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"content": "\u003cp>How critical should a reviewer be of a first novel? This is the question I asked myself as I read \u003cem>The Mothers\u003c/em>, the debut novel by Brit Bennett, a National Book Foundation 5 Under 35 honoree who’s written for the \u003cem>New Yorker\u003c/em>, Jezebel, and the \u003cem>New York Times\u003c/em>. There are, of course, brilliant first novels, but most of the time they’re the flawed result of a writer learning how to tell a story. Often they’re more indicative of talent than craftsmanship.\u003c/p>\n\u003cp>\u003cem>The Mothers\u003c/em> (Riverhead Books; $26, out Oct. 11) falls into this category. It’s a novel full of authentic observations and complex moments, yet its parts never quite weave together in the way its author seems to intend.\u003c/p>\n\u003cp>The story revolves around Upper Room Chapel, a church in a black community in San Diego. Nadia Turner is a teenager whose mother has just committed suicide. To escape her grief, she begins secretly dating the pastor’s son, Luke Sheppard. When Nadia discovers she’s pregnant, she gets an abortion, a big no-no in the religious community in which she lives. This event continues to affect the characters, and those they love, well into adulthood. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/mothers.jpg\" alt=\"'The Mothers' book cover\" width=\"298\" height=\"450\" class=\"aligncenter size-full wp-image-12164410\">\u003c/p>\n\u003cp>Bennett has an eye for emotional details, especially related to grief and emptiness. Before her mother’s death, Nadia felt like she was “being handed from person to person like a baton… Then one day, her mother’s hand was gone and she’d fallen, clattering to the floor.” As the title suggests, this novel is concerned with motherhood and mothering. The moms in this book are either stern, disapproving, or absent. Nadia becomes friends with Aubrey, a teenager whose mom has abandoned her. The girls bond over their loss, wondering “if they were the only ones who felt they didn’t know their mothers. Maybe mothers were inherently vast and unknowable.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In this novel, love is a rare and costly commodity. The characters are both desperately seeking love and withholding it from others. It’s “that littlebit of honey left in an empty jar that traps the sweetness in your mouth long enough to mask your hunger… and in all our living, nothing has starved us more.” \u003cem>The Mothers\u003c/em> seems to suggest that happiness, or at least peace, lies in avoiding the trouble of attaching others and in loving yourself instead. \u003c/p>\n\u003cp>Less successful are the many minor characters who appear and disappear like guest stars on a TV show, as well as the frequent changes in points of view. In the span of four pages, the novel dips into Nadia mom’s mind, Nadia age 4, Nadia in the present, Nadia at her mom’s funeral, and Nadia’s first kiss behind the church. That’s a lot of shifting even for a modernist master — Virginia Woolf, say. \u003c/p>\n\u003cp>\u003cem>The Mothers\u003c/em> takes its name from the church women of Upper Room, who speak in the first-person-plural “we” at the beginning of each chapter. These women, who are in their 80s and 90s, gossip about Nadia and her family. While individually named, the mothers are interchangeable and never come together as real entities or a convincing chorus. Instead they seem like a distraction from the real action of the novel, which is the love triangle between Luke, Nadia, and Aubrey.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Brit.jpg\" alt=\"Brit\" width=\"300\" height=\"450\" class=\"aligncenter size-full wp-image-12164411\">\u003c/p>\n\u003cp>It would be hard to write a book about a church community without either condemning that community or allowing religious symbolism to overtake the narrative. Bennett handles this by downplaying the religious beliefs of her characters. The mothers rarely mention Jesus, for example. Prayer to them isn’t communion with God but an act of empathy, where you “slip inside” the person you’re praying for. That’s an interesting idea, but unlikely to be the thoughts of women so religious they practically live at church.\u003c/p>\n\u003cp>Since a great deal of the plot deals with teenage pregnancy, including a pastor paying for an abortion in a church conservative enough to protest health clinics, the lack of insight into belief feels unconvincing. It has the effect of hollowing out a narrative that doesn’t seem to want to talk about religion in the first place, despite the writer’s choice of a church as its setting. \u003c/p>\n\u003cp>\u003cem>The Mothers\u003c/em> is strongest when dealing with the emotional entanglement of the young adults at its center, so much so that it might have missed its calling as a young adult novel. It is, however, a vivid story, with lots of juicy bits, and a satisfying, lyrical ending. Bennett’s gift for characters, and her ability to unpack emotions and make them feel real, means that I’m sure we’ll be seeing more from her in the future. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://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>\n\u003cp>\u003cem>Brit Bennett appears at Green Apple Books on the Park on Wednesday, Oct. 26. \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-brit-bennett\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How critical should a reviewer be of a first novel? This is the question I asked myself as I read \u003cem>The Mothers\u003c/em>, the debut novel by Brit Bennett, a National Book Foundation 5 Under 35 honoree who’s written for the \u003cem>New Yorker\u003c/em>, Jezebel, and the \u003cem>New York Times\u003c/em>. There are, of course, brilliant first novels, but most of the time they’re the flawed result of a writer learning how to tell a story. Often they’re more indicative of talent than craftsmanship.\u003c/p>\n\u003cp>\u003cem>The Mothers\u003c/em> (Riverhead Books; $26, out Oct. 11) falls into this category. It’s a novel full of authentic observations and complex moments, yet its parts never quite weave together in the way its author seems to intend.\u003c/p>\n\u003cp>The story revolves around Upper Room Chapel, a church in a black community in San Diego. Nadia Turner is a teenager whose mother has just committed suicide. To escape her grief, she begins secretly dating the pastor’s son, Luke Sheppard. When Nadia discovers she’s pregnant, she gets an abortion, a big no-no in the religious community in which she lives. This event continues to affect the characters, and those they love, well into adulthood. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/mothers.jpg\" alt=\"'The Mothers' book cover\" width=\"298\" height=\"450\" class=\"aligncenter size-full wp-image-12164410\">\u003c/p>\n\u003cp>Bennett has an eye for emotional details, especially related to grief and emptiness. Before her mother’s death, Nadia felt like she was “being handed from person to person like a baton… Then one day, her mother’s hand was gone and she’d fallen, clattering to the floor.” As the title suggests, this novel is concerned with motherhood and mothering. The moms in this book are either stern, disapproving, or absent. Nadia becomes friends with Aubrey, a teenager whose mom has abandoned her. The girls bond over their loss, wondering “if they were the only ones who felt they didn’t know their mothers. Maybe mothers were inherently vast and unknowable.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In this novel, love is a rare and costly commodity. The characters are both desperately seeking love and withholding it from others. It’s “that littlebit of honey left in an empty jar that traps the sweetness in your mouth long enough to mask your hunger… and in all our living, nothing has starved us more.” \u003cem>The Mothers\u003c/em> seems to suggest that happiness, or at least peace, lies in avoiding the trouble of attaching others and in loving yourself instead. \u003c/p>\n\u003cp>Less successful are the many minor characters who appear and disappear like guest stars on a TV show, as well as the frequent changes in points of view. In the span of four pages, the novel dips into Nadia mom’s mind, Nadia age 4, Nadia in the present, Nadia at her mom’s funeral, and Nadia’s first kiss behind the church. That’s a lot of shifting even for a modernist master — Virginia Woolf, say. \u003c/p>\n\u003cp>\u003cem>The Mothers\u003c/em> takes its name from the church women of Upper Room, who speak in the first-person-plural “we” at the beginning of each chapter. These women, who are in their 80s and 90s, gossip about Nadia and her family. While individually named, the mothers are interchangeable and never come together as real entities or a convincing chorus. Instead they seem like a distraction from the real action of the novel, which is the love triangle between Luke, Nadia, and Aubrey.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Brit.jpg\" alt=\"Brit\" width=\"300\" height=\"450\" class=\"aligncenter size-full wp-image-12164411\">\u003c/p>\n\u003cp>It would be hard to write a book about a church community without either condemning that community or allowing religious symbolism to overtake the narrative. Bennett handles this by downplaying the religious beliefs of her characters. The mothers rarely mention Jesus, for example. Prayer to them isn’t communion with God but an act of empathy, where you “slip inside” the person you’re praying for. That’s an interesting idea, but unlikely to be the thoughts of women so religious they practically live at church.\u003c/p>\n\u003cp>Since a great deal of the plot deals with teenage pregnancy, including a pastor paying for an abortion in a church conservative enough to protest health clinics, the lack of insight into belief feels unconvincing. It has the effect of hollowing out a narrative that doesn’t seem to want to talk about religion in the first place, despite the writer’s choice of a church as its setting. \u003c/p>\n\u003cp>\u003cem>The Mothers\u003c/em> is strongest when dealing with the emotional entanglement of the young adults at its center, so much so that it might have missed its calling as a young adult novel. It is, however, a vivid story, with lots of juicy bits, and a satisfying, lyrical ending. Bennett’s gift for characters, and her ability to unpack emotions and make them feel real, means that I’m sure we’ll be seeing more from her in the future. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://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>\n\u003cp>\u003cem>Brit Bennett appears at Green Apple Books on the Park on Wednesday, Oct. 26. \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-brit-bennett\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Crowded Fire’s ‘The Shipment’ Explores Race Through Minstrelsy",
