” Ozon says. But given \u003ci>Broken Lullaby\u003c/i>’s age, Ozon reconsidered the idea. “Lubitsch didn’t know that the Second World War would arrive,” he says. “So his film was more optimistic. It was about reconciliation and you didn’t think that something as terrible as the First War could happen again, you know?”\u003c/p>\n\u003cp>Ozon’s \u003ci>Frantz\u003c/i> also brings something new to the tale: a heroine. Instead of focusing on French soldier Adrien’s point of view (played by Pierre Niney), Ozon shifts the narrative to Anna (Paula Beer), the German fiancée of the late, titular Frantz. “My idea for the adaptation was to tell the story from the point of view of the loser of the war, which is the opposite of Lubitsch,” Ozon says. “I thought it would be a good answer 80 years after to a German director like Lubitsch, that a French director like me could give a different vision of this story.”\u003c/p>\n\u003cfigure id=\"attachment_12936520\" class=\"wp-caption aligncenter\" style=\"max-width: 620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12936520\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/FRANTZ-4_ozon.jpg\" alt=\"Director François Ozon. (Photo: Jean-Claude Moireau - Foz/Courtesy of Music Box Films)\" width=\"620\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-4_ozon.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-4_ozon-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-4_ozon-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-4_ozon-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-4_ozon-520x335.jpg 520w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003cfigcaption class=\"wp-caption-text\">Director François Ozon. (Photo: Jean-Claude Moireau – Foz/Courtesy of Music Box Films)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Frantz\u003c/i> is a tonal departure from Lubitsch and a stylistic one from Fassbinder. “The film was supposed to be shot all in color,” Ozon says. But two weeks before filming began, he changed his mind. “I decided to change everything and put the film in black and white, because I had the feeling it would be more realistic,” he says. At the same time, he didn’t want to give up entirely on the use of color: “I had the idea to keep a little bit of color in some emotional, key scenes in the film.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Most of those key emotional scenes involve a stifled and halting romance between Anna and Adrien. Her loss of Frantz doesn’t destroy her — instead, the film follows her slow awakening. And it’s not the Prince’s magic kiss that opens her eyes. “She has understood that Prince Charming maybe doesn’t exist,” Ozon says. “She was the victim of this situation and now she’s becoming a modern woman.” The director says, proudly, that was his idea.\u003c/p>\n\u003cp>https://youtu.be/oop8_CgSgmo\u003c/p>\n\u003cp>Despite his many influences, Ozon rarely sticks with any one genre for long. “When you make a film a year,” he says, “you don’t want to always make the same thing. I like to go in new directions and to experiment. I don’t want to repeat myself.”\u003c/p>\n\u003cp>Ozon’s next film is as far from \u003cem>Frantz\u003c/em>’s roundelay of unhappiness and unrequited war-torn love as he could possibly get: an erotic thriller called \u003cem>L’amant double\u003c/em> with Jacqueline Bisset.\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=\"Q.Logo.Break\" 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>‘Frantz’ opens in Bay Area theaters on Friday, March 24. For more information \u003ca href=\"http://www.musicboxfilms.com/frantz-movies-152.php\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Talking with the director about his latest film, in which a French soldier and a German girl share a stifled and halting romance haunted by the losses of World War I. ",
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"description": "Talking with the director about his latest film, in which a French soldier and a German girl share a stifled and halting romance haunted by the losses of World War I. ",
"title": "French Director François Ozon Brings the Trauma of War Home in ‘Frantz’ | KQED",
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"headline": "French Director François Ozon Brings the Trauma of War Home in ‘Frantz’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the German filmmaker Rainer Werner Fassbinder died in 1982, François Ozon was 15 years old. Thirty-five years later the French director still acknowledges Fassbinder’s cinematic influence on his formative years. “When I discovered his films, I had the feeling that all of my problems were solved. I had the feeling of real freedom,” Ozon said in a recent telephone interview. “It was very important for me to know that it was possible to feel like that, totally free to follow your instincts making movies.”\u003c/p>\n\u003cp>From \u003cem>Water Drops on Burning Rocks\u003c/em> (2000) to \u003cem>Frantz\u003c/em>, Ozon’s latest release, Fassbinder’s impact on the contemporary director is unmistakable. Most obviously: Ozon adapted \u003cem>Water Drops\u003c/em> from a Fassbinder play. With \u003ci>Frantz\u003c/i>, opening March 24 in Bay Area theaters, the influence is more oblique; in the period piece Ozon harkens back to Fassbinder’s \u003cem>Effi Briest\u003c/em> (1974), depicting a world of forgotten etiquette and a society insistent on emotional restraint.\u003c/p>\n\u003cfigure id=\"attachment_12936519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12936519\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small-800x532.jpg\" alt=\"Pierre Niney and Paula Beer in 'Frantz'. (Photo: Jean-Claude Moireau - Foz/Courtesy of Music Box Films)\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small.jpg 903w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pierre Niney and Paula Beer in ‘Frantz’. (Photo:\u003cbr>Jean-Claude Moireau – Foz/Courtesy of Music Box Films)\u003c/figcaption>\u003c/figure>\n\u003cp>Ozon first discovered the story of a French soldier carrying the trauma of World War I home in a play by Maurice Rostand. After he’d made \u003ci>Frantz\u003c/i>, a loose adaptation of Rostand’s play, Ozon discovered that director Ernst Lubitsch beat him to it in the 1932 film \u003cem>Broken Lullaby\u003c/em>.\u003c/p>\n\u003cp>“I was a little bit depressed. I wanted to give up,” Ozon says. But given \u003ci>Broken Lullaby\u003c/i>’s age, Ozon reconsidered the idea. “Lubitsch didn’t know that the Second World War would arrive,” he says. “So his film was more optimistic. It was about reconciliation and you didn’t think that something as terrible as the First War could happen again, you know?”\u003c/p>\n\u003cp>Ozon’s \u003ci>Frantz\u003c/i> also brings something new to the tale: a heroine. Instead of focusing on French soldier Adrien’s point of view (played by Pierre Niney), Ozon shifts the narrative to Anna (Paula Beer), the German fiancée of the late, titular Frantz. “My idea for the adaptation was to tell the story from the point of view of the loser of the war, which is the opposite of Lubitsch,” Ozon says. “I thought it would be a good answer 80 years after to a German director like Lubitsch, that a French director like me could give a different vision of this story.”\u003c/p>\n\u003cfigure id=\"attachment_12936520\" class=\"wp-caption aligncenter\" style=\"max-width: 620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12936520\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/FRANTZ-4_ozon.jpg\" alt=\"Director François Ozon. (Photo: Jean-Claude Moireau - Foz/Courtesy of Music Box Films)\" width=\"620\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-4_ozon.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-4_ozon-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-4_ozon-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-4_ozon-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-4_ozon-520x335.jpg 520w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003cfigcaption class=\"wp-caption-text\">Director François Ozon. (Photo: Jean-Claude Moireau – Foz/Courtesy of Music Box Films)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Frantz\u003c/i> is a tonal departure from Lubitsch and a stylistic one from Fassbinder. “The film was supposed to be shot all in color,” Ozon says. But two weeks before filming began, he changed his mind. “I decided to change everything and put the film in black and white, because I had the feeling it would be more realistic,” he says. At the same time, he didn’t want to give up entirely on the use of color: “I had the idea to keep a little bit of color in some emotional, key scenes in the film.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most of those key emotional scenes involve a stifled and halting romance between Anna and Adrien. Her loss of Frantz doesn’t destroy her — instead, the film follows her slow awakening. And it’s not the Prince’s magic kiss that opens her eyes. “She has understood that Prince Charming maybe doesn’t exist,” Ozon says. “She was the victim of this situation and now she’s becoming a modern woman.” The director says, proudly, that was his idea.\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/oop8_CgSgmo'\n title='//www.youtube.com/embed/oop8_CgSgmo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Despite his many influences, Ozon rarely sticks with any one genre for long. “When you make a film a year,” he says, “you don’t want to always make the same thing. I like to go in new directions and to experiment. I don’t want to repeat myself.”\u003c/p>\n\u003cp>Ozon’s next film is as far from \u003cem>Frantz\u003c/em>’s roundelay of unhappiness and unrequited war-torn love as he could possibly get: an erotic thriller called \u003cem>L’amant double\u003c/em> with Jacqueline Bisset.\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=\"Q.Logo.Break\" 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>‘Frantz’ opens in Bay Area theaters on Friday, March 24. For more information \u003ca href=\"http://www.musicboxfilms.com/frantz-movies-152.php\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Soundbox's Timely 'Rebel' Concert Celebrates a Legacy of Resistance",
"headTitle": "Soundbox’s Timely ‘Rebel’ Concert Celebrates a Legacy of Resistance | KQED",
"content": "\u003cp>In a just world, one in which fame was proportionate to talent, Davóne Tines would be as big as Kanye.\u003c/p>\n\u003cp>In the world we live in — the one where live classical music and its patrons exist in a different orbit entirely from that of rock, pop, hip-hop and even jazz — he’s an alarmingly charismatic bass-baritone, a bright young star of the opera scene, one whose delivery draws clearly from the \u003ca href=\"http://www.latimes.com/entertainment/arts/la-ca-cm-davone-tines-el-nino-20161208-htmlstory.html\" target=\"_blank\" rel=\"noopener\">soulful church music on which he was raised\u003c/a>.\u003c/p>\n\u003cp>I didn’t know his name before last night. And if the San Francisco Symphony hadn’t created \u003ca href=\"https://ww2.kqed.org/arts/2014/12/15/live-review-soundbox-classical-goes-clubbing/\" target=\"_blank\" rel=\"noopener\">Soundbox, a two-year-old experiment that blends the atmosphere of a nightclub with classical performance and visual art installations\u003c/a> for a show curated around a different theme every month, performed over one weekend in a small, warehouse-like room abutting Davies Symphony Hall, I might never have known it.\u003c/p>\n\u003cfigure id=\"attachment_12925684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12925684\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/06A2243-800x533.jpg\" alt=\"Christian Reif conducts members of the San Francisco Symphony at Soundbox on March 17, 2017.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christian Reif conducts members of the San Francisco Symphony at Soundbox on March 17, 2017. \u003ccite>(Jessie Huntsman / Courtesy of the SF Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which also means I wouldn’t have experienced the moment Friday night, March 17, when Tines traced a slow lap through the audience, scanning the room as he reached deep into the bottom of his impressive register and emerged with such a powerful performance of Caroline Shaw’s “I’ll Fly Away” that the hair on my arms stood on end for a full five minutes. This man sings the way Olympic gymnasts tumble — \u003cem>How is that body doing that?\u003c/em> \u003cem>Why do I want to laugh and also cry?\u003c/em> He sings like there are stakes to every syllable. “Captivating” doesn’t begin to describe it.\u003c/p>\n\u003cp>That moment was just one of at least a dozen at Soundbox that exceeded any expectations I had for the evening. I am, to be sure, the audience member for whom Soundbox was created: young, city-dwelling, supportive of the arts in theory but in practice, perpetually broke and, relatedly, not prone to buying symphony tickets. Whether or not Soundbox has been a success in this capacity — as a “gateway” classical music drug of sorts, to eventually get young people hooked on the seated, cocktail-less performances in the building next door — will be determined over time. But the show’s popularity speaks for itself: performances tend to sell out about 20 minutes after tickets go on sale. Lining up at the entrance earlier that night, we’d overheard two under-21 attendees trying to figure out how to sneak in.