"headTitle": "Crowded Fire’s ‘The Shipment’ Explores Race Through Minstrelsy | KQED",
"content": "\u003cp>Korean-American playwright and provocateur Young Jean Lee’s \u003ca href=\"http://www.crowdedfire.org/2016-the-shipment/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Shipment\u003c/em>\u003c/a> begins with a minstrel routine. The two dancers in Crowded Fire’s excellent production, played by William Hartfield and a riotously funny Nican Robinson, aren’t that good. Or they might be good at being bad. It’s hard to tell.\u003c/p>\n\u003cp>But when they collapse on the floor in exhaustion, you think maybe “good” and “bad” aren’t what Lee’s after. The beauty of the opening is that it doesn’t catch us off-guard, so much as hint at what we’ve always known. Here is the cost of America’s racial drama: two exhausted African-American men, sprawled on stage and staring into space.\u003c/p>\n\u003cp>And so we’re off and running with \u003cem>The Shipment\u003c/em>, a work that’s part minstrel show and part drawing-room social satire. Lee, a rising star in the American theater and the foremost practitioner of great bad writing, loves faulty thinking and barren aesthetics. In our country’s ongoing racial psycho-drama, she has an abundance of available material. Careful never to fall into the trap of the exposé — the “oh my God, if we had only known” surprise of white liberal outrage — Lee chooses to embrace the methodical, frantic pace of the variety show with this work. The question becomes not what the show is about, but rather the ease with which we miss all the human pain that produces it.\u003c/p>\n\u003cfigure id=\"attachment_12161292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12161292\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-800x448.jpg\" alt=\"Howard Johnson is a shock comic in Crowded Fire's 'The Shipment' by Young Jean Lee.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-1920x1075.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-960x538.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Howard Johnson is a shock comic in Crowded Fire’s ‘The Shipment’ by Young Jean Lee. \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When an obscene nightclub comic (played by Howard Johnson channeling Chris Rock) takes the stage, his over-the-top offensiveness is so uninspired it comes off as sweet. Yet, like the minstrels before him, his show is a ruse. What matters is the performance of the performance. Not what he says, but what it takes to say what he says. Who is the man behind the act? How does he do it night after night? And, most importantly, at what cost?\u003c/p>\n\u003cp>\u003cem>The Shipment\u003c/em> reaches a dizzying high in stripping bare that question in the next “act” of the show when the cast performs the tale of “Omar the Rapper.” The winding narrative follows the fortunes of a young man (an effervescent Michael Wayne Turner III) who dreams of fame, loses his best friend “Sidekick Michael” to a drive-by shooting, falls in with “Drug Dealer Desmond,” ends up in jail, picks up a spiritual mentor, meets a record producer, becomes famous and then miserable, and finally finds true guidance from his dead grandmother.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even moreso than the exhausted dance of the minstrels and faux outrage of the shock comic, the actual content of “Omar the Rapper,” as presented, is empty of meaning. The actors that animate them, though, are striking. The cast sloughs off and races through the lines with an off-handed aplomb, in a startling mixture of skill and boredom. As Omar’s rise and fall becomes more and more ridiculous, we start to pay attention to the only meaningful thing on stage — the performances.\u003c/p>\n\u003cp>Not the performances of the actual cast — who are all terrific — but the performances of the shadow cast, the fictional actors who take on these ridiculous, iconic roles: the black minstrels, the black comic, the black rapper, the black grandmother, the gay black hairdresser, the black gangster. Are they the puppet masters or the puppets? No matter how arresting the action is on stage, Lee keeps reminding us that the real action is off to the side.\u003c/p>\n\u003cp>One might say that somewhere off stage there are human beings striving for hope and dignity. But under Lee’s relentless assault on racial conventions, even dignity is a game, as the cast comes out, stares at the audience for an uncomfortable amount of time, and launches into a spiritually tinged, a cappella rendition of Modest Mouse’s “Dark Center of the Universe.”\u003c/p>\n\u003cp>Hearing white indie-rock sensitivity mixed with a we-shall-overcome African-American aesthetic makes for a sharp primer on the limitations of dignity and bearing witness. The lyrics from Modest Mouse’s Isaac Brock are not only bad — “I might disintegrate into thin air if you’d like / I’m the dark center of the universe you thought” — but they’re also leaden as an anthem. Lee takes us to the damaged end of protest and forces us to see that it’s as hollow a commodity as an obscene joke, ghetto melodrama, or razzle-dazzle minstrel show. It’s a relief when two white male stagehands, bored and lifeless, come out to change the set for the last scene.\u003c/p>\n\u003cfigure id=\"attachment_12161291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12161291\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Shipment-2-800x533.jpg\" alt=\"(L to R) William Hartfield, Nican Robinson, Howard Johnson Jr., Nkechie Emeruwa, and Michael Wayne Turner III in Crowded Fire's 'The Shipment' by Young Jean Lee.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) William Hartfield, Nican Robinson, Howard Johnson Jr., Nkechie Emeruwa, and Michael Wayne Turner III in Crowded Fire’s ‘The Shipment’ by Young Jean Lee. They’re relaxed because magically racism disappeared. \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the play continues, something strange has happened. We’re watching the same cast, but they’ve somehow unburdened themselves of race. We’re at a dinner party in a swanky apartment and everyone is pretty and swell. It’s the kind of scene Noël Coward would have enjoyed. This is what black life would look like if black life didn’t matter; if it were, say, exactly like white life. There’s still drama — drugs, suicide, murder — but it’s devoid of sting and significance.\u003c/p>\n\u003cp>Is this freedom? It qualifies as a version of freedom, I guess. By the play’s conclusion, Lee makes sure that we understand that it is. Without ruining the ending, I’ll just say that it’s a stage trick worthy of the complement: somewhat magical, and a smart end to Lee’s vicious and entertaining smackdown of all our precious conventions.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://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>\n\u003cp>\u003cem>‘The Shipment’ runs through Saturday, Oct. 15, at The Thick House in San Francisco. For tickets and information, \u003ca href=\"http://www.crowdedfire.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Rising-star dramatist Young Jean Lee's drama looks at what black life would look like if black life didn’t matter; if it were, say, exactly like white life.",
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"title": "Crowded Fire’s ‘The Shipment’ Explores Race Through Minstrelsy | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Korean-American playwright and provocateur Young Jean Lee’s \u003ca href=\"http://www.crowdedfire.org/2016-the-shipment/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Shipment\u003c/em>\u003c/a> begins with a minstrel routine. The two dancers in Crowded Fire’s excellent production, played by William Hartfield and a riotously funny Nican Robinson, aren’t that good. Or they might be good at being bad. It’s hard to tell.\u003c/p>\n\u003cp>But when they collapse on the floor in exhaustion, you think maybe “good” and “bad” aren’t what Lee’s after. The beauty of the opening is that it doesn’t catch us off-guard, so much as hint at what we’ve always known. Here is the cost of America’s racial drama: two exhausted African-American men, sprawled on stage and staring into space.\u003c/p>\n\u003cp>And so we’re off and running with \u003cem>The Shipment\u003c/em>, a work that’s part minstrel show and part drawing-room social satire. Lee, a rising star in the American theater and the foremost practitioner of great bad writing, loves faulty thinking and barren aesthetics. In our country’s ongoing racial psycho-drama, she has an abundance of available material. Careful never to fall into the trap of the exposé — the “oh my God, if we had only known” surprise of white liberal outrage — Lee chooses to embrace the methodical, frantic pace of the variety show with this work. The question becomes not what the show is about, but rather the ease with which we miss all the human pain that produces it.\u003c/p>\n\u003cfigure id=\"attachment_12161292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12161292\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-800x448.jpg\" alt=\"Howard Johnson is a shock comic in Crowded Fire's 'The Shipment' by Young Jean Lee.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-1920x1075.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-960x538.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Howard Johnson is a shock comic in Crowded Fire’s ‘The Shipment’ by Young Jean Lee. \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When an obscene nightclub comic (played by Howard Johnson channeling Chris Rock) takes the stage, his over-the-top offensiveness is so uninspired it comes off as sweet. Yet, like the minstrels before him, his show is a ruse. What matters is the performance of the performance. Not what he says, but what it takes to say what he says. Who is the man behind the act? How does he do it night after night? And, most importantly, at what cost?\u003c/p>\n\u003cp>\u003cem>The Shipment\u003c/em> reaches a dizzying high in stripping bare that question in the next “act” of the show when the cast performs the tale of “Omar the Rapper.” The winding narrative follows the fortunes of a young man (an effervescent Michael Wayne Turner III) who dreams of fame, loses his best friend “Sidekick Michael” to a drive-by shooting, falls in with “Drug Dealer Desmond,” ends up in jail, picks up a spiritual mentor, meets a record producer, becomes famous and then miserable, and finally finds true guidance from his dead grandmother.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even moreso than the exhausted dance of the minstrels and faux outrage of the shock comic, the actual content of “Omar the Rapper,” as presented, is empty of meaning. The actors that animate them, though, are striking. The cast sloughs off and races through the lines with an off-handed aplomb, in a startling mixture of skill and boredom. As Omar’s rise and fall becomes more and more ridiculous, we start to pay attention to the only meaningful thing on stage — the performances.\u003c/p>\n\u003cp>Not the performances of the actual cast — who are all terrific — but the performances of the shadow cast, the fictional actors who take on these ridiculous, iconic roles: the black minstrels, the black comic, the black rapper, the black grandmother, the gay black hairdresser, the black gangster. Are they the puppet masters or the puppets? No matter how arresting the action is on stage, Lee keeps reminding us that the real action is off to the side.\u003c/p>\n\u003cp>One might say that somewhere off stage there are human beings striving for hope and dignity. But under Lee’s relentless assault on racial conventions, even dignity is a game, as the cast comes out, stares at the audience for an uncomfortable amount of time, and launches into a spiritually tinged, a cappella rendition of Modest Mouse’s “Dark Center of the Universe.”\u003c/p>\n\u003cp>Hearing white indie-rock sensitivity mixed with a we-shall-overcome African-American aesthetic makes for a sharp primer on the limitations of dignity and bearing witness. The lyrics from Modest Mouse’s Isaac Brock are not only bad — “I might disintegrate into thin air if you’d like / I’m the dark center of the universe you thought” — but they’re also leaden as an anthem. Lee takes us to the damaged end of protest and forces us to see that it’s as hollow a commodity as an obscene joke, ghetto melodrama, or razzle-dazzle minstrel show. It’s a relief when two white male stagehands, bored and lifeless, come out to change the set for the last scene.\u003c/p>\n\u003cfigure id=\"attachment_12161291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12161291\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Shipment-2-800x533.jpg\" alt=\"(L to R) William Hartfield, Nican Robinson, Howard Johnson Jr., Nkechie Emeruwa, and Michael Wayne Turner III in Crowded Fire's 'The Shipment' by Young Jean Lee.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) William Hartfield, Nican Robinson, Howard Johnson Jr., Nkechie Emeruwa, and Michael Wayne Turner III in Crowded Fire’s ‘The Shipment’ by Young Jean Lee. They’re relaxed because magically racism disappeared. \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the play continues, something strange has happened. We’re watching the same cast, but they’ve somehow unburdened themselves of race. We’re at a dinner party in a swanky apartment and everyone is pretty and swell. It’s the kind of scene Noël Coward would have enjoyed. This is what black life would look like if black life didn’t matter; if it were, say, exactly like white life. There’s still drama — drugs, suicide, murder — but it’s devoid of sting and significance.\u003c/p>\n\u003cp>Is this freedom? It qualifies as a version of freedom, I guess. By the play’s conclusion, Lee makes sure that we understand that it is. Without ruining the ending, I’ll just say that it’s a stage trick worthy of the complement: somewhat magical, and a smart end to Lee’s vicious and entertaining smackdown of all our precious conventions.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://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>\n\u003cp>\u003cem>‘The Shipment’ runs through Saturday, Oct. 15, at The Thick House in San Francisco. For tickets and information, \u003ca href=\"http://www.crowdedfire.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "resegregation-and-identity-in-jeff-changs-we-gon-be-alright",
"title": "Resegregation and Identity in Jeff Chang’s 'We Gon' Be Alright'",
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"content": "\u003cp>Since sitting in on Jeff Chang’s \u003ca href=\"https://ccsre.stanford.edu/newsletter-art/innovative-course-explores-art-occupy-movement\">Occupy Art class\u003c/a> at Stanford in 2012, I’ve been a fan of his essays on the intersection of \u003ca href=\"https://www.amazon.com/dp/B007MB66WG/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1\" target=\"_blank\" rel=\"noopener\">contemporary art and hip-hop\u003c/a>, and his 416-page book, \u003ca href=\"https://www.amazon.com/Who-We-Be-Cultural-Post-Civil/dp/0312571291\">\u003c/a>\u003ca href=\"http://ww2.kqed.org/forum/2014/12/01/cultural-critic-jeff-changs-new-book-about-race/\" target=\"_blank\" rel=\"noopener\">Who We Be: The Colorization of America\u003c/a>, which accompanied me on an international trip.\u003c/p>\n\u003cp>Yet in Chang’s most recent collection of essays, \u003ca href=\"https://books.google.com/books/about/We_Gon_Be_Alright.html?id=JkIkjwEACAAJ\">We Gon’ Be Alright\u003c/a>, what I appreciate most is that his writing seems more personal. He lets his readers in on what’s happening beyond the heady and occasionally stuffy academic world, and into what’s going on in the heart. A modern-day \u003cem>Chicken Soup for the Burned Out-Yet-Still-Hopeful Activist Soul\u003c/em>, if you will. \u003c/p>\n\u003cfigure id=\"attachment_12151213\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12151213 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-400x399.jpg\" alt=\"Author Jeff Chang is also director of Stanford's Institute for Diversity in the Arts.\" width=\"400\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-400x399.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-602x600.jpg 602w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-768x765.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-1180x1176.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-1920x1913.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-960x957.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2.jpg 2007w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Author Jeff Chang is also director of Stanford’s Institute for Diversity in the Arts. \u003ccite>(Jeremy Keith Villaluz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Compared to \u003cem>Who We Be\u003c/em>, which details the cultural history of the idea of race in the United States, Chang’s latest book of six essays is much smaller in weight and volume — but the content is still powerful.\u003c/p>\n\u003cp>His first two essays, “Is Diversity for White People? On Fearmongering, Picture Taking, and Avoidance” and “What a Time to Be Alive: On Student Protest” both focus on students and educational institutions. The former concerns the all-too-familiar account of a college trying too hard to show its diversity in promotional materials. In 2000, the University of Wisconsin \u003ca href=\"http://www.npr.org/2013/12/29/257765543/a-campus-more-colorful-than-reality-beware-that-college-brochure\" target=\"_blank\" rel=\"noopener\">went viral for all the wrong reasons\u003c/a> by photoshopping Diallo Shabazz, a black student, into the cover of its admission booklet, prompting Chang to question — who is diversity for? The essay prompts a re-thinking of the very word “diversity,” and asks, “What would a diversity that liberated everyone look like?”\u003c/p>\n\u003cp>Another essay, “Vanilla Cities and Their Chocolate Suburbs: On Resegregation,” discusses the current climate of resegregation; in particular regarding education. Full of sentences that could serve as topics for future books, the essay is driven by statistics. The average white student attends a school that is 75 percent white, Chang writes. He also notes that in 2014, more than 300 school districts across the country were still involved in active desegregation orders dating to the civil rights era, and takes on changing city demographics as a result of evictions and gentrification in the Bay Area.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-12151214 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-400x625.jpg\" alt=\"WGBA.Cover.hires\" width=\"295\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-400x625.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-384x600.jpg 384w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-768x1199.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-756x1180.jpg 756w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-1180x1843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-960x1499.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_.jpg 1825w\" sizes=\"(max-width: 295px) 100vw, 295px\">\u003c/p>\n\u003cp>“Hands Up: On Ferguson” takes the reader through the intense nights of the Ferguson protests, beginning before Michael Brown was shot and leading the reader through the protests that followed. The essay humanizes both Brown and the protesters, and provides a deeper look into the structural inequities of the city of Ferguson.\u003c/p>\n\u003cp>Finally, Chang’s last essay “The In-Betweens: On Asian Americanness” reads like a spoken-word piece. Written in second person, Chang, himself Asian American, addresses the reader intimately: “You wanted an identity that would not just be a weapon but a tool, something that would not just bludgeon but build, that would not only justify your pain — inherited and accumulated — but let you stay open to the world, let you connect and grow.” I found myself nodding in agreement, feeling as though he was speaking directly to me.\u003c/p>\n\u003cp>Though the essay topics in \u003cem>We Gon’ Be Alright\u003c/em> might be considered somewhat disjointed, they show the myriad ways identity, culture and race are involved in our everyday lives — from educational institutions to cultural icons.\u003c/p>\n\u003cp>\u003ci>\u003cstrong>BONUS VIDEO:\u003c/strong> KQED Newsroom’s Thuy Vu talks with Jeff Chang about his new book and race relations in America. \u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0JLW0d42Cyc\u003c/p>\n\n",