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The theme for this evening was \u003cem>Rebel\u003c/em>, and the programming, curated by SFS Resident Conductor Christian Reif, was divided into three geographic regions: broadly, composers from Germany, Russia and the U.S. whose work responded to oppression or censorship.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/06A2275.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12925690\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/06A2275-800x533.jpg\" alt=\"_06A2275\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Over the course of 90 minutes, with audience members lounging on couches or at bar tables, many of them wearing jeans and sneakers, nearly everyone sipping a cocktail or beer, music and video projections transformed the room into the Weimar Republic, then into Soviet Russia, and then again into contemporary America. Three different short stages — one of them square in the middle of the crowd — kept redirecting our attention around the room as groups of SFS players as small as two or as big as 20 performed, essentially, in our faces. It was intimate to say the least. In some cases (like when violinist Dan Carlson’s performance of the final movement of Hartmann’s \u003ci>Concerto funebre \u003c/i>left me half-expecting to see smoke rising from his instrument) the closeness was exhilarating.\u003c/p>\n\u003cfigure id=\"attachment_12925687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/06A2260.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12925687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/06A2260-800x533.jpg\" alt=\"Violinist Dan Carlson\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Violinist Dan Carlson \u003ccite>(Jessie Huntsman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Transported to Russia, we were soon in the hands of Shostakovich, a composer who lived something of a double life: forced to compose songs that served as propaganda for the Soviet government, he also quietly produced caustic work that’s now read as satire. Soprano Catherine Cook sang while Rief accompanied her at the piano for \u003cem>Satiri\u003c/em>, a piece full of bitter humor that Shostokovich apparently wrote as he was anticipating forced membership into the Communist Party.\u003c/p>\n\u003cfigure id=\"attachment_12925893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_4932.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12925893\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_4932-800x600.jpg\" alt=\"Catherine Cook\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Catherine Cook \u003ccite>(Emma Silvers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Artists have been feared by tyrants, because they speak the truth,” said Reif during a brief break between music. “You can get rid of people, but you can’t get rid of art.”\u003c/p>\n\u003cp>Perhaps unsurprisingly, the most poignant notes of the evening arrived in its final third: when we, as an audience sipping $13 cocktails on a Friday night, were asked to consider the United States’ own history of discrimination, oppression and abuse. If Tines stole the show on that spiritual, the two other pieces were close behind: Selections from \u003cem>Black Angels, \u003c/em>the avant-garde composer George Crumb’s response to the Vietnam War, conjured demons even without the dark video projections.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_4940.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12925688\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_4940-800x600.jpg\" alt=\"IMG_4940\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>And the excerpt from Julius Eastman’s emotional, minimalist \u003cem>Gay Guerilla\u003c/em> — which SFS Associate Director of Artistic Planning Richard Londsdorf casually told me after the show had required some interesting translations, it had never been performed with a symphony before — was rendered all the more moving by an introduction in which Reif explained that Eastman, a gay black composer, had died alone and homeless, his work receiving most of its acclaim after his death.\u003c/p>\n\u003cp>By the time the video screens projected images of the American flag around us during Jessie Montgomery’s \u003cem>Banner\u003c/em>, it was impossible to see it not as a sign of pride or patriotism but as a question, a reminder of the crossroads at which we currently find ourselves as Americans. Given the examples we’d just borne witness to — the weight of history, the potential outcomes from fascist regimes — where do we go from here? What kind of country do we want to be? When the protest songs of 2017 are performed 100 years from now, will they be tinged, as songs from Nazi Germany are, with futility?\u003c/p>\n\u003cfigure id=\"attachment_12925689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/06A2265.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12925689\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/06A2265-800x533.jpg\" alt=\"Christian Reif addresses the audience\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Christian Reif addresses the audience. \u003ccite>(Jessie Huntsman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Obviously the theme is timely,” the German-born Reif told me a few minutes after the show’s conclusion, as he and several performers, including Tines, mingled with audience members. “But I think artists have always had ways of speaking the truth about what’s happening around them, maybe ways [other people] can’t.” Finding examples of this throughout history, he said, wasn’t difficult.\u003c/p>\n\u003cp>People were beginning to trickle out then, and a playlist of classic anti-war songs (Creedence Clearwater Revival at the symphony, anyone?) was briefly interrupted by a police siren from the street outside. Outside, it was St. Patrick’s Day in 2017 in America, and the bars downtown were filled to the brim with Irish whiskey-swilling humans, many of them likely doing their best to forget the present. It’s an understandable desire.\u003c/p>\n\u003cp>But I also left Soundbox with an oddly calm sense of power, of context: a feeling in my bones that these waters aren’t uncharted. It is both terrifying and reassuring that the human race has been here before. And at every point in history, from pretty much every corner of the globe, artists have left behind important lessons for us, not-so-secret gems of notes for this very purpose — songs as messages in bottles, if you will. We just have to decide, really, to listen.\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=\"Q.Logo.Break\" 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>The next Soundbox takes place April 14 and 15, curated by SFS trombonist Tim Higgins. \u003ca href=\"http://sfsoundbox.com/\" target=\"_blank\" rel=\"noopener\">Tickets ($45) go on sale Monday, March 20 at 10am; more info here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "The weekend's edition of the SF Symphony's monthly classical-music-in-a-nightclub experiment included powerful performances -- and a world history lesson on art as a form of protest. ",
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"description": "The weekend's edition of the SF Symphony's monthly classical-music-in-a-nightclub experiment included powerful performances -- and a world history lesson on art as a form of protest. ",
"title": "Soundbox's Timely 'Rebel' Concert Celebrates a Legacy of Resistance | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a just world, one in which fame was proportionate to talent, Davóne Tines would be as big as Kanye.\u003c/p>\n\u003cp>In the world we live in — the one where live classical music and its patrons exist in a different orbit entirely from that of rock, pop, hip-hop and even jazz — he’s an alarmingly charismatic bass-baritone, a bright young star of the opera scene, one whose delivery draws clearly from the \u003ca href=\"http://www.latimes.com/entertainment/arts/la-ca-cm-davone-tines-el-nino-20161208-htmlstory.html\" target=\"_blank\" rel=\"noopener\">soulful church music on which he was raised\u003c/a>.\u003c/p>\n\u003cp>I didn’t know his name before last night. And if the San Francisco Symphony hadn’t created \u003ca href=\"https://ww2.kqed.org/arts/2014/12/15/live-review-soundbox-classical-goes-clubbing/\" target=\"_blank\" rel=\"noopener\">Soundbox, a two-year-old experiment that blends the atmosphere of a nightclub with classical performance and visual art installations\u003c/a> for a show curated around a different theme every month, performed over one weekend in a small, warehouse-like room abutting Davies Symphony Hall, I might never have known it.\u003c/p>\n\u003cfigure id=\"attachment_12925684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12925684\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/06A2243-800x533.jpg\" alt=\"Christian Reif conducts members of the San Francisco Symphony at Soundbox on March 17, 2017.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christian Reif conducts members of the San Francisco Symphony at Soundbox on March 17, 2017. \u003ccite>(Jessie Huntsman / Courtesy of the SF Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which also means I wouldn’t have experienced the moment Friday night, March 17, when Tines traced a slow lap through the audience, scanning the room as he reached deep into the bottom of his impressive register and emerged with such a powerful performance of Caroline Shaw’s “I’ll Fly Away” that the hair on my arms stood on end for a full five minutes. This man sings the way Olympic gymnasts tumble — \u003cem>How is that body doing that?\u003c/em> \u003cem>Why do I want to laugh and also cry?\u003c/em> He sings like there are stakes to every syllable. “Captivating” doesn’t begin to describe it.\u003c/p>\n\u003cp>That moment was just one of at least a dozen at Soundbox that exceeded any expectations I had for the evening. I am, to be sure, the audience member for whom Soundbox was created: young, city-dwelling, supportive of the arts in theory but in practice, perpetually broke and, relatedly, not prone to buying symphony tickets. Whether or not Soundbox has been a success in this capacity — as a “gateway” classical music drug of sorts, to eventually get young people hooked on the seated, cocktail-less performances in the building next door — will be determined over time. But the show’s popularity speaks for itself: performances tend to sell out about 20 minutes after tickets go on sale. Lining up at the entrance earlier that night, we’d overheard two under-21 attendees trying to figure out how to sneak in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The theme for this evening was \u003cem>Rebel\u003c/em>, and the programming, curated by SFS Resident Conductor Christian Reif, was divided into three geographic regions: broadly, composers from Germany, Russia and the U.S. whose work responded to oppression or censorship.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/06A2275.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12925690\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/06A2275-800x533.jpg\" alt=\"_06A2275\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Over the course of 90 minutes, with audience members lounging on couches or at bar tables, many of them wearing jeans and sneakers, nearly everyone sipping a cocktail or beer, music and video projections transformed the room into the Weimar Republic, then into Soviet Russia, and then again into contemporary America. Three different short stages — one of them square in the middle of the crowd — kept redirecting our attention around the room as groups of SFS players as small as two or as big as 20 performed, essentially, in our faces. It was intimate to say the least. In some cases (like when violinist Dan Carlson’s performance of the final movement of Hartmann’s \u003ci>Concerto funebre \u003c/i>left me half-expecting to see smoke rising from his instrument) the closeness was exhilarating.\u003c/p>\n\u003cfigure id=\"attachment_12925687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/06A2260.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12925687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/06A2260-800x533.jpg\" alt=\"Violinist Dan Carlson\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Violinist Dan Carlson \u003ccite>(Jessie Huntsman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Transported to Russia, we were soon in the hands of Shostakovich, a composer who lived something of a double life: forced to compose songs that served as propaganda for the Soviet government, he also quietly produced caustic work that’s now read as satire. Soprano Catherine Cook sang while Rief accompanied her at the piano for \u003cem>Satiri\u003c/em>, a piece full of bitter humor that Shostokovich apparently wrote as he was anticipating forced membership into the Communist Party.\u003c/p>\n\u003cfigure id=\"attachment_12925893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_4932.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12925893\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_4932-800x600.jpg\" alt=\"Catherine Cook\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Catherine Cook \u003ccite>(Emma Silvers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Artists have been feared by tyrants, because they speak the truth,” said Reif during a brief break between music. “You can get rid of people, but you can’t get rid of art.”