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"excerpt": "The hip-hop author and Stanford director explores the Ferguson protests, school resegregation, diversity-by-Photoshop and more in his latest collection of essays.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since sitting in on Jeff Chang’s \u003ca href=\"https://ccsre.stanford.edu/newsletter-art/innovative-course-explores-art-occupy-movement\">Occupy Art class\u003c/a> at Stanford in 2012, I’ve been a fan of his essays on the intersection of \u003ca href=\"https://www.amazon.com/dp/B007MB66WG/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1\" target=\"_blank\" rel=\"noopener\">contemporary art and hip-hop\u003c/a>, and his 416-page book, \u003ca href=\"https://www.amazon.com/Who-We-Be-Cultural-Post-Civil/dp/0312571291\">\u003c/a>\u003ca href=\"http://ww2.kqed.org/forum/2014/12/01/cultural-critic-jeff-changs-new-book-about-race/\" target=\"_blank\" rel=\"noopener\">Who We Be: The Colorization of America\u003c/a>, which accompanied me on an international trip.\u003c/p>\n\u003cp>Yet in Chang’s most recent collection of essays, \u003ca href=\"https://books.google.com/books/about/We_Gon_Be_Alright.html?id=JkIkjwEACAAJ\">We Gon’ Be Alright\u003c/a>, what I appreciate most is that his writing seems more personal. He lets his readers in on what’s happening beyond the heady and occasionally stuffy academic world, and into what’s going on in the heart. A modern-day \u003cem>Chicken Soup for the Burned Out-Yet-Still-Hopeful Activist Soul\u003c/em>, if you will. \u003c/p>\n\u003cfigure id=\"attachment_12151213\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12151213 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-400x399.jpg\" alt=\"Author Jeff Chang is also director of Stanford's Institute for Diversity in the Arts.\" width=\"400\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-400x399.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-602x600.jpg 602w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-768x765.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-1180x1176.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-1920x1913.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-960x957.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/JeremyKeithVillaluz-credit.2.jpg 2007w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Author Jeff Chang is also director of Stanford’s Institute for Diversity in the Arts. \u003ccite>(Jeremy Keith Villaluz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Compared to \u003cem>Who We Be\u003c/em>, which details the cultural history of the idea of race in the United States, Chang’s latest book of six essays is much smaller in weight and volume — but the content is still powerful.\u003c/p>\n\u003cp>His first two essays, “Is Diversity for White People? On Fearmongering, Picture Taking, and Avoidance” and “What a Time to Be Alive: On Student Protest” both focus on students and educational institutions. The former concerns the all-too-familiar account of a college trying too hard to show its diversity in promotional materials. In 2000, the University of Wisconsin \u003ca href=\"http://www.npr.org/2013/12/29/257765543/a-campus-more-colorful-than-reality-beware-that-college-brochure\" target=\"_blank\" rel=\"noopener\">went viral for all the wrong reasons\u003c/a> by photoshopping Diallo Shabazz, a black student, into the cover of its admission booklet, prompting Chang to question — who is diversity for? The essay prompts a re-thinking of the very word “diversity,” and asks, “What would a diversity that liberated everyone look like?”\u003c/p>\n\u003cp>Another essay, “Vanilla Cities and Their Chocolate Suburbs: On Resegregation,” discusses the current climate of resegregation; in particular regarding education. Full of sentences that could serve as topics for future books, the essay is driven by statistics. The average white student attends a school that is 75 percent white, Chang writes. He also notes that in 2014, more than 300 school districts across the country were still involved in active desegregation orders dating to the civil rights era, and takes on changing city demographics as a result of evictions and gentrification in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-12151214 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-400x625.jpg\" alt=\"WGBA.Cover.hires\" width=\"295\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-400x625.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-384x600.jpg 384w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-768x1199.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-756x1180.jpg 756w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-1180x1843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_-960x1499.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/WGBA.Cover_.hires_.jpg 1825w\" sizes=\"(max-width: 295px) 100vw, 295px\">\u003c/p>\n\u003cp>“Hands Up: On Ferguson” takes the reader through the intense nights of the Ferguson protests, beginning before Michael Brown was shot and leading the reader through the protests that followed. The essay humanizes both Brown and the protesters, and provides a deeper look into the structural inequities of the city of Ferguson.\u003c/p>\n\u003cp>Finally, Chang’s last essay “The In-Betweens: On Asian Americanness” reads like a spoken-word piece. Written in second person, Chang, himself Asian American, addresses the reader intimately: “You wanted an identity that would not just be a weapon but a tool, something that would not just bludgeon but build, that would not only justify your pain — inherited and accumulated — but let you stay open to the world, let you connect and grow.” I found myself nodding in agreement, feeling as though he was speaking directly to me.\u003c/p>\n\u003cp>Though the essay topics in \u003cem>We Gon’ Be Alright\u003c/em> might be considered somewhat disjointed, they show the myriad ways identity, culture and race are involved in our everyday lives — from educational institutions to cultural icons.\u003c/p>\n\u003cp>\u003ci>\u003cstrong>BONUS VIDEO:\u003c/strong> KQED Newsroom’s Thuy Vu talks with Jeff Chang about his new book and race relations in America. \u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0JLW0d42Cyc'\n title='//www.youtube.com/embed/0JLW0d42Cyc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Film's Lush Past and the Middle East's Present",
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"content": "\u003cp>\u003ci>Close the laptop, drop that tablet, pause the smartphone and join your fellow humans in Bay Area theaters this week with recommendations from our film critic Michael Fox.\u003c/i>\u003c/p>\n\u003ch3>\u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-criterion-collection/\" target=\"_blank\" rel=\"noopener\">Modern Cinema\u003c/a>\u003c/h3>\n\u003ch5>Oct. 7-23\u003cbr>\nPhyllis Wattis Theater, SFMOMA, San Francisco\u003cbr>\nTickets: $12\u003c/h5>\n\u003cp>Going back to the 1930s, the San Francisco Museum of Modern Art has showed films — the newest and (often but not always) most modern of the arts — as part of its constellation of exhibits and events. The newly reopened SFMOMA inaugurates its renovated Phyllis Wattis Theater this Friday, Oct. 7 with a three-weekend nod to the past by way of an open-ended collaboration with the S.F. Film Society. \u003c/p>\n\u003cfigure id=\"attachment_12146942\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/claudia_on_island_1200.jpg\" alt=\"Still from 'L'Avventura'\" width=\"1200\" height=\"835\" class=\"size-full wp-image-12146942\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/claudia_on_island_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/claudia_on_island_1200-400x278.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/claudia_on_island_1200-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/claudia_on_island_1200-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/claudia_on_island_1200-1180x821.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/claudia_on_island_1200-960x668.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘L’Avventura’ \u003ccite>(Courtesy of SFFS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-criterion-collection/\" target=\"_blank\" rel=\"noopener\">Modern Cinema\u003c/a>, as the thrice-annual—October, February and July—blowout is dubbed, makes its debut with a lush selection of postwar works from Europe and beyond. These films bear the high-toned imprimatur of Janus Films and laid the foundation for art houses. Bergman, Kurosawa and Antonioni are in the mix, along with Marker, Fassbinder, Akerman and Senegal’s late, great patriarch, Ousmane Sembène, represented by his debut short film, \u003cem>Borom Sarret\u003c/em> (1963) and his breakthrough hour-long feature, \u003cem>Black Girl\u003c/em> (1966). Highly recommended for film buffs and novices alike.\u003c/p>\n\u003ch3>Also…\u003c/h3>\n\u003cp>The \u003ca href=\"http://fest.arabfilmfestival.org/2016/\" target=\"_blank\" rel=\"noopener\">Arab Film Festival\u003c/a>, now in its 20th year, is more concerned with serving an audience of expatriates and everyone else with an interest in the extended Middle East (and its culture) than pushing back against the inflammatory rhetoric and acute paranoia that infects most American media where Arabs and Arab-Americans are concerned. \u003c/p>\n\u003cfigure id=\"attachment_12146746\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Clash-AFF2016.jpg\" alt=\"Still from 'Clash'\" width=\"1000\" height=\"563\" class=\"size-full wp-image-12146746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clash-AFF2016.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clash-AFF2016-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clash-AFF2016-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clash-AFF2016-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clash-AFF2016-960x540.jpg 960w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Clash’ \u003ccite>(Courtesy of Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But because movies allow us to see each other, or rather to see “the other,” they can counter misinformation, stereotypes and prejudice. The festival, taking place Oct. 7-10, opens at the Castro with Mohamed Diab’s \u003cem>Clash\u003c/em>, a parable of the 2013 political upheaval set inside a padded wagon that is Egypt’s official submission for Best Foreign Language Film. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Another title with a strong political undercurrent is \u003cem>Junction 48\u003c/em>, radical Israeli filmmaker Udi Aloni’s mean-streets tale of a going-nowhere Palestinian guy who, with his girlfriend, turns to writing and performing rap songs. \u003cem>Junction 48\u003c/em> won the Panorama Audience Award at Berlin and was named Best International Narrative Feature at Tribeca, and the buzz is only going to build leading up to its 2017 theatrical release.\u003c/p>\n\u003cfigure id=\"attachment_12146939\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/JUNCTION48_1200.jpg\" alt=\"Still from 'Junction 48'\" width=\"1200\" height=\"629\" class=\"size-full wp-image-12146939\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/JUNCTION48_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/JUNCTION48_1200-400x210.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/JUNCTION48_1200-800x419.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/JUNCTION48_1200-768x403.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/JUNCTION48_1200-1180x619.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/JUNCTION48_1200-960x503.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Junction 48’ \u003ccite>(Courtesy of Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Close the laptop, drop that tablet, pause the smartphone and join your fellow humans in Bay Area theaters this week with recommendations from our film critic Michael Fox.\u003c/i>\u003c/p>\n\u003ch3>\u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-criterion-collection/\" target=\"_blank\" rel=\"noopener\">Modern Cinema\u003c/a>\u003c/h3>\n\u003ch5>Oct. 7-23\u003cbr>\nPhyllis Wattis Theater, SFMOMA, San Francisco\u003cbr>\nTickets: $12\u003c/h5>\n\u003cp>Going back to the 1930s, the San Francisco Museum of Modern Art has showed films — the newest and (often but not always) most modern of the arts — as part of its constellation of exhibits and events. The newly reopened SFMOMA inaugurates its renovated Phyllis Wattis Theater this Friday, Oct. 7 with a three-weekend nod to the past by way of an open-ended collaboration with the S.F. Film Society. \u003c/p>\n\u003cfigure id=\"attachment_12146942\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/claudia_on_island_1200.jpg\" alt=\"Still from 'L'Avventura'\" width=\"1200\" height=\"835\" class=\"size-full wp-image-12146942\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/claudia_on_island_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/claudia_on_island_1200-400x278.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/claudia_on_island_1200-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/claudia_on_island_1200-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/claudia_on_island_1200-1180x821.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/claudia_on_island_1200-960x668.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘L’Avventura’ \u003ccite>(Courtesy of SFFS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-criterion-collection/\" target=\"_blank\" rel=\"noopener\">Modern Cinema\u003c/a>, as the thrice-annual—October, February and July—blowout is dubbed, makes its debut with a lush selection of postwar works from Europe and beyond. These films bear the high-toned imprimatur of Janus Films and laid the foundation for art houses. Bergman, Kurosawa and Antonioni are in the mix, along with Marker, Fassbinder, Akerman and Senegal’s late, great patriarch, Ousmane Sembène, represented by his debut short film, \u003cem>Borom Sarret\u003c/em> (1963) and his breakthrough hour-long feature, \u003cem>Black Girl\u003c/em> (1966). Highly recommended for film buffs and novices alike.\u003c/p>\n\u003ch3>Also…\u003c/h3>\n\u003cp>The \u003ca href=\"http://fest.arabfilmfestival.org/2016/\" target=\"_blank\" rel=\"noopener\">Arab Film Festival\u003c/a>, now in its 20th year, is more concerned with serving an audience of expatriates and everyone else with an interest in the extended Middle East (and its culture) than pushing back against the inflammatory rhetoric and acute paranoia that infects most American media where Arabs and Arab-Americans are concerned. \u003c/p>\n\u003cfigure id=\"attachment_12146746\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Clash-AFF2016.jpg\" alt=\"Still from 'Clash'\" width=\"1000\" height=\"563\" class=\"size-full wp-image-12146746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clash-AFF2016.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clash-AFF2016-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clash-AFF2016-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clash-AFF2016-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clash-AFF2016-960x540.jpg 960w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Clash’ \u003ccite>(Courtesy of Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But because movies allow us to see each other, or rather to see “the other,” they can counter misinformation, stereotypes and prejudice. The festival, taking place Oct. 7-10, opens at the Castro with Mohamed Diab’s \u003cem>Clash\u003c/em>, a parable of the 2013 political upheaval set inside a padded wagon that is Egypt’s official submission for Best Foreign Language Film. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Another title with a strong political undercurrent is \u003cem>Junction 48\u003c/em>, radical Israeli filmmaker Udi Aloni’s mean-streets tale of a going-nowhere Palestinian guy who, with his girlfriend, turns to writing and performing rap songs. \u003cem>Junction 48\u003c/em> won the Panorama Audience Award at Berlin and was named Best International Narrative Feature at Tribeca, and the buzz is only going to build leading up to its 2017 theatrical release.\u003c/p>\n\u003cfigure id=\"attachment_12146939\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/JUNCTION48_1200.jpg\" alt=\"Still from 'Junction 48'\" width=\"1200\" height=\"629\" class=\"size-full wp-image-12146939\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/JUNCTION48_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/JUNCTION48_1200-400x210.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/JUNCTION48_1200-800x419.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/JUNCTION48_1200-768x403.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/JUNCTION48_1200-1180x619.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/JUNCTION48_1200-960x503.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Junction 48’ \u003ccite>(Courtesy of Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Magic In The Air: Three Young Adult Fantasy Reads For Fall",
"headTitle": "Magic In The Air: Three Young Adult Fantasy Reads For Fall | KQED",
"content": "\u003cp>It’s inevitable: As soon as I’m too busy to read for pleasure, all I want to do is dig into a new novel. So it somehow seems fitting that during this month of school starting and nose-to-the grindstone necessity, we’re having a glut of alluring young adult releases.\u003c/p>\n\u003cp>The three books that caught my fancy this month look wildly different on the surface. Traci Chee’s \u003cem>The Reader\u003c/em> follows multiple characters through a fantasy world where pirates sail the waves and a secret society seeks to hoard the written word. \u003cem>Labyrinth Lost\u003c/em> by Zoraida Córdova draws inspiration from Latin American cultures to offer up modern teen witches on a journey through the spirit realm, and Sarah Glenn Marsh’s novel \u003cem>Fear the Drowning Deep \u003c/em>paints a portrait of a little fishing village in 1913, where people are disappearing and creatures out of Manx folklore may be to blame. They have different cultural influences and different types of narrative – so imagine my surprise when I began to feel like these three books were circling in the same orbit.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/LabyrinthLost.jpg\" alt=\"Labyrinth Lost\" width=\"397\" height=\"600\" class=\"aligncenter size-full wp-image-12149465\">\u003c/p>\n\u003cp>First and foremost, all three focus on girls who must come to terms with magic. \u003cem>The Reader\u003c/em> gives us Sefia, a girl on the run from her past with a forbidden book in her pack and a strange ability to divine the stories of the people that she meets. \u003cem>In Labyrinth Lost\u003c/em>, we meet Alex, the world’s most reluctant \u003cem>bruja\u003c/em>, who is so desperate to be rid of her powers that she accidentally curses her entire family. And then there’s Bridey, a girl who hates the sea and seems to be the only one noticing that her village is being menaced by monsters. All of these girls are uncomfortable in their skins, haunted by having failed to protect the people they loved, and so deeply in denial that I wish they could form some kind of teenage magic victim support group. And while they all have very different journeys to make, self — acceptance is a key destination for all three.\u003c/p>\n\u003cp>And so is falling for boys who have even more scars than they do — both literally and metaphorically. A collar of scar tissue and memory loss, creeping tattoos and a devil-may-care attitude, sea monster bites and (even more) memory loss: These boys are nothing but sweet, sweet trouble. It’s hard not to fall a little bit in love, but I would not be quite so forgiving of some of the dark pasts lurking just beneath the surface. Maybe forgiving others will help our girls be kinder to themselves – or maybe it will make them step closer to the darkness.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/FearDrowningDeep.jpg\" alt=\"'Fear the Droening Deep'\" width=\"388\" height=\"600\" class=\"aligncenter size-full wp-image-12149460\">\u003c/p>\n\u003cp>Finally, all three books revel in creating strong ties between the girls and their female family members and friends. Sefia stops running and takes control of her destiny when her aunt Nin is kidnapped. Above all, she is motived by her desire to save the woman who protected her and taught her how to survive when she lost her parents. Alex must claim her magic in order to rescue her sisters and her mother (along with the rest of her relations, living and dead) from the spirit world, and finds strength in her blossoming relationship with her best friend, Rishi. Bridey puts aside her terror of the sea in order to protect her sisters and her best friend from the creatures that are threatening the village. All of these women have complex, interesting relationships that give depth to their fantastic worlds. I actually wish that all three books had focused even more on these elements — I would have happily spared a little screen time with Byronic boys in exchange!\u003c/p>\n\u003cp>Regardless, those in search of magical adventure to liven up that back — to — school reading list will find these to be three very enjoyable books that sing in harmony when read in close succession.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/TheReader.jpg\" alt=\"'The Reader'\" width=\"398\" height=\"600\" class=\"aligncenter size-full wp-image-12149461\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Caitlyn Paxson is a writer and performer. She is an editor at \u003c/em>\u003ca href=\"http://goblinfruit.net/\">Goblin Fruit\u003c/a>, \u003cem>and can be found discussing folklore and pop culture on the\u003c/em> \u003ca href=\"http://fakelore.the-back-row.com/\">Fakelore Podcast.\u003c/a> \u003c/p>\n\n",