\u003c/p>\n\u003cp>Perhaps unsurprisingly, the most poignant notes of the evening arrived in its final third: when we, as an audience sipping $13 cocktails on a Friday night, were asked to consider the United States’ own history of discrimination, oppression and abuse. If Tines stole the show on that spiritual, the two other pieces were close behind: Selections from \u003cem>Black Angels, \u003c/em>the avant-garde composer George Crumb’s response to the Vietnam War, conjured demons even without the dark video projections.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_4940.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12925688\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_4940-800x600.jpg\" alt=\"IMG_4940\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>And the excerpt from Julius Eastman’s emotional, minimalist \u003cem>Gay Guerilla\u003c/em> — which SFS Associate Director of Artistic Planning Richard Londsdorf casually told me after the show had required some interesting translations, it had never been performed with a symphony before — was rendered all the more moving by an introduction in which Reif explained that Eastman, a gay black composer, had died alone and homeless, his work receiving most of its acclaim after his death.\u003c/p>\n\u003cp>By the time the video screens projected images of the American flag around us during Jessie Montgomery’s \u003cem>Banner\u003c/em>, it was impossible to see it not as a sign of pride or patriotism but as a question, a reminder of the crossroads at which we currently find ourselves as Americans. Given the examples we’d just borne witness to — the weight of history, the potential outcomes from fascist regimes — where do we go from here? What kind of country do we want to be? When the protest songs of 2017 are performed 100 years from now, will they be tinged, as songs from Nazi Germany are, with futility?\u003c/p>\n\u003cfigure id=\"attachment_12925689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/06A2265.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12925689\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/06A2265-800x533.jpg\" alt=\"Christian Reif addresses the audience\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Christian Reif addresses the audience. \u003ccite>(Jessie Huntsman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Obviously the theme is timely,” the German-born Reif told me a few minutes after the show’s conclusion, as he and several performers, including Tines, mingled with audience members. “But I think artists have always had ways of speaking the truth about what’s happening around them, maybe ways [other people] can’t.” Finding examples of this throughout history, he said, wasn’t difficult.\u003c/p>\n\u003cp>People were beginning to trickle out then, and a playlist of classic anti-war songs (Creedence Clearwater Revival at the symphony, anyone?) was briefly interrupted by a police siren from the street outside. Outside, it was St. Patrick’s Day in 2017 in America, and the bars downtown were filled to the brim with Irish whiskey-swilling humans, many of them likely doing their best to forget the present. It’s an understandable desire.\u003c/p>\n\u003cp>But I also left Soundbox with an oddly calm sense of power, of context: a feeling in my bones that these waters aren’t uncharted. It is both terrifying and reassuring that the human race has been here before. And at every point in history, from pretty much every corner of the globe, artists have left behind important lessons for us, not-so-secret gems of notes for this very purpose — songs as messages in bottles, if you will. We just have to decide, really, to listen.\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=\"Q.Logo.Break\" 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>The next Soundbox takes place April 14 and 15, curated by SFS trombonist Tim Higgins. \u003ca href=\"http://sfsoundbox.com/\" target=\"_blank\" rel=\"noopener\">Tickets ($45) go on sale Monday, March 20 at 10am; more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In 'Personal Shopper', Kristen Stewart is a Cinderella in Reverse",
"headTitle": "In ‘Personal Shopper’, Kristen Stewart is a Cinderella in Reverse | KQED",
"content": "\u003cp>Paris is killing Kristen Stewart. At least, it’s killing Maureen Cartwright, the character she inhabits in Olivier Assayas’ new film \u003cem>Personal Shopper.\u003c/em> Maureen suffers from a rare heart condition, the same one that recently killed her twin brother Louis. Additionally, her soul-consuming job as a famous actress’ personal shopper isn’t helping matters.\u003c/p>\n\u003cp>The self-important, cold and preening Kyra (Nora von Waldstätten) requests two pairs of $2,000 leather pants but quibbles with Maureen about reimbursing her for expenses. There’s a joylessness in Stewart’s expression, the corners of her mouth perpetually turned down, as she darts around town from one high-end boutique to the next.\u003c/p>\n\u003cp>But she also has a strange affinity for it. Maureen quickly strides into each store grim yet determined. She touches the garments, feeling the material the way a blind person reads braille, to understand their essence. She’s a fashion witch, having adapted her powers for the 21st century — confirmed by the film’s opening scene in Louis’ enormous house that appears to be emptied of everything except cobwebs, creaking doors and, unsurprisingly, ghosts.\u003c/p>\n\u003cfigure id=\"attachment_12913163\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12913163\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_9945-800x450.jpg\" alt=\"Kristen Stewart as Maureen Cartwright in Olivier Assayas’s PERSONAL SHOPPER. Photo by Carole Bethuel. Courtesy of IFC Films. An IFC Films release. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Stewart as Maureen Cartwright in ‘Personal Shopper.’ Photo by Carole Bethuel/IFC Films.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s only been a few months since Maureen’s brother died, and she is still in a hardened state of grief. Before the new owners move into his old house, they’ve asked her to spend the night in the house to clear it. Just like Patricia Arquette’s character in the 2005-2011 TV series \u003cem>Medium\u003c/em>, Maureen sees and communicates with dead people. To confirm her claim, the director slams doors offscreen and creates an off-kilter flash of light to indicate an otherworldly presence. Ectoplasm and matching Cartier jewel sets, what exactly are Stewart and Assayas up to?\u003c/p>\n\u003cp>This is their second collaboration after 2014’s \u003cem>Clouds of Sils Maria.\u003c/em> If Stewart’s role here sounds familiar, it is. In \u003cem>Clouds,\u003c/em> she played Valentine, assistant to a famous actress Maria Enders (Juliette Binoche). Unlike Kyra, Maria needs Valentine as a companion, a foil and a bulwark to defend her from a series of grasping hands. The film explored their relationship, its intensity and closeness, in a remote mountain setting. Valentine remains a semi-mysterious, often mystified, figure who is running out of patience with the unending demands of show business.\u003c/p>\n\u003cfigure id=\"attachment_12913164\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12913164\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_0784-800x533.jpg\" alt=\"Kristen Stewart and Olivier Assayas on the set of Olivier Assayas’s PERSONAL SHOPPER. Courtesy of IFC Films. An IFC Films release. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Stewart and Olivier Assayas on the set of ‘Personal Shopper.’ Photo by Carole Bethuel/IFC Films.\u003c/figcaption>\u003c/figure>\n\u003cp>Apart from the name change, Maureen is a natural extension of that character. \u003cem>Clouds of Sils Maria\u003c/em> isn’t exactly a prequel to \u003cem>Personal Shopper\u003c/em>, though. It’s a companion film, a fraternal twin, whose glancing resemblance only complements and then enhances a viewing of the other. Much in the same way that Ingmar Bergman’s screenplay of \u003cem>The Best Intentions\u003c/em> related to his earlier autobiographical film \u003cem>Fanny and Alexander\u003c/em>, \u003cem>Clouds\u003c/em> also traffics in grief but in a more allusive way — it resolves to stay unresolved. \u003cem>Shopper\u003c/em> is grittier (Paris looks dirty). Assayas wants to upend and combine suspense and horror genres. And Stewart is chattier: she explains more of her behavior in the first half hour of the new film than she does in the entirety of \u003cem>Clouds.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The most interesting aspect of both films is the casting of Stewart as a movie star’s assistant. As Bella Swan in the \u003cem>Twilight\u003c/em> series of vampire movies, she became a high-paid Hollywood star who reeled from the subsequent onslaught of fandom, public scrutiny and the intrusions of paparazzi. In \u003cem>Clouds,\u003c/em> as Stewart plays against her public image, you can detect a barely suppressed ironic smile. With Maureen in \u003cem>Personal Shopper\u003c/em>, she takes an evolutionary step forward with her public persona.\u003c/p>\n\u003cfigure id=\"attachment_12913165\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12913165\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-800x450.jpg\" alt=\"Kristen Stewart as Maureen Cartwright in Olivier Assayas’s PERSONAL SHOPPER. Photo by Carole Bethuel. Courtesy of IFC Films. An IFC Films release. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Stewart as Maureen Cartwright in ‘Personal Shopper.’ Photo by Carole Bethuel/IFC Films.\u003c/figcaption>\u003c/figure>\n\u003cp>Like a character in an Angela Carter fairy tale, Maureen is forbidden from trying on Kyra’s clothing, and she breaks that taboo. The camera watches Stewart as she strips herself down, to her thinnest, most fragile bones. She temporarily rebuilds herself in Kyra’s image, donning a newly purchased dress and shoes, slipping on the identity of a star. Assayas rightly captures the eroticism of that forbidden moment, the sexual liberation Maureen feels when she’s so close to Kyra’s skin, the fantasy of the viewer’s desire for a matinee idol.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But the next day, after the fantasy ends, there are terrible consequences. Trying on the glass slipper casts Maureen out of the palace instead of offering her access to it and the prince. Maureen is a Cinderella in reverse. Stewart, with Assayas’ help, wants to regain her earthly footing, denuded of glamor in a comfortable hoodie and sneakers. Like some angry, lingering ghost from the past, Bella Swan is exorcised and cast out at last.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Paris is killing Kristen Stewart. At least, it’s killing Maureen Cartwright, the character she inhabits in Olivier Assayas’ new film \u003cem>Personal Shopper.\u003c/em> Maureen suffers from a rare heart condition, the same one that recently killed her twin brother Louis. Additionally, her soul-consuming job as a famous actress’ personal shopper isn’t helping matters.\u003c/p>\n\u003cp>The self-important, cold and preening Kyra (Nora von Waldstätten) requests two pairs of $2,000 leather pants but quibbles with Maureen about reimbursing her for expenses. There’s a joylessness in Stewart’s expression, the corners of her mouth perpetually turned down, as she darts around town from one high-end boutique to the next.\u003c/p>\n\u003cp>But she also has a strange affinity for it. Maureen quickly strides into each store grim yet determined. She touches the garments, feeling the material the way a blind person reads braille, to understand their essence. She’s a fashion witch, having adapted her powers for the 21st century — confirmed by the film’s opening scene in Louis’ enormous house that appears to be emptied of everything except cobwebs, creaking doors and, unsurprisingly, ghosts.\u003c/p>\n\u003cfigure id=\"attachment_12913163\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12913163\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_9945-800x450.jpg\" alt=\"Kristen Stewart as Maureen Cartwright in Olivier Assayas’s PERSONAL SHOPPER. Photo by Carole Bethuel. Courtesy of IFC Films. An IFC Films release. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Stewart as Maureen Cartwright in ‘Personal Shopper.’ Photo by Carole Bethuel/IFC Films.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s only been a few months since Maureen’s brother died, and she is still in a hardened state of grief. Before the new owners move into his old house, they’ve asked her to spend the night in the house to clear it. Just like Patricia Arquette’s character in the 2005-2011 TV series \u003cem>Medium\u003c/em>, Maureen sees and communicates with dead people. To confirm her claim, the director slams doors offscreen and creates an off-kilter flash of light to indicate an otherworldly presence. Ectoplasm and matching Cartier jewel sets, what exactly are Stewart and Assayas up to?\u003c/p>\n\u003cp>This is their second collaboration after 2014’s \u003cem>Clouds of Sils Maria.