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"excerpt": "You may be back in school, but your bookshelf doesn't have to reflect that — we've got three YA fantasy novels for fall starring three girls grappling with the impact of magic on their lives.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s inevitable: As soon as I’m too busy to read for pleasure, all I want to do is dig into a new novel. So it somehow seems fitting that during this month of school starting and nose-to-the grindstone necessity, we’re having a glut of alluring young adult releases.\u003c/p>\n\u003cp>The three books that caught my fancy this month look wildly different on the surface. Traci Chee’s \u003cem>The Reader\u003c/em> follows multiple characters through a fantasy world where pirates sail the waves and a secret society seeks to hoard the written word. \u003cem>Labyrinth Lost\u003c/em> by Zoraida Córdova draws inspiration from Latin American cultures to offer up modern teen witches on a journey through the spirit realm, and Sarah Glenn Marsh’s novel \u003cem>Fear the Drowning Deep \u003c/em>paints a portrait of a little fishing village in 1913, where people are disappearing and creatures out of Manx folklore may be to blame. They have different cultural influences and different types of narrative – so imagine my surprise when I began to feel like these three books were circling in the same orbit.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/LabyrinthLost.jpg\" alt=\"Labyrinth Lost\" width=\"397\" height=\"600\" class=\"aligncenter size-full wp-image-12149465\">\u003c/p>\n\u003cp>First and foremost, all three focus on girls who must come to terms with magic. \u003cem>The Reader\u003c/em> gives us Sefia, a girl on the run from her past with a forbidden book in her pack and a strange ability to divine the stories of the people that she meets. \u003cem>In Labyrinth Lost\u003c/em>, we meet Alex, the world’s most reluctant \u003cem>bruja\u003c/em>, who is so desperate to be rid of her powers that she accidentally curses her entire family. And then there’s Bridey, a girl who hates the sea and seems to be the only one noticing that her village is being menaced by monsters. All of these girls are uncomfortable in their skins, haunted by having failed to protect the people they loved, and so deeply in denial that I wish they could form some kind of teenage magic victim support group. And while they all have very different journeys to make, self — acceptance is a key destination for all three.\u003c/p>\n\u003cp>And so is falling for boys who have even more scars than they do — both literally and metaphorically. A collar of scar tissue and memory loss, creeping tattoos and a devil-may-care attitude, sea monster bites and (even more) memory loss: These boys are nothing but sweet, sweet trouble. It’s hard not to fall a little bit in love, but I would not be quite so forgiving of some of the dark pasts lurking just beneath the surface. Maybe forgiving others will help our girls be kinder to themselves – or maybe it will make them step closer to the darkness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/FearDrowningDeep.jpg\" alt=\"'Fear the Droening Deep'\" width=\"388\" height=\"600\" class=\"aligncenter size-full wp-image-12149460\">\u003c/p>\n\u003cp>Finally, all three books revel in creating strong ties between the girls and their female family members and friends. Sefia stops running and takes control of her destiny when her aunt Nin is kidnapped. Above all, she is motived by her desire to save the woman who protected her and taught her how to survive when she lost her parents. Alex must claim her magic in order to rescue her sisters and her mother (along with the rest of her relations, living and dead) from the spirit world, and finds strength in her blossoming relationship with her best friend, Rishi. Bridey puts aside her terror of the sea in order to protect her sisters and her best friend from the creatures that are threatening the village. All of these women have complex, interesting relationships that give depth to their fantastic worlds. I actually wish that all three books had focused even more on these elements — I would have happily spared a little screen time with Byronic boys in exchange!\u003c/p>\n\u003cp>Regardless, those in search of magical adventure to liven up that back — to — school reading list will find these to be three very enjoyable books that sing in harmony when read in close succession.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/TheReader.jpg\" alt=\"'The Reader'\" width=\"398\" height=\"600\" class=\"aligncenter size-full wp-image-12149461\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Caitlyn Paxson is a writer and performer. She is an editor at \u003c/em>\u003ca href=\"http://goblinfruit.net/\">Goblin Fruit\u003c/a>, \u003cem>and can be found discussing folklore and pop culture on the\u003c/em> \u003ca href=\"http://fakelore.the-back-row.com/\">Fakelore Podcast.\u003c/a> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Legend Of Creepy Hollows: 'Miss Peregrine's Home For Peculiar Children'",
"headTitle": "A Legend Of Creepy Hollows: ‘Miss Peregrine’s Home For Peculiar Children’ | KQED",
"content": "\u003cp>When did our expectations for Tim Burton movies sink so precipitously? We ought to be able to forgive the guy who made \u003cem>Ed Wood \u003c/em>and \u003cem>Sleepy Hollow \u003c/em>a \u003cem>Planet of the Apes \u003c/em>now and then. Or even an \u003cem>Alice in Wonderland, \u003c/em>so long as he keeps balancing mega-grossing mediocrities like that with heartfelt stuff like \u003cem>Frankenweenie,\u003c/em> his delightful stop-motion ode to his dog. Any director who averages a studio feature every other year for three decades will have a stinker or two on his resume.\u003c/p>\n\u003cp>And yet somehow Burton’s stock feels low enough to make the spooky, visually ingenious, oft-incoherent-but-in-a-dreamlike-way \u003cem>Miss Peregrine’s Home for Peculiar Children\u003c/em> feel like a win just because it isn’t dreadful. Burton stages two or three striking set pieces, and otherwise builds as much of the movie as he possibly can around Eva Green’s severe-but-solicitous performance as mysterious headmistress Miss Peregrine, a sort of hard-eyed Mary Poppins. Surely that’s fair freight for your $12.\u003c/p>\n\u003cp>https://youtu.be/tV_IhWE4LP0\u003c/p>\n\u003cp>Everything that predates Ms. Green’s arrival — even scenes featuring the great Terence Stamp, and, well, \u003cem>one\u003c/em> scene with the great Allison Janney — is kind of a slog. The movie takes at least 15 minutes to get going, and its final third is as narratively opaque as any table-setting Marvel or DC flick.\u003c/p>\n\u003cp>But by then I didn’t care that I couldn’t tell you the stakes: Even before Burton dispatches a platoon of skeletons to fight a horde of eyeless, tentacle-tongued “hollowgasts” on a London pier — a clear homage to one of his heroes, pioneering stop-motion animator Ray Harryhausen — I’d surrendered once again to his gifts as peddler of surreal imagery. Burton uses archaic stop-motion techniques in addition to untold petabyes (or exabytes) of CGI, and the movie is never more entrancing than when a creepy babydoll armed with a chef’s knife is fighting a crab. (To be fair, its two young human leads, Asa Butterfield and Ella Purnell, are quite animated and capable, too.) If you were to strip Guillermo del Toro’s decade-old masterpiece\u003cem> Pan’s Labyrinth\u003c/em> of all its allegorical and emotional heft, \u003cem>Miss Peregrine\u003c/em>‘s is more or less what you’d have left. Easy to watch, after that distended Floridian prologue, and easy to forget.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The movie is a liberal adaptation of a bestselling 2011 young-adult novel by Ransom Riggs, whose muse was a stack of “vernacular” (read: found) photos he’d collected at the monthly Rose Bowl flea market in Pasadena. Truly, the medium is the message: Jake, the 16-year-old hero of Riggs’ story (Butterfield in the movie), is likewise dispatched on a quest by collection of faded photos—portraits of, um, peculiar-looking children. These belonged to his grandfather (Stamp), who has been telling Jake stories about their odd subjects since Jake was a child. He’d once lived with these kids at an orphanage in Wales, he said. One was lighter than air and had to wear lead shoes to prevent herself from floating away like a balloon. One had a hive of bees inside his chest, which would escape when he opened his mouth to speak or eat. One could briefly reanimate the dead using animal hearts.\u003c/p>\n\u003cp>Naturally, Jake has become more skeptical of the old man’s fantastic claims as he has grown into adolescence. When he finds grandpa dead with his eyeballs missing, then catches a glimpse of a monster in the woods behind his house, his parents (Chris O’Dowd and the mighty Kim Dickens, who’s in the movie even less than Janney is) take him to licensed-and-bonded mental health professional C.J. Cregg — that is, Dr. Golan. The doc persuades Jake’s folks that a trip to Wales to try to find the old orphanage might help the boy to process his grief. O’Dowd, by the way, is 100 percent believable as the sort of impotent dad who would agree to this plan. He figures he’ll come along and get some birdwatching done while his son is busy moping. I don’t know enough about Wales or birds to know whether or not this is a joke, but I know Dickens, in her approximately 15 seconds onscreen, looks relieved to be rid of them both.\u003c/p>\n\u003cp>It’s when the scene shifts from flat, sunny Florida to cloudy, oppressive Wales that the movie brightens up. That’s Burton for you. Jake and his dad check into the one inn in town (it’s called The Priest Hole), and after some predictable complication Jake finds his way to the old manor among its occupants — as it, and they, existed in 1943. The place is basically Brigadoon crossed with Xavier’s School for Gifted Youngsters of X-Men lore, only the gifted not-so-youngsters in Miss Peregrine’s charge shall never grow up if she has anything to say about it. Her supernatural talent is the ability to create cul-de-sacs in time where she can keep her “peculiars” hidden from the vile Mr. Barron (Samuel L. Jackson in milk-colored contact lenses), a kinda-sorta vampire who seeks immortality by… eating their eyes.\u003c/p>\n\u003cp>That’s not, I don’t believe, a spoiler, though I couldn’t swear I grokked the plot clearly enough to know which elements ought to be classified. Screenwriter Jane Goldman has plenty of experience translating dense mythologies born in prose and comics to the movies, having worked on the scrips for \u003cem>Stardust, Kick-Ass, Kingsman: The Secret Service, \u003c/em>and a pair of the stronger \u003cem>X-Men \u003c/em>movies, among others. The adaptation she’s delivered here borrows material from Riggs’ sequel novel \u003cem>Hollow City \u003c/em>to permit an action-packed finale\u003cem>, \u003c/em>but still manages to leave plenty of threads dangling after 122 increasingly chaotic minutes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The result feels less like a thoughtfully-conceived franchise-starter than a picture that was rushed out of the editing suite prematurely. That makes it at once a minor disappointment and Burton’s most satisfying (mostly) live-action fantasy film in years. Too bad it probably won’t last ’til Halloween.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When did our expectations for Tim Burton movies sink so precipitously? We ought to be able to forgive the guy who made \u003cem>Ed Wood \u003c/em>and \u003cem>Sleepy Hollow \u003c/em>a \u003cem>Planet of the Apes \u003c/em>now and then. Or even an \u003cem>Alice in Wonderland, \u003c/em>so long as he keeps balancing mega-grossing mediocrities like that with heartfelt stuff like \u003cem>Frankenweenie,\u003c/em> his delightful stop-motion ode to his dog. Any director who averages a studio feature every other year for three decades will have a stinker or two on his resume.\u003c/p>\n\u003cp>And yet somehow Burton’s stock feels low enough to make the spooky, visually ingenious, oft-incoherent-but-in-a-dreamlike-way \u003cem>Miss Peregrine’s Home for Peculiar Children\u003c/em> feel like a win just because it isn’t dreadful. Burton stages two or three striking set pieces, and otherwise builds as much of the movie as he possibly can around Eva Green’s severe-but-solicitous performance as mysterious headmistress Miss Peregrine, a sort of hard-eyed Mary Poppins. Surely that’s fair freight for your $12.\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/tV_IhWE4LP0'\n title='//www.youtube.com/embed/tV_IhWE4LP0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Everything that predates Ms. Green’s arrival — even scenes featuring the great Terence Stamp, and, well, \u003cem>one\u003c/em> scene with the great Allison Janney — is kind of a slog. The movie takes at least 15 minutes to get going, and its final third is as narratively opaque as any table-setting Marvel or DC flick.\u003c/p>\n\u003cp>But by then I didn’t care that I couldn’t tell you the stakes: Even before Burton dispatches a platoon of skeletons to fight a horde of eyeless, tentacle-tongued “hollowgasts” on a London pier — a clear homage to one of his heroes, pioneering stop-motion animator Ray Harryhausen — I’d surrendered once again to his gifts as peddler of surreal imagery. Burton uses archaic stop-motion techniques in addition to untold petabyes (or exabytes) of CGI, and the movie is never more entrancing than when a creepy babydoll armed with a chef’s knife is fighting a crab. (To be fair, its two young human leads, Asa Butterfield and Ella Purnell, are quite animated and capable, too.) If you were to strip Guillermo del Toro’s decade-old masterpiece\u003cem> Pan’s Labyrinth\u003c/em> of all its allegorical and emotional heft, \u003cem>Miss Peregrine\u003c/em>‘s is more or less what you’d have left. Easy to watch, after that distended Floridian prologue, and easy to forget.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The movie is a liberal adaptation of a bestselling 2011 young-adult novel by Ransom Riggs, whose muse was a stack of “vernacular” (read: found) photos he’d collected at the monthly Rose Bowl flea market in Pasadena. Truly, the medium is the message: Jake, the 16-year-old hero of Riggs’ story (Butterfield in the movie), is likewise dispatched on a quest by collection of faded photos—portraits of, um, peculiar-looking children. These belonged to his grandfather (Stamp), who has been telling Jake stories about their odd subjects since Jake was a child. He’d once lived with these kids at an orphanage in Wales, he said. One was lighter than air and had to wear lead shoes to prevent herself from floating away like a balloon. One had a hive of bees inside his chest, which would escape when he opened his mouth to speak or eat. One could briefly reanimate the dead using animal hearts.\u003c/p>\n\u003cp>Naturally, Jake has become more skeptical of the old man’s fantastic claims as he has grown into adolescence. When he finds grandpa dead with his eyeballs missing, then catches a glimpse of a monster in the woods behind his house, his parents (Chris O’Dowd and the mighty Kim Dickens, who’s in the movie even less than Janney is) take him to licensed-and-bonded mental health professional C.J. Cregg — that is, Dr. Golan. The doc persuades Jake’s folks that a trip to Wales to try to find the old orphanage might help the boy to process his grief. O’Dowd, by the way, is 100 percent believable as the sort of impotent dad who would agree to this plan. He figures he’ll come along and get some birdwatching done while his son is busy moping. I don’t know enough about Wales or birds to know whether or not this is a joke, but I know Dickens, in her approximately 15 seconds onscreen, looks relieved to be rid of them both.\u003c/p>\n\u003cp>It’s when the scene shifts from flat, sunny Florida to cloudy, oppressive Wales that the movie brightens up. That’s Burton for you. Jake and his dad check into the one inn in town (it’s called The Priest Hole), and after some predictable complication Jake finds his way to the old manor among its occupants — as it, and they, existed in 1943. The place is basically Brigadoon crossed with Xavier’s School for Gifted Youngsters of X-Men lore, only the gifted not-so-youngsters in Miss Peregrine’s charge shall never grow up if she has anything to say about it. Her supernatural talent is the ability to create cul-de-sacs in time where she can keep her “peculiars” hidden from the vile Mr. Barron (Samuel L. Jackson in milk-colored contact lenses), a kinda-sorta vampire who seeks immortality by… eating their eyes.\u003c/p>\n\u003cp>That’s not, I don’t believe, a spoiler, though I couldn’t swear I grokked the plot clearly enough to know which elements ought to be classified. Screenwriter Jane Goldman has plenty of experience translating dense mythologies born in prose and comics to the movies, having worked on the scrips for \u003cem>Stardust, Kick-Ass, Kingsman: The Secret Service, \u003c/em>and a pair of the stronger \u003cem>X-Men \u003c/em>movies, among others. The adaptation she’s delivered here borrows material from Riggs’ sequel novel \u003cem>Hollow City \u003c/em>to permit an action-packed finale\u003cem>, \u003c/em>but still manages to leave plenty of threads dangling after 122 increasingly chaotic minutes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The result feels less like a thoughtfully-conceived franchise-starter than a picture that was rushed out of the editing suite prematurely. That makes it at once a minor disappointment and Burton’s most satisfying (mostly) live-action fantasy film in years. Too bad it probably won’t last ’til Halloween.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As I was wandering through Chinatown on my way to Lenora Lee’s haunting multimedia dance piece, \u003ca href=\"http://www.lenoraleedance.com/2016/07/the-eye-of-compassion-premiering-924-10216-at-cameron-house/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Eye of Compassion\u003c/em>\u003c/a>, I couldn’t help but feel nostalgic. I haven’t been to San Francisco’s Chinatown in years — like Fisherman’s Wharf, it seems made for tourists, not locals. But as dusk set on Grant Street and the red paper lanterns lit up, I realized how much I missed going there and how much it felt like a real neighborhood.\u003c/p>\n\u003cp>The Cameron House, the majestic brick building on Sacramento Street where the performance unfolds, was founded in 1874 to protect and shelter young Chinese women. Its architecture and the way it rests on the hill has the feel of a sanctuary. The space still functions as a Chinese-American community center and when you walk in you can’t help but be struck by both its beauty and the day-to-day business of any social service non-profit.\u003c/p>\n\u003cp>What’s funny is that the setting seems at odds with the type of immersive theater and dance performances we’re used to at San Francisco venues that most often present this type of work, such as Z Space, Yerba Buena Center for the Arts, and CounterPulse. Yet it turns out that the Cameron House’s lack of pretense allows for a slightly different kind of immersive performance, one more radically attuned to place and community. Yes, there are theatrical lights and an audience, but it feels more like a meeting than an event.\u003c/p>\n\u003cp>Lee gets up in front of the audience — the lights don’t change — and speaking from notes, relates a bit of history about the House. She warns us that the dancers will be splitting up (I saw the performance twice so that I could catch most of it), that the performance is fast, and we’d have to chase after the cast members to keep up with them.\u003c/p>\n\u003cfigure id=\"attachment_12127068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12127068 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-800x452.jpg\" alt=\"(L to R) SanSan Kwan and Wei-Shan Lai dance from room to room in Lenora Lee's 'The Eye of Compassion' at Cameron House.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) SanSan Kwan and Wei-Shan Lai dance from room to room in Lenora Lee’s ‘The Eye of Compassion’ at Cameron House. \u003ccite>(Photo: Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then that’s what we’re doing. Two terrified women run through the hall, and we hurry after them, or with them? It’s hard to tell. They split up: follow one and you run through the basement, hallways, and many hidden rooms of Cameron House; follow the other and you’re in an alley facing a parking lot and a 30-foot high retaining wall on which a film of the dancers running through Cameron House is projected. It’s a disconcerting effect, as if there is no temporal difference between the nightmare and the reality from which it springs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The parking lot dance is especially striking. It starts with one dancer and eventually blooms to six and looks as if the dancers are exploding out of the film and into the world. Lee prizes fluidity and static poses in her choreography. And so she simultaneously conveys a sense of escape and entrapment. When the dancers finish a series of movements, they do so with both arms straight and angled towards the horizon, and when they freeze they stand erect and grab their throats.\u003c/p>\n\u003cp>Then the dancers disperse and we’re off again. Instead of escape, we’re in the midst of trauma. In a side room off the lobby stairwell, a doctor and nurse calm a frightened woman. Here, Lee’s choreography is explosive and precise — quite a feat considering the lack of space — and catches how feral and animal a person can be when terrified. The dance between doctor and patient is one of the highlights of the evening, a celebration of the healing powers of service to and care for a community.\u003c/p>\n\u003cp>At the same time, you can follow two women up the stairs to the second floor. There, standing in the hallway between opposite bedrooms, you can watch both of them attempt to imagine different ways to freedom and psychic relief.