\u003c/em> If Stewart’s role here sounds familiar, it is. In \u003cem>Clouds,\u003c/em> she played Valentine, assistant to a famous actress Maria Enders (Juliette Binoche). Unlike Kyra, Maria needs Valentine as a companion, a foil and a bulwark to defend her from a series of grasping hands. The film explored their relationship, its intensity and closeness, in a remote mountain setting. Valentine remains a semi-mysterious, often mystified, figure who is running out of patience with the unending demands of show business.\u003c/p>\n\u003cfigure id=\"attachment_12913164\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12913164\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_0784-800x533.jpg\" alt=\"Kristen Stewart and Olivier Assayas on the set of Olivier Assayas’s PERSONAL SHOPPER. Courtesy of IFC Films. An IFC Films release. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Stewart and Olivier Assayas on the set of ‘Personal Shopper.’ Photo by Carole Bethuel/IFC Films.\u003c/figcaption>\u003c/figure>\n\u003cp>Apart from the name change, Maureen is a natural extension of that character. \u003cem>Clouds of Sils Maria\u003c/em> isn’t exactly a prequel to \u003cem>Personal Shopper\u003c/em>, though. It’s a companion film, a fraternal twin, whose glancing resemblance only complements and then enhances a viewing of the other. Much in the same way that Ingmar Bergman’s screenplay of \u003cem>The Best Intentions\u003c/em> related to his earlier autobiographical film \u003cem>Fanny and Alexander\u003c/em>, \u003cem>Clouds\u003c/em> also traffics in grief but in a more allusive way — it resolves to stay unresolved. \u003cem>Shopper\u003c/em> is grittier (Paris looks dirty). Assayas wants to upend and combine suspense and horror genres. And Stewart is chattier: she explains more of her behavior in the first half hour of the new film than she does in the entirety of \u003cem>Clouds.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The most interesting aspect of both films is the casting of Stewart as a movie star’s assistant. As Bella Swan in the \u003cem>Twilight\u003c/em> series of vampire movies, she became a high-paid Hollywood star who reeled from the subsequent onslaught of fandom, public scrutiny and the intrusions of paparazzi. In \u003cem>Clouds,\u003c/em> as Stewart plays against her public image, you can detect a barely suppressed ironic smile. With Maureen in \u003cem>Personal Shopper\u003c/em>, she takes an evolutionary step forward with her public persona.\u003c/p>\n\u003cfigure id=\"attachment_12913165\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12913165\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-800x450.jpg\" alt=\"Kristen Stewart as Maureen Cartwright in Olivier Assayas’s PERSONAL SHOPPER. Photo by Carole Bethuel. Courtesy of IFC Films. An IFC Films release. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Stewart as Maureen Cartwright in ‘Personal Shopper.’ Photo by Carole Bethuel/IFC Films.\u003c/figcaption>\u003c/figure>\n\u003cp>Like a character in an Angela Carter fairy tale, Maureen is forbidden from trying on Kyra’s clothing, and she breaks that taboo. The camera watches Stewart as she strips herself down, to her thinnest, most fragile bones. She temporarily rebuilds herself in Kyra’s image, donning a newly purchased dress and shoes, slipping on the identity of a star. Assayas rightly captures the eroticism of that forbidden moment, the sexual liberation Maureen feels when she’s so close to Kyra’s skin, the fantasy of the viewer’s desire for a matinee idol.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But the next day, after the fantasy ends, there are terrible consequences. Trying on the glass slipper casts Maureen out of the palace instead of offering her access to it and the prince. Maureen is a Cinderella in reverse. Stewart, with Assayas’ help, wants to regain her earthly footing, denuded of glamor in a comfortable hoodie and sneakers. Like some angry, lingering ghost from the past, Bella Swan is exorcised and cast out at last.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A New Toolkit for Listening to Music, Chapter by Chapter",
"headTitle": "A New Toolkit for Listening to Music, Chapter by Chapter | KQED",
"content": "\u003cp>For three days I’ve been fervently enamored with the 1997 album \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=AMIV6JddzVE&list=PLjKnruHn_8TcX64rDUBlLxk-MPzYj-J-h\" target=\"_blank\" rel=\"noopener\">Tri Repetae\u003c/a>\u003c/em>, by the electronic duo Autechre. How I lived 41 years on this planet without hearing it before is a little strange, especially since I’d been so close to discovering it through natural means; over the past 15 years I had bought, completely blind, three of Autechre’s albums at random from record stores. They ranged from puzzling to pleasant.\u003c/p>\n\u003cp>I might have decided to leave it at that, except over the weekend I happened to ask a \u003ca href=\"https://www.instagram.com/parkblvdrecords/\" target=\"_blank\" rel=\"noopener\">record store owner\u003c/a> for an Autechre recommendation. \u003cem>Chiastic Slide\u003c/em> had been too scattered and musique concrète for me, I told him, while \u003cem>Oversteps\u003c/em> had been too mild. I wanted something in between, and so, $27.85 later, I drove 60 miles back home with the album that took me 20 years to discover and which I would immediately play six times in a row.\u003c/p>\n\u003cfigure id=\"attachment_12905516\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Autechre-800x534.jpg\" alt=\"Autchre's 'Tri Repetae.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-12905516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Autechre-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Autechre-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Autechre-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Autechre-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Autechre-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Autechre-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Autechre-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Autechre.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Autchre’s ‘Tri Repetae.’\u003c/figcaption>\u003c/figure>\n\u003cp>I thrive on these “hard” ways of discovering music. I have a self-inflicted condition which dictates that if I haven’t put in some sort of investment into finding music — monetary or otherwise — I value it less. I \u003ca href=\"http://www.bohemian.com/northbay/i-still-make-tapes/Content?oid=2172953\" target=\"_blank\" rel=\"noopener\">still make cassette tapes\u003c/a>, partly for the required attention to detail which connects me tangibly to the music therein. I track down hard-to-find copies of \u003ca href=\"http://www.bohemian.com/northbay/what-happened-to-those-guys/Content?oid=2171304\" target=\"_blank\" rel=\"noopener\">old records\u003c/a> by musicians because I want my search for their music to rival their search for its creation. I have never once listened to a playlist compiled for a streaming service, because that’s too easy. If I’ve put in some work to find music, I’ll get more reward. \u003c/p>\n\u003cp>I admit that in a world where almost all of the world’s commercially released music is available at the tap of a finger on a small black device in my pocket, this is a very limiting way to listen to music — and that may be the point, foolish though it may seem.\u003c/p>\n\u003cp>A smarter way of listening can be found in \u003cem>Every Song Ever\u003c/em>, a new book by Ben Ratliff, who for nearly 20 years worked as a music critic for the \u003cem>New York Times\u003c/em>. Ratliff embraces the instant availability of music and, rather than sorting it into genre — or worse, algorithm-based, activity-focused playlists like “Morning Jog” or “Chill With Friends” — posits an approach to sorting the internet’s endless supply of music based on a different set of characteristics. \u003c/p>\n\u003cfigure id=\"attachment_12905514\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/ratliff.jpg\" alt=\"Ben Ratliff.\" width=\"768\" height=\"512\" class=\"size-full wp-image-12905514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ratliff.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ratliff-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ratliff-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ratliff-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ratliff-520x347.jpg 520w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Ben Ratliff. \u003ccite>(Kate Fox Reynolds)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each chapter of Ratliff’s book deals with an aspect of music that traverses genre and era. The first chapter, on repetition, explores James Brown’s reliable funk alongside Steve Reich’s hypnotic phasing. A chapter on slowness deals with the Flamingos’ molasses-like doo-wop hit “I Only Have Eyes for You” as well as Sleep’s stoner-metal opus \u003cem>Dopesmoker\u003c/em>. When discussing speed in music, Ratliff turns to both an 18th-century piano sonata by Domenico Scarlatti and a \u003ca href=\"https://www.youtube.com/watch?v=wlinaPYZovY\" target=\"_blank\" rel=\"noopener\">live show from 1984\u003c/a> by hardcore thrash band D.R.I.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a built-in thrill to the variety here, and several times in reading Ratliff’s moving descriptions of these pieces of music, I had to set down the book to consult my own record collection for songs I’d heard many times already, or YouTube for the ones new to me — for once, I \u003cem>wanted\u003c/em> the endless supply of music at my fingertips. But even more thrilling is when these quantifiable aspects of music in the book give way to more abstract measurements. Virtuosity. Sadness. Memory. \u003c/p>\n\u003cfigure id=\"attachment_12905517\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Ronettes-800x815.jpg\" alt=\"The Ronettes' 'Be My Baby' 45.\" width=\"600\" height=\"610\" class=\"size-medium wp-image-12905517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Ronettes-800x815.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Ronettes-160x163.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Ronettes-960x978.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Ronettes-240x245.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Ronettes-375x382.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Ronettes-520x530.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Ronettes-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Ronettes-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Ronettes-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Ronettes.jpg 1005w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Ronettes’ ‘Be My Baby’ 45.\u003c/figcaption>\u003c/figure>\n\u003cp>In this, Ratliff’s strategy is a sly one. Just as he pulls the reader in with a simple concept like tempo before musing on more complex themes (music being “powered by its search for membership,” for one), he dangles a recognizable song and then draws a connecting thread to an obscure one. A chapter that opens with a deep look at the legacy of the \u003ca href=\"https://www.youtube.com/watch?v=NsEgBPw1H0Y\" target=\"_blank\" rel=\"noopener\">famous drumbeat\u003c/a> to “Be My Baby,” by the Ronettes, leads to Barry Manilow, and then the Clash, then the Italian tenor Beniamino Gigli, then Duran Duran, Bill Evans, Pablo Casals and Kanye West.\u003c/p>\n\u003cp>By \u003cem>Every Song Ever\u003c/em>’s end, genre is a futile construct. Overall, the effect of finishing the book reminded me of spending long hours in dark video arcades as a teenager, and stepping out into the world afterward with a rearranged concept of the city. Is a ninja attacker approaching from behind that bush? Can I ollie over this handrail? Shall I take cover from the space invaders behind this electrical box? \u003c/p>\n\u003cp>Which is to say: I hear music differently now. It may wear off, like the lingering filter from video games did. But just as I still do for \u003cem>The Jazz Ear\u003c/em>, another worthwhile Ratliff book about listening, I can see myself years from now pulling \u003cem>Every Song Ever\u003c/em> off the shelf to consult during spans of jaded disinterest. I might also cue up an album I’ve never heard before — like Autechre’s \u003cem>Tri Repetae\u003c/em> — on my phone, instead of waiting 20 years to discover it through convoluted, lengthy means.\u003c/p>\n\u003cp>There’s a hoary maxim about life being 10 percent what happens, and 90 percent how one reacts to it. Too many books about music concern the former. \u003cem>Every Song Ever\u003c/em> works as a chapter-by-chapter toolkit for listening that readers can use for a lifetime.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ben Ratliff appears in a ‘guided listening’ event, playing music and discussing ideas from ‘Every Song Ever,’ on Sunday, March 19 at the SFJAZZ Center in San Francisco. An author reception follows. Details and more info. \u003ca href=\"https://sfjazz.org/events/2016-17/0319/listening-party-ben-ratliff\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For three days I’ve been fervently enamored with the 1997 album \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=AMIV6JddzVE&list=PLjKnruHn_8TcX64rDUBlLxk-MPzYj-J-h\" target=\"_blank\" rel=\"noopener\">Tri Repetae\u003c/a>\u003c/em>, by the electronic duo Autechre. How I lived 41 years on this planet without hearing it before is a little strange, especially since I’d been so close to discovering it through natural means; over the past 15 years I had bought, completely blind, three of Autechre’s albums at random from record stores. They ranged from puzzling to pleasant.\u003c/p>\n\u003cp>I might have decided to leave it at that, except over the weekend I happened to ask a \u003ca href=\"https://www.instagram.com/parkblvdrecords/\" target=\"_blank\" rel=\"noopener\">record store owner\u003c/a> for an Autechre recommendation. \u003cem>Chiastic Slide\u003c/em> had been too scattered and musique concrète for me, I told him, while \u003cem>Oversteps\u003c/em> had been too mild. I wanted something in between, and so, $27.85 later, I drove 60 miles back home with the album that took me 20 years to discover and which I would immediately play six times in a row.\u003c/p>\n\u003cfigure id=\"attachment_12905516\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Autechre-800x534.jpg\" alt=\"Autchre's 'Tri Repetae.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-12905516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Autechre-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Autechre-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Autechre-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Autechre-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Autechre-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Autechre-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Autechre-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Autechre.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Autchre’s ‘Tri Repetae.’\u003c/figcaption>\u003c/figure>\n\u003cp>I thrive on these “hard” ways of discovering music. I have a self-inflicted condition which dictates that if I haven’t put in some sort of investment into finding music — monetary or otherwise — I value it less. I \u003ca href=\"http://www.bohemian.com/northbay/i-still-make-tapes/Content?oid=2172953\" target=\"_blank\" rel=\"noopener\">still make cassette tapes\u003c/a>, partly for the required attention to detail which connects me tangibly to the music therein. I track down hard-to-find copies of \u003ca href=\"http://www.bohemian.com/northbay/what-happened-to-those-guys/Content?oid=2171304\" target=\"_blank\" rel=\"noopener\">old records\u003c/a> by musicians because I want my search for their music to rival their search for its creation. I have never once listened to a playlist compiled for a streaming service, because that’s too easy. If I’ve put in some work to find music, I’ll get more reward. \u003c/p>\n\u003cp>I admit that in a world where almost all of the world’s commercially released music is available at the tap of a finger on a small black device in my pocket, this is a very limiting way to listen to music — and that may be the point, foolish though it may seem.\u003c/p>\n\u003cp>A smarter way of listening can be found in \u003cem>Every Song Ever\u003c/em>, a new book by Ben Ratliff, who for nearly 20 years worked as a music critic for the \u003cem>New York Times\u003c/em>. Ratliff embraces the instant availability of music and, rather than sorting it into genre — or worse, algorithm-based, activity-focused playlists like “Morning Jog” or “Chill With Friends” — posits an approach to sorting the internet’s endless supply of music based on a different set of characteristics. \u003c/p>\n\u003cfigure id=\"attachment_12905514\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/ratliff.jpg\" alt=\"Ben Ratliff.\" width=\"768\" height=\"512\" class=\"size-full wp-image-12905514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ratliff.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ratliff-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ratliff-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ratliff-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ratliff-520x347.jpg 520w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Ben Ratliff. \u003ccite>(Kate Fox Reynolds)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each chapter of Ratliff’s book deals with an aspect of music that traverses genre and era. The first chapter, on repetition, explores James Brown’s reliable funk alongside Steve Reich’s hypnotic phasing. A chapter on slowness deals with the Flamingos’ molasses-like doo-wop hit “I Only Have Eyes for You” as well as Sleep’s stoner-metal opus \u003cem>Dopesmoker\u003c/em>. When discussing speed in music, Ratliff turns to both an 18th-century piano sonata by Domenico Scarlatti and a \u003ca href=\"https://www.youtube.com/watch?v=wlinaPYZovY\" target=\"_blank\" rel=\"noopener\">live show from 1984\u003c/a> by hardcore thrash band D.R.I.\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 built-in thrill to the variety here, and several times in reading Ratliff’s moving descriptions of these pieces of music, I had to set down the book to consult my own record collection for songs I’d heard many times already, or YouTube for the ones new to me — for once, I \u003cem>wanted\u003c/em> the endless supply of music at my fingertips. But even more thrilling is when these quantifiable aspects of music in the book give way to more abstract measurements. Virtuosity. Sadness. Memory. \u003c/p>\n\u003cfigure id=\"attachment_12905517\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Ronettes-800x815.jpg\" alt=\"The Ronettes' 'Be My Baby' 45.\" width=\"600\" height=\"610\" class=\"size-medium wp-image-12905517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Ronettes-800x815.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Ronettes-160x163.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Ronettes-960x978.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Ronettes-240x245.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Ronettes-375x382.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Ronettes-520x530.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Ronettes-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Ronettes-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Ronettes-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Ronettes.jpg 1005w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Ronettes’ ‘Be My Baby’ 45.\u003c/figcaption>\u003c/figure>\n\u003cp>In this, Ratliff’s strategy is a sly one. Just as he pulls the reader in with a simple concept like tempo before musing on more complex themes (music being “powered by its search for membership,” for one), he dangles a recognizable song and then draws a connecting thread to an obscure one. A chapter that opens with a deep look at the legacy of the \u003ca href=\"https://www.youtube.com/watch?v=NsEgBPw1H0Y\" target=\"_blank\" rel=\"noopener\">famous drumbeat\u003c/a> to “Be My Baby,” by the Ronettes, leads to Barry Manilow, and then the Clash, then the Italian tenor Beniamino Gigli, then Duran Duran, Bill Evans, Pablo Casals and Kanye West.\u003c/p>\n\u003cp>By \u003cem>Every Song Ever\u003c/em>’s end, genre is a futile construct. Overall, the effect of finishing the book reminded me of spending long hours in dark video arcades as a teenager, and stepping out into the world afterward with a rearranged concept of the city. Is a ninja attacker approaching from behind that bush? Can I ollie over this handrail? Shall I take cover from the space invaders behind this electrical box? \u003c/p>\n\u003cp>Which is to say: I hear music differently now. It may wear off, like the lingering filter from video games did. But just as I still do for \u003cem>The Jazz Ear\u003c/em>, another worthwhile Ratliff book about listening, I can see myself years from now pulling \u003cem>Every Song Ever\u003c/em> off the shelf to consult during spans of jaded disinterest. I might also cue up an album I’ve never heard before — like Autechre’s \u003cem>Tri Repetae\u003c/em> — on my phone, instead of waiting 20 years to discover it through convoluted, lengthy means.\u003c/p>\n\u003cp>There’s a hoary maxim about life being 10 percent what happens, and 90 percent how one reacts to it. Too many books about music concern the former. \u003cem>Every Song Ever\u003c/em> works as a chapter-by-chapter toolkit for listening that readers can use for a lifetime.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ben Ratliff appears in a ‘guided listening’ event, playing music and discussing ideas from ‘Every Song Ever,’ on Sunday, March 19 at the SFJAZZ Center in San Francisco. An author reception follows. Details and more info. \u003ca href=\"https://sfjazz.org/events/2016-17/0319/listening-party-ben-ratliff\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At SFSU, Looking and Truly Seeing the Middle East Through Art",
"headTitle": "At SFSU, Looking and Truly Seeing the Middle East Through Art | KQED",
"content": "\u003cp>What does it mean to look? And what does it mean to be seen?\u003c/p>\n\u003cp>These are two of the critical questions raised in \u003ca href=\"https://ids.sfsu.edu/news-announce/mashrabiya-art-looking-back\" target=\"_blank\" rel=\"noopener\">\u003ci>Mashrabiya: The Art of Looking Back\u003c/i>\u003c/a>, an intimate, six-person exhibition now on view in the San Francisco State University (SFSU) Fine Arts Gallery.\u003c/p>\n\u003cp>The title \u003cem>Mashrabiya\u003c/em> refers to the \u003ca href=\"https://www.google.com/search?q=mashrabiya&rlz=1C1PRFC_enUS638US638&espv=2&biw=1920&bih=911&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiCrarb2MXSAhUJwlQKHdFpBi4Q_AUIBigB\" target=\"_blank\" rel=\"noopener\">projecting latticed windows\u003c/a> that are a familiar feature of domestic architecture throughout the Middle East and wider Islamic world. The windows function to protect inhabitants — primarily women — from public gaze while simultaneously providing a safe vantage point from which to view the public realm. Co-curators Santhi Kavuri-Bauer, Kathy Zarur, Sharon E. Bliss and Mark Johnson adapted the mashrabiya as a visual metaphor through which to think about social and political relations between East and West, and how much the West in particular has yet to learn.\u003c/p>\n\u003cfigure id=\"attachment_12866838\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Guirguis.jpg\" alt=\"Work by Sherin Guirguis.\" width=\"1000\" height=\"720\" class=\"size-full wp-image-12866838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis-960x691.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis-375x270.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis-520x374.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Work by Sherin Guirguis. \u003ccite>(Photo by Kristy Boylan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Taraneh Hemami’s \u003ca href=\"http://www.taranehhemami.com/bulletin-2016\" target=\"_blank\" rel=\"noopener\">\u003ci>Bulletin\u003c/i>\u003c/a>, published in conjunction with the longform project \u003cem>Theory of Survival\u003c/em>, establishes a loose context for the overall exhibition. Comprising critical points in Iranian and world history, \u003cem>Bulletin\u003c/em> offers a more complete account of the country’s fraught passage through the 19th and 20th centuries, widening the otherwise narrow aperture through which Middle Eastern life is perceived. \u003c/p>\n\u003cp>Iran’s history does not begin with the Islamic Revolution (1978-79), but that is the primary event that informs almost all contemporary media portrayals of the country to this day. Hemami’s bulleted list, mirroring a mashrabiya in its layout, situates her native country and other Middle Eastern nations within the temporal spectrum of recent history to illustrate how little we know of a place otherwise relegated to \u003ca href=\"https://en.wikipedia.org/wiki/Axis_of_evil\" target=\"_blank\" rel=\"noopener\">“the axis of evil.”\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While no two stories about living outside one’s cultural and familial context are the same, certain themes emerge in \u003ci>The Art of Looking Back\u003c/i> that create a cohesive exhibition narrative; namely mistranslation and the consequences of war.\u003c/p>\n\u003cp>Los Angeles-based \u003ca href=\"http://www.sheringuirguis.com/work\" target=\"_blank\" rel=\"noopener\">Sherin Guirguis\u003c/a> addresses cultural appropriation through painting and sculpture. In \u003cem>Untitled (ollas)\u003c/em>, Guirguis models unglazed ceramic water jugs in wood and modifies them with gold-painted, geometric wings. The wings enhance the curvaceous white vessels, and render them useless as functional objects. \u003c/p>\n\u003cfigure id=\"attachment_12866840\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Yamin.jpg\" alt=\"Work by Samira Yamin.\" width=\"1000\" height=\"667\" class=\"size-full wp-image-12866840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Work by Samira Yamin. \u003ccite>(Photo by Kristy Boylan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like so many non-Western objects that come into public or private art collections through legal and extralegal means, any appreciation of their aesthetic appeal is tempered by their dislocation from their original use and context. Guirguis’ modification of the jugs gestures to the mono-directional flow of cultural items from East to West under European colonialist rule and the tendency to regard, or “see” Arab and Persian cultures, as permanently moored to antiquity, unable to evolve.\u003c/p>\n\u003cp>Though the United States did not indulge in Middle Eastern colonialist misadventures as our European counterparts did, we’ve supported or lead multiple disastrous military incursions into the region. Those actions, like all actions, have consequences, and the work in \u003ci>The Art of Looking Back\u003c/i> gestures to those negative influences.\u003c/p>\n\u003cp>\u003ca href=\"http://samirayamin.com/geometries/cgb0pfkbg423rdvdjz3x208gjqfa6l\" target=\"_blank\" rel=\"noopener\">Samira Yamin\u003c/a> works with modest, mass-produced pulp paper, carving the repetitious geometric forms that make up mashrabiyas. Cutting each page by hand, she reveals an obsessive aspect to her practice. While the volumes of \u003ci>Time\u003c/i> magazine she modifies don’t exclusively address the twin catastrophes of war in Iraq and Afghanistan or the Sept. 11 attacks, those events aren’t far away, and Yamin’s exquisite paper screens further emphasize the power of media to obfuscate comprehension.\u003c/p>\n\u003cfigure id=\"attachment_12866839\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Mazinani.jpg\" alt=\"Work by Sanaz Mazinani.\" width=\"1000\" height=\"667\" class=\"size-full wp-image-12866839\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Work by Sanaz Mazinani. \u003ccite>(Photo by Kristy Boylan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.sanazmazinani.com/\" target=\"_blank\" rel=\"noopener\">Sanaz Mazinani\u003c/a>, whose solo exhibition \u003ca href=\"http://www.sfcamerawork.org/exhibitions\" target=\"_blank\" rel=\"noopener\">\u003ci>Signal to Noise\u003c/i>\u003c/a> is concurrently on view at SF Camerawork, creates an installation at SFSU of floor and wall-mounted mirror panels onto which she projects abstracted scenes of destruction from popular American films. The sumptuous, atmospheric experience is tempered by the knowledge that what we import from the Middle East is decidedly less deadly than what we export to the region.\u003c/p>\n\u003cp>Before the two-fronted war and the calamity of ISIS it unleashed, the United States’ relations with Middle Eastern countries were precarious at best, perpetually clouded by differences in language, religion, and culture. In 2017, we are no closer to understanding one another and may, if the current administration’s ill-conceived \u003ca href=\"http://www.cnn.com/2017/01/30/politics/trump-travel-ban-q-and-a/index.html\">travel ban\u003c/a> is any indication, be further from mutual comprehension than ever been before. But \u003cem>Mashrabiya: The Art of Looking Back\u003c/em> also celebrates the establishment of a center for Iranian \u003ca href=\"http://www.payvand.com/news/09/nov/1037.html\" target=\"_blank\" rel=\"noopener\">diasporic\u003c/a> studies at SFSU in the coming year. This news and the group exhibition on view offer a tentative path toward understanding, toward seeing civilizations other than our own for the depth, beauty, and complexity that define them.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cb>Mashrabiya: The Art of Looking Back\u003c/b> is on view at the Fine Arts Gallery, San Francisco State University through March 16, 2017. For more information visit \u003ca href=\"http://gallery.sfsu.edu/\">gallery.sfsu.edu\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What does it mean to look? And what does it mean to be seen?\u003c/p>\n\u003cp>These are two of the critical questions raised in \u003ca href=\"https://ids.sfsu.edu/news-announce/mashrabiya-art-looking-back\" target=\"_blank\" rel=\"noopener\">\u003ci>Mashrabiya: The Art of Looking Back\u003c/i>\u003c/a>, an intimate, six-person exhibition now on view in the San Francisco State University (SFSU) Fine Arts Gallery.\u003c/p>\n\u003cp>The title \u003cem>Mashrabiya\u003c/em> refers to the \u003ca href=\"https://www.google.com/search?q=mashrabiya&rlz=1C1PRFC_enUS638US638&espv=2&biw=1920&bih=911&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiCrarb2MXSAhUJwlQKHdFpBi4Q_AUIBigB\" target=\"_blank\" rel=\"noopener\">projecting latticed windows\u003c/a> that are a familiar feature of domestic architecture throughout the Middle East and wider Islamic world. The windows function to protect inhabitants — primarily women — from public gaze while simultaneously providing a safe vantage point from which to view the public realm. Co-curators Santhi Kavuri-Bauer, Kathy Zarur, Sharon E. Bliss and Mark Johnson adapted the mashrabiya as a visual metaphor through which to think about social and political relations between East and West, and how much the West in particular has yet to learn.\u003c/p>\n\u003cfigure id=\"attachment_12866838\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Guirguis.jpg\" alt=\"Work by Sherin Guirguis.\" width=\"1000\" height=\"720\" class=\"size-full wp-image-12866838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis-960x691.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis-375x270.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis-520x374.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Work by Sherin Guirguis. \u003ccite>(Photo by Kristy Boylan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Taraneh Hemami’s \u003ca href=\"http://www.taranehhemami.com/bulletin-2016\" target=\"_blank\" rel=\"noopener\">\u003ci>Bulletin\u003c/i>\u003c/a>, published in conjunction with the longform project \u003cem>Theory of Survival\u003c/em>, establishes a loose context for the overall exhibition. Comprising critical points in Iranian and world history, \u003cem>Bulletin\u003c/em> offers a more complete account of the country’s fraught passage through the 19th and 20th centuries, widening the otherwise narrow aperture through which Middle Eastern life is perceived. \u003c/p>\n\u003cp>Iran’s history does not begin with the Islamic Revolution (1978-79), but that is the primary event that informs almost all contemporary media portrayals of the country to this day. Hemami’s bulleted list, mirroring a mashrabiya in its layout, situates her native country and other Middle Eastern nations within the temporal spectrum of recent history to illustrate how little we know of a place otherwise relegated to \u003ca href=\"https://en.wikipedia.org/wiki/Axis_of_evil\" target=\"_blank\" rel=\"noopener\">“the axis of evil.”\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While no two stories about living outside one’s cultural and familial context are the same, certain themes emerge in \u003ci>The Art of Looking Back\u003c/i> that create a cohesive exhibition narrative; namely mistranslation and the consequences of war.\u003c/p>\n\u003cp>Los Angeles-based \u003ca href=\"http://www.sheringuirguis.com/work\" target=\"_blank\" rel=\"noopener\">Sherin Guirguis\u003c/a> addresses cultural appropriation through painting and sculpture. In \u003cem>Untitled (ollas)\u003c/em>, Guirguis models unglazed ceramic water jugs in wood and modifies them with gold-painted, geometric wings. The wings enhance the curvaceous white vessels, and render them useless as functional objects. \u003c/p>\n\u003cfigure id=\"attachment_12866840\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Yamin.jpg\" alt=\"Work by Samira Yamin.\" width=\"1000\" height=\"667\" class=\"size-full wp-image-12866840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Work by Samira Yamin. \u003ccite>(Photo by Kristy Boylan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like so many non-Western objects that come into public or private art collections through legal and extralegal means, any appreciation of their aesthetic appeal is tempered by their dislocation from their original use and context. Guirguis’ modification of the jugs gestures to the mono-directional flow of cultural items from East to West under European colonialist rule and the tendency to regard, or “see” Arab and Persian cultures, as permanently moored to antiquity, unable to evolve.\u003c/p>\n\u003cp>Though the United States did not indulge in Middle Eastern colonialist misadventures as our European counterparts did, we’ve supported or lead multiple disastrous military incursions into the region. Those actions, like all actions, have consequences, and the work in \u003ci>The Art of Looking Back\u003c/i> gestures to those negative influences.\u003c/p>\n\u003cp>\u003ca href=\"http://samirayamin.com/geometries/cgb0pfkbg423rdvdjz3x208gjqfa6l\" target=\"_blank\" rel=\"noopener\">Samira Yamin\u003c/a> works with modest, mass-produced pulp paper, carving the repetitious geometric forms that make up mashrabiyas. Cutting each page by hand, she reveals an obsessive aspect to her practice. While the volumes of \u003ci>Time\u003c/i> magazine she modifies don’t exclusively address the twin catastrophes of war in Iraq and Afghanistan or the Sept. 11 attacks, those events aren’t far away, and Yamin’s exquisite paper screens further emphasize the power of media to obfuscate comprehension.\u003c/p>\n\u003cfigure id=\"attachment_12866839\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Mazinani.jpg\" alt=\"Work by Sanaz Mazinani.\" width=\"1000\" height=\"667\" class=\"size-full wp-image-12866839\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Work by Sanaz Mazinani. \u003ccite>(Photo by Kristy Boylan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.sanazmazinani.com/\" target=\"_blank\" rel=\"noopener\">Sanaz Mazinani\u003c/a>, whose solo exhibition \u003ca href=\"http://www.sfcamerawork.org/exhibitions\" target=\"_blank\" rel=\"noopener\">\u003ci>Signal to Noise\u003c/i>\u003c/a> is concurrently on view at SF Camerawork, creates an installation at SFSU of floor and wall-mounted mirror panels onto which she projects abstracted scenes of destruction from popular American films. The sumptuous, atmospheric experience is tempered by the knowledge that what we import from the Middle East is decidedly less deadly than what we export to the region.\u003c/p>\n\u003cp>Before the two-fronted war and the calamity of ISIS it unleashed, the United States’ relations with Middle Eastern countries were precarious at best, perpetually clouded by differences in language, religion, and culture. In 2017, we are no closer to understanding one another and may, if the current administration’s ill-conceived \u003ca href=\"http://www.cnn.com/2017/01/30/politics/trump-travel-ban-q-and-a/index.html\">travel ban\u003c/a> is any indication, be further from mutual comprehension than ever been before. But \u003cem>Mashrabiya: The Art of Looking Back\u003c/em> also celebrates the establishment of a center for Iranian \u003ca href=\"http://www.payvand.com/news/09/nov/1037.html\" target=\"_blank\" rel=\"noopener\">diasporic\u003c/a> studies at SFSU in the coming year. This news and the group exhibition on view offer a tentative path toward understanding, toward seeing civilizations other than our own for the depth, beauty, and complexity that define them.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cb>Mashrabiya: The Art of Looking Back\u003c/b> is on view at the Fine Arts Gallery, San Francisco State University through March 16, 2017. For more information visit \u003ca href=\"http://gallery.sfsu.edu/\">gallery.sfsu.edu\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "1970s Immigration Story Becomes Timely in CAAMFest’s ‘Tiger Hunter’",
"headTitle": "1970s Immigration Story Becomes Timely in CAAMFest’s ‘Tiger Hunter’ | KQED",
"content": "\u003cp>\u003ci>The Tiger Hunter\u003c/i>, the opening night film for the \u003ca href=\"http://caamfest.com/2017/\" target=\"_blank\" rel=\"noopener\">Center for Asian American Media’s annual film festival\u003c/a> (CAAMFest), could not arrive at a more pertinent and fragile moment. \u003c/p>\n\u003cp>Coming to San Francisco on the heels of President Trump’s most recent travel ban on six predominantly Muslim countries, the feature film debut from writer and director Lena Khan tells the story of Sami (Danny Pudi of \u003ci>Community\u003c/i> fame), a Muslim-Indian who immigrates to America in the 1970s in search of a better life. In this context, the romantic comedy can feel like an inadvertent rebuttal within the ongoing national debate surrounding Muslim immigration.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>But Khan, herself Muslim-American, never imagined the current political circumstances that have propelled her film into an unavoidably symbolic work.\u003c/p>\n\u003cp>“I was among the people who thought that Donald Trump was never going to become president,” says the 31-year-old filmmaker. “And I didn’t think actually think that Muslim bans or Muslim registries or anything like that would be serious conversation.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Having always seen film as a vehicle for social activism, Khan understands the importance of media representation in combating misguided perceptions, especially in such a fraught time. And because Muslim characters are often absent, or flatly stereotyped on screen, Khan worried that a story featuring multi-dimensional Muslims at its center would be unwanted. It took film festival screenings, such as one in Austin where “Southern dudes” filled theater seats, for Khan to expel these internalized doubts.\u003c/p>\n\u003cp>https://youtu.be/SiUzXKFfkE8\u003c/p>\n\u003cp>\u003ci>The Tiger Hunter\u003c/i> doesn’t exploit or sensationalize Sami’s Muslim identity — in fact, the detail is barely implied. “I always wanted to make a story having a Muslim character in which that wasn’t the defining part of his story,” Khan says. “I wanted to humanize, and have a real portrayal of a Muslim character.”\u003c/p>\n\u003cp>What takes the fore instead is the rare depiction of a generation of immigrants’ untold struggles. Sami first touches down in the States with the promise of an engineering position at a Chicago manufacturing firm, only to quickly realize the offer has expired. He moves in with a jovial Pakistani immigrant, Babu (Rizwan Manji), and his dozen or so other roommates in a cramped apartment as he plots his way to become a “professional American.”\u003c/p>\n\u003cfigure id=\"attachment_12866399\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12866399\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/still4.jpg\" alt=\"Still from 'The Tiger Hunter.'\" width=\"1920\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-800x333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-1020x425.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-1180x492.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-960x400.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-240x100.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-375x156.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-520x217.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Tiger Hunter.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sami’s story is indicative of countless Asian and South-Asian immigrant journeys of the 1970s and beyond — coming to America with the promise and potential for prosperity, only to hustle at the bottom within self-created communities in order to survive. But if these stories are tragically ignored in the cultural consciousness, Khan does not lament it, instead crafting her film as a rom-com with heart.\u003c/p>\n\u003cp>While addressing the veracity of the American Dream, Khan peppers the film with hijinks, as Sami attempts to woo his childhood crush and live up to his tiger-hunting father’s legacy. The lighthearted nature is a deliberate strategy.\u003c/p>\n\u003cp>“It’s so much harder to break down people’s prejudices by putting them on the defensive,” Khan says. “I did not want to do a story on all the racism he encounters because your intended audience is automatically turned away and they feel defensive. I wanted to make it something that felt approachable to people so they could have those conversations.”\u003c/p>\n\u003cfigure id=\"attachment_12866402\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12866402\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/still1.jpg\" alt=\"Still from 'The Tiger Hunter.'\" width=\"1920\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-800x333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-1020x425.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-1180x492.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-960x400.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-240x100.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-375x156.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-520x217.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Tiger Hunter.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The nature of those conversations could be varied — if some audiences simply enjoy a love story between two leads who are people of color, Khan would be happy. But other post-viewing dialogue will come from Khan’s insertion, beneath the colorful lighting and laughs, of real-life accounts of experiences from immigrants.\u003c/p>\n\u003cp>“A lot of the things that Babu says were just taken from things that people said,” Khan says. “It just really struck me when somebody said, ‘You go to places like In-N-Out and nobody steals your food when they call your number.’ And he was just enamored by that, for him it was like, this is what America means.”\u003c/p>\n\u003cp>In the present moment, optimism for America is in limbo, Khan says. The very existence of a film like \u003ci>The Tiger Hunter\u003c/i> is a sign of progress for the medium and for gains in sociocultural understanding. But the reasons for the film’s currently heightened significance is equally disheartening.\u003c/p>\n\u003cfigure id=\"attachment_12866400\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12866400\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Lena1200.jpg\" alt=\"Lena Khan\" width=\"1200\" height=\"1029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-800x686.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-1020x875.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-1180x1012.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-960x823.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-240x206.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-375x322.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-520x446.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lena Khan. \u003ccite>(Photo by Lara Solanki)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In industry circles, Muslim-Americans are still far and few between, and Khan can still sense the assumptions from those who see a woman in a hijab and think, she says, “You’re foreign, and that you might not know the same movies or have the same working knowledge of things.”\u003c/p>\n\u003cp>But in the vein of the immigrants in \u003ci>The Tiger Hunter\u003c/i>, Khan focuses less on the obstructions and more on the work that needs to be done.\u003c/p>\n\u003cp>And ever slowly, the needle is moving in the right direction.\u003c/p>\n\u003cp>“I’m so excited to see so many who are trying to push toward diversity or trying to use film for the same goals I am,” Khan says. “They’re not necessarily the majority, but they’re there, and that base of people is increasing. I think that’s going to lead to changes as well in bridging some of the divides we have now in this country.”\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=\"Q.Logo.Break\" 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>\u003cb>The Tiger Hunter\u003c/b> opens CAAMFest at 7pm on Thursday, March 9, at the Castro Theater in San Francisco. For tickets and more information visit \u003ca href=\"http://caamfest.com/2017/films/tiger-hunter/\" target=\"_blank\" rel=\"noopener\">caamfest.com\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>The Tiger Hunter\u003c/i>, the opening night film for the \u003ca href=\"http://caamfest.com/2017/\" target=\"_blank\" rel=\"noopener\">Center for Asian American Media’s annual film festival\u003c/a> (CAAMFest), could not arrive at a more pertinent and fragile moment. \u003c/p>\n\u003cp>Coming to San Francisco on the heels of President Trump’s most recent travel ban on six predominantly Muslim countries, the feature film debut from writer and director Lena Khan tells the story of Sami (Danny Pudi of \u003ci>Community\u003c/i> fame), a Muslim-Indian who immigrates to America in the 1970s in search of a better life. In this context, the romantic comedy can feel like an inadvertent rebuttal within the ongoing national debate surrounding Muslim immigration.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>But Khan, herself Muslim-American, never imagined the current political circumstances that have propelled her film into an unavoidably symbolic work.\u003c/p>\n\u003cp>“I was among the people who thought that Donald Trump was never going to become president,” says the 31-year-old filmmaker. “And I didn’t think actually think that Muslim bans or Muslim registries or anything like that would be serious conversation.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Having always seen film as a vehicle for social activism, Khan understands the importance of media representation in combating misguided perceptions, especially in such a fraught time. And because Muslim characters are often absent, or flatly stereotyped on screen, Khan worried that a story featuring multi-dimensional Muslims at its center would be unwanted. It took film festival screenings, such as one in Austin where “Southern dudes” filled theater seats, for Khan to expel these internalized doubts.\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/SiUzXKFfkE8'\n title='//www.youtube.com/embed/SiUzXKFfkE8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ci>The Tiger Hunter\u003c/i> doesn’t exploit or sensationalize Sami’s Muslim identity — in fact, the detail is barely implied. “I always wanted to make a story having a Muslim character in which that wasn’t the defining part of his story,” Khan says. “I wanted to humanize, and have a real portrayal of a Muslim character.”\u003c/p>\n\u003cp>What takes the fore instead is the rare depiction of a generation of immigrants’ untold struggles. Sami first touches down in the States with the promise of an engineering position at a Chicago manufacturing firm, only to quickly realize the offer has expired. He moves in with a jovial Pakistani immigrant, Babu (Rizwan Manji), and his dozen or so other roommates in a cramped apartment as he plots his way to become a “professional American.”\u003c/p>\n\u003cfigure id=\"attachment_12866399\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12866399\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/still4.jpg\" alt=\"Still from 'The Tiger Hunter.'\" width=\"1920\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-800x333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-1020x425.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-1180x492.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-960x400.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-240x100.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-375x156.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-520x217.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Tiger Hunter.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sami’s story is indicative of countless Asian and South-Asian immigrant journeys of the 1970s and beyond — coming to America with the promise and potential for prosperity, only to hustle at the bottom within self-created communities in order to survive. But if these stories are tragically ignored in the cultural consciousness, Khan does not lament it, instead crafting her film as a rom-com with heart.\u003c/p>\n\u003cp>While addressing the veracity of the American Dream, Khan peppers the film with hijinks, as Sami attempts to woo his childhood crush and live up to his tiger-hunting father’s legacy. The lighthearted nature is a deliberate strategy.\u003c/p>\n\u003cp>“It’s so much harder to break down people’s prejudices by putting them on the defensive,” Khan says. “I did not want to do a story on all the racism he encounters because your intended audience is automatically turned away and they feel defensive. I wanted to make it something that felt approachable to people so they could have those conversations.”\u003c/p>\n\u003cfigure id=\"attachment_12866402\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12866402\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/still1.jpg\" alt=\"Still from 'The Tiger Hunter.'\" width=\"1920\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-800x333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-1020x425.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-1180x492.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-960x400.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-240x100.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-375x156.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-520x217.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Tiger Hunter.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The nature of those conversations could be varied — if some audiences simply enjoy a love story between two leads who are people of color, Khan would be happy. But other post-viewing dialogue will come from Khan’s insertion, beneath the colorful lighting and laughs, of real-life accounts of experiences from immigrants.\u003c/p>\n\u003cp>“A lot of the things that Babu says were just taken from things that people said,” Khan says. “It just really struck me when somebody said, ‘You go to places like In-N-Out and nobody steals your food when they call your number.’ And he was just enamored by that, for him it was like, this is what America means.”\u003c/p>\n\u003cp>In the present moment, optimism for America is in limbo, Khan says. The very existence of a film like \u003ci>The Tiger Hunter\u003c/i> is a sign of progress for the medium and for gains in sociocultural understanding. But the reasons for the film’s currently heightened significance is equally disheartening.\u003c/p>\n\u003cfigure id=\"attachment_12866400\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12866400\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Lena1200.jpg\" alt=\"Lena Khan\" width=\"1200\" height=\"1029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-800x686.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-1020x875.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-1180x1012.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-960x823.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-240x206.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-375x322.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-520x446.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lena Khan. \u003ccite>(Photo by Lara Solanki)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In industry circles, Muslim-Americans are still far and few between, and Khan can still sense the assumptions from those who see a woman in a hijab and think, she says, “You’re foreign, and that you might not know the same movies or have the same working knowledge of things.”\u003c/p>\n\u003cp>But in the vein of the immigrants in \u003ci>The Tiger Hunter\u003c/i>, Khan focuses less on the obstructions and more on the work that needs to be done.\u003c/p>\n\u003cp>And ever slowly, the needle is moving in the right direction.\u003c/p>\n\u003cp>“I’m so excited to see so many who are trying to push toward diversity or trying to use film for the same goals I am,” Khan says. “They’re not necessarily the majority, but they’re there, and that base of people is increasing. I think that’s going to lead to changes as well in bridging some of the divides we have now in this country.”\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=\"Q.Logo.Break\" 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>\u003cb>The Tiger Hunter\u003c/b> opens CAAMFest at 7pm on Thursday, March 9, at the Castro Theater in San Francisco. For tickets and more information visit \u003ca href=\"http://caamfest.com/2017/films/tiger-hunter/\" target=\"_blank\" rel=\"noopener\">caamfest.com\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At SFMOMA, Andrea Geyer Taps into Founding Principles of the Museum",
"headTitle": "At SFMOMA, Andrea Geyer Taps into Founding Principles of the Museum | KQED",
"content": "\u003cp>Imagine you’re at the San Francisco Museum of Modern Art. Imagine, to be exact, that you’re in the center of the Helen and Charles Schwab Hall. Sol LeWitt’s \u003ci>Wall Drawing 895: Loopy Doopy (white and blue)\u003c/i> undulates around you, beckoning upwards to the thousands of square feet of galleries above. The only question now is where to start. \u003c/p>\n\u003cp>Choose your own adventure. You can: A) take the stairs straight to the third floor’s not-to-be-missed Diane Arbus show and work your way up from there; or B) take an elevator right to the top, to the seventh floor’s excellent trio of exhibitions, and work your way down. \u003c/p>\n\u003cp>You can’t go wrong, you think. But you would be mistaken, because there’s a secret, hidden, not-so-obvious third option in this museum adventure, and it’s C) don’t go anywhere.\u003c/p>\n\u003cp>That’s because the Koret Education Center, located just off the second-floor lobby, contains more than just cubbies full of museum-going students’ backpacks. It’s currently the site of a small exhibition by New York-based artist \u003ca href=\"http://www.andreageyer.info/\" target=\"_blank\" rel=\"noopener\">Andrea Geyer\u003c/a>, \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/those-who-have-eyes-see/\" target=\"_blank\" rel=\"noopener\">To Those Who Have Eyes to See\u003c/a>\u003c/i>, an installation devoted to the legacy and ideals of \u003ca href=\"https://en.wikipedia.org/wiki/Grace_Morley\" target=\"_blank\" rel=\"noopener\">Grace McCann Morley\u003c/a>, SFMOMA’s founding director. \u003c/p>\n\u003cfigure id=\"attachment_12865747\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200.jpg\" alt=\"Installation view of 'To Those Who Have Eyes To See,' 2017 at SFMOMA.\" width=\"1200\" height=\"798\" class=\"size-full wp-image-12865747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-520x346.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘To Those Who Have Eyes To See,’ 2017 at SFMOMA. \u003ccite>(Photo: Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Geyer’s installation includes floor-to-ceiling textiles, a remapped history of modernism focusing on women’s contributions to the movement, images from a women’s march, a video reenactment of Morley’s hopes for the museum, and — a modern museum taboo — plants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Two walls of curtains cut through the education center, mimicking an exhibition of textiles held at the museum during Morley’s tenure. In this contemporary incarnation, Geyer screenprints the different colored linen with logos and drawings from lesbian and feminist organizations of the mid-20th century. \u003c/p>\n\u003cp>Inside the cozy space created by the curtains, ample seating allows visitors of all ages to sit and watch \u003ci>Manifest\u003c/i>, a 20-minute video featuring two performers — one dressed as Morley, the other representing a modern everywoman — speak of what a museum should be for the public and do for the public. The script mixes Morley’s own writings and lectures with words from Walter Benjamin, Michel Foucault, Hannah Arendt and contemporary thinkers like UC Berkeley political scientist Wendy Brown. \u003c/p>\n\u003cfigure id=\"attachment_12865534\" class=\"wp-caption aligncenter\" style=\"max-width: 1123px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u.jpg\" alt=\"Andrea Geyer, Detail of 'Revolt, They Said,' 2012-ongoing.\" width=\"1123\" height=\"1300\" class=\"size-full wp-image-12865534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u.jpg 1123w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-800x926.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-768x889.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-1020x1181.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-960x1111.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-240x278.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-375x434.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-520x602.jpg 520w\" sizes=\"(max-width: 1123px) 100vw, 1123px\">\u003cfigcaption class=\"wp-caption-text\">Andrea Geyer, Detail of ‘Revolt, They Said,’ 2012-ongoing. \u003ccite>(Courtesy of the artist and Parque Galeria, Mexico City)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Morley believed art and museums were not luxuries for the select few, but civic necessities — a founding principle that, like so many idealistic notions from her era, hasn’t held up against the realities of the modern-day economy (a $6–$8 surcharge, for example, applies to SFMOMA’s upcoming special exhibition \u003cem>\u003ca href=\"https://www.sfmoma.org/exhibition/matisse-diebenkorn\" target=\"_blank\" rel=\"noopener\">Matisse/Diebenkorn\u003c/a>\u003c/em>, on top of the standard $25 adult admission).\u003c/p>\n\u003cp>Unlike the rest of the museum’s second floor (including, by extension, Richard Serra’s \u003ci>Sequence\u003c/i>), entry to the Koret Education Center is ticketed. But one element of \u003ci>To Those Who Have Eyes to See\u003c/i> is free of charge — a hefty and completely necessary takeaway publication detailing women’s often-uncredited contributions to the art world as we know it today.\u003c/p>\n\u003cp>So before you grapple with A versus B, choose C, and think about what a museum should be and do.\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=\"Q.Logo.Break\" 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>\u003cb>To Those Who Have Eyes to See\u003c/b> is on view at the Koret Education Center at the San Francisco Museum of Modern Art through Aug. 15. For more information visit \u003ca href=\"https://www.sfmoma.org/exhibition/those-who-have-eyes-see/\" target=\"_blank\" rel=\"noopener\">sfmoma.org\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Imagine you’re at the San Francisco Museum of Modern Art. Imagine, to be exact, that you’re in the center of the Helen and Charles Schwab Hall. Sol LeWitt’s \u003ci>Wall Drawing 895: Loopy Doopy (white and blue)\u003c/i> undulates around you, beckoning upwards to the thousands of square feet of galleries above. The only question now is where to start. \u003c/p>\n\u003cp>Choose your own adventure. You can: A) take the stairs straight to the third floor’s not-to-be-missed Diane Arbus show and work your way up from there; or B) take an elevator right to the top, to the seventh floor’s excellent trio of exhibitions, and work your way down. \u003c/p>\n\u003cp>You can’t go wrong, you think. But you would be mistaken, because there’s a secret, hidden, not-so-obvious third option in this museum adventure, and it’s C) don’t go anywhere.\u003c/p>\n\u003cp>That’s because the Koret Education Center, located just off the second-floor lobby, contains more than just cubbies full of museum-going students’ backpacks. It’s currently the site of a small exhibition by New York-based artist \u003ca href=\"http://www.andreageyer.info/\" target=\"_blank\" rel=\"noopener\">Andrea Geyer\u003c/a>, \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/those-who-have-eyes-see/\" target=\"_blank\" rel=\"noopener\">To Those Who Have Eyes to See\u003c/a>\u003c/i>, an installation devoted to the legacy and ideals of \u003ca href=\"https://en.wikipedia.org/wiki/Grace_Morley\" target=\"_blank\" rel=\"noopener\">Grace McCann Morley\u003c/a>, SFMOMA’s founding director. \u003c/p>\n\u003cfigure id=\"attachment_12865747\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200.jpg\" alt=\"Installation view of 'To Those Who Have Eyes To See,' 2017 at SFMOMA.\" width=\"1200\" height=\"798\" class=\"size-full wp-image-12865747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-520x346.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘To Those Who Have Eyes To See,’ 2017 at SFMOMA. \u003ccite>(Photo: Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Geyer’s installation includes floor-to-ceiling textiles, a remapped history of modernism focusing on women’s contributions to the movement, images from a women’s march, a video reenactment of Morley’s hopes for the museum, and — a modern museum taboo — plants.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two walls of curtains cut through the education center, mimicking an exhibition of textiles held at the museum during Morley’s tenure. In this contemporary incarnation, Geyer screenprints the different colored linen with logos and drawings from lesbian and feminist organizations of the mid-20th century. \u003c/p>\n\u003cp>Inside the cozy space created by the curtains, ample seating allows visitors of all ages to sit and watch \u003ci>Manifest\u003c/i>, a 20-minute video featuring two performers — one dressed as Morley, the other representing a modern everywoman — speak of what a museum should be for the public and do for the public. The script mixes Morley’s own writings and lectures with words from Walter Benjamin, Michel Foucault, Hannah Arendt and contemporary thinkers like UC Berkeley political scientist Wendy Brown. \u003c/p>\n\u003cfigure id=\"attachment_12865534\" class=\"wp-caption aligncenter\" style=\"max-width: 1123px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u.jpg\" alt=\"Andrea Geyer, Detail of 'Revolt, They Said,' 2012-ongoing.\" width=\"1123\" height=\"1300\" class=\"size-full wp-image-12865534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u.jpg 1123w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-800x926.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-768x889.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-1020x1181.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-960x1111.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-240x278.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-375x434.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-520x602.jpg 520w\" sizes=\"(max-width: 1123px) 100vw, 1123px\">\u003cfigcaption class=\"wp-caption-text\">Andrea Geyer, Detail of ‘Revolt, They Said,’ 2012-ongoing. \u003ccite>(Courtesy of the artist and Parque Galeria, Mexico City)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Morley believed art and museums were not luxuries for the select few, but civic necessities — a founding principle that, like so many idealistic notions from her era, hasn’t held up against the realities of the modern-day economy (a $6–$8 surcharge, for example, applies to SFMOMA’s upcoming special exhibition \u003cem>\u003ca href=\"https://www.sfmoma.org/exhibition/matisse-diebenkorn\" target=\"_blank\" rel=\"noopener\">Matisse/Diebenkorn\u003c/a>\u003c/em>, on top of the standard $25 adult admission).\u003c/p>\n\u003cp>Unlike the rest of the museum’s second floor (including, by extension, Richard Serra’s \u003ci>Sequence\u003c/i>), entry to the Koret Education Center is ticketed. But one element of \u003ci>To Those Who Have Eyes to See\u003c/i> is free of charge — a hefty and completely necessary takeaway publication detailing women’s often-uncredited contributions to the art world as we know it today.\u003c/p>\n\u003cp>So before you grapple with A versus B, choose C, and think about what a museum should be and do.\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=\"Q.Logo.Break\" 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>\u003cb>To Those Who Have Eyes to See\u003c/b> is on view at the Koret Education Center at the San Francisco Museum of Modern Art through Aug. 15. For more information visit \u003ca href=\"https://www.sfmoma.org/exhibition/those-who-have-eyes-see/\" target=\"_blank\" rel=\"noopener\">sfmoma.org\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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": {
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"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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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
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