\u003c/p>\n\u003cp>One dances with a bible, curling up on a sky blue comforter, and then springing up again to hold the book out in front of her in a series of repeated gestures. It’s rare in the Bay Area dance and performance scene, which is so enamored with transgression and disruption, to find artistically sophisticated expressions of faith.\u003c/p>\n\u003cfigure id=\"attachment_12126476\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12126476 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-800x434.jpg\" alt=\"The Lenora Lee dancers (L to R), Yi-Ting Hsu, Yao Dang, Peter Cheng, and Chloe Luo take to the upper deck court in her multimedia, immersive dance 'The Eye of Compassion' at the Cameron House.\" width=\"800\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-800x434.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-400x217.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-768x417.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-1180x640.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-960x521.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845.jpg 1910w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lenora Lee dancers (L to R), Yi-Ting Hsu, Yao Dang, Peter Cheng, and Chloe Luo take to the upper deck court in her multimedia, immersive dance ‘The Eye of Compassion’ at the Cameron House. \u003ccite>(Photo: Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a 75-minute piece, Lee covers an impressive amount of ground: a beautiful duet on a deck with Chinatown and the bay in the background; a dance on an outside stairwell ascending three stories up; and the final section on an elevated court, framed by a chain link fence and — projected on the side of the apartment across the street — a film of the dancers submerged in water.\u003c/p>\n\u003cp>Are they drowning or free? I think mostly free, as \u003cem>The Eye of Compassion\u003c/em> begins on the ground floor, descends to the basement, and ends up floating in the sky. Though unsettling to watch the performers place their hands on their throats, more often and with greater force their arms slowly ascend from their bodies and reach towards the stars. It’s a mesmerizing ending.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Eye of Compassion\u003c/em> runs through Sunday, Oct. 2 at the Cameron House in San Francisco. For tickets and information please \u003ca href=\"http://www.lenoraleedance.com/2016/07/the-eye-of-compassion-premiering-924-10216-at-cameron-house/\">click here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As I was wandering through Chinatown on my way to Lenora Lee’s haunting multimedia dance piece, \u003ca href=\"http://www.lenoraleedance.com/2016/07/the-eye-of-compassion-premiering-924-10216-at-cameron-house/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Eye of Compassion\u003c/em>\u003c/a>, I couldn’t help but feel nostalgic. I haven’t been to San Francisco’s Chinatown in years — like Fisherman’s Wharf, it seems made for tourists, not locals. But as dusk set on Grant Street and the red paper lanterns lit up, I realized how much I missed going there and how much it felt like a real neighborhood.\u003c/p>\n\u003cp>The Cameron House, the majestic brick building on Sacramento Street where the performance unfolds, was founded in 1874 to protect and shelter young Chinese women. Its architecture and the way it rests on the hill has the feel of a sanctuary. The space still functions as a Chinese-American community center and when you walk in you can’t help but be struck by both its beauty and the day-to-day business of any social service non-profit.\u003c/p>\n\u003cp>What’s funny is that the setting seems at odds with the type of immersive theater and dance performances we’re used to at San Francisco venues that most often present this type of work, such as Z Space, Yerba Buena Center for the Arts, and CounterPulse. Yet it turns out that the Cameron House’s lack of pretense allows for a slightly different kind of immersive performance, one more radically attuned to place and community. Yes, there are theatrical lights and an audience, but it feels more like a meeting than an event.\u003c/p>\n\u003cp>Lee gets up in front of the audience — the lights don’t change — and speaking from notes, relates a bit of history about the House. She warns us that the dancers will be splitting up (I saw the performance twice so that I could catch most of it), that the performance is fast, and we’d have to chase after the cast members to keep up with them.\u003c/p>\n\u003cfigure id=\"attachment_12127068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12127068 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-800x452.jpg\" alt=\"(L to R) SanSan Kwan and Wei-Shan Lai dance from room to room in Lenora Lee's 'The Eye of Compassion' at Cameron House.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) SanSan Kwan and Wei-Shan Lai dance from room to room in Lenora Lee’s ‘The Eye of Compassion’ at Cameron House. \u003ccite>(Photo: Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then that’s what we’re doing. Two terrified women run through the hall, and we hurry after them, or with them? It’s hard to tell. They split up: follow one and you run through the basement, hallways, and many hidden rooms of Cameron House; follow the other and you’re in an alley facing a parking lot and a 30-foot high retaining wall on which a film of the dancers running through Cameron House is projected. It’s a disconcerting effect, as if there is no temporal difference between the nightmare and the reality from which it springs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The parking lot dance is especially striking. It starts with one dancer and eventually blooms to six and looks as if the dancers are exploding out of the film and into the world. Lee prizes fluidity and static poses in her choreography. And so she simultaneously conveys a sense of escape and entrapment. When the dancers finish a series of movements, they do so with both arms straight and angled towards the horizon, and when they freeze they stand erect and grab their throats.\u003c/p>\n\u003cp>Then the dancers disperse and we’re off again. Instead of escape, we’re in the midst of trauma. In a side room off the lobby stairwell, a doctor and nurse calm a frightened woman. Here, Lee’s choreography is explosive and precise — quite a feat considering the lack of space — and catches how feral and animal a person can be when terrified. The dance between doctor and patient is one of the highlights of the evening, a celebration of the healing powers of service to and care for a community.\u003c/p>\n\u003cp>At the same time, you can follow two women up the stairs to the second floor. There, standing in the hallway between opposite bedrooms, you can watch both of them attempt to imagine different ways to freedom and psychic relief.\u003c/p>\n\u003cp>One dances with a bible, curling up on a sky blue comforter, and then springing up again to hold the book out in front of her in a series of repeated gestures. It’s rare in the Bay Area dance and performance scene, which is so enamored with transgression and disruption, to find artistically sophisticated expressions of faith.\u003c/p>\n\u003cfigure id=\"attachment_12126476\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12126476 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-800x434.jpg\" alt=\"The Lenora Lee dancers (L to R), Yi-Ting Hsu, Yao Dang, Peter Cheng, and Chloe Luo take to the upper deck court in her multimedia, immersive dance 'The Eye of Compassion' at the Cameron House.\" width=\"800\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-800x434.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-400x217.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-768x417.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-1180x640.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-960x521.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845.jpg 1910w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lenora Lee dancers (L to R), Yi-Ting Hsu, Yao Dang, Peter Cheng, and Chloe Luo take to the upper deck court in her multimedia, immersive dance ‘The Eye of Compassion’ at the Cameron House. \u003ccite>(Photo: Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a 75-minute piece, Lee covers an impressive amount of ground: a beautiful duet on a deck with Chinatown and the bay in the background; a dance on an outside stairwell ascending three stories up; and the final section on an elevated court, framed by a chain link fence and — projected on the side of the apartment across the street — a film of the dancers submerged in water.\u003c/p>\n\u003cp>Are they drowning or free? I think mostly free, as \u003cem>The Eye of Compassion\u003c/em> begins on the ground floor, descends to the basement, and ends up floating in the sky. Though unsettling to watch the performers place their hands on their throats, more often and with greater force their arms slowly ascend from their bodies and reach towards the stars. It’s a mesmerizing ending.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Eye of Compassion\u003c/em> runs through Sunday, Oct. 2 at the Cameron House in San Francisco. For tickets and information please \u003ca href=\"http://www.lenoraleedance.com/2016/07/the-eye-of-compassion-premiering-924-10216-at-cameron-house/\">click here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Former Military Site Houses the Powerful Artwork of a Post-9/11 World",
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"content": "\u003cp>As I wandered around the parade grounds at Fort Winfield Scott in San Francisco’s Presidio, looking for the FOR-SITE Foundation’s new exhibition \u003ca href=\"http://www.for-site.org/project/home-land-security/\" target=\"_blank\" rel=\"noopener\">\u003ci>Home Land Security\u003c/i>\u003c/a>, I heard something buzzing overhead. Thinking it was wind-rustled trees or a wasp nest, I looked up to see a small drone flying above me. Later, I found the two middle-school aged boys who were flying the toy in the near-empty historic complex. Still a little lost, I walked past a flag flying at half-mast. For an oblivious second I wondered which congressperson, military official, or civic leader had passed away. Then I remembered the date: September 11.\u003c/p>\n\u003cfigure id=\"attachment_12086995\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/2-hls-TirtzahBassel-Concourse-e1474593967909.jpg\" alt=\"Tirtzah Bassel, 'Concourse,' 2016.\" width=\"1200\" height=\"901\" class=\"size-full wp-image-12086995\">\u003cfigcaption class=\"wp-caption-text\">Tirtzah Bassel, ‘Concourse,’ 2016. \u003ccite>(Courtesy of the artist. Photo: Robert Divers Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The moment struck me. On the 15th anniversary of the 9/11 terrorist attacks, I was looking for an exhibition about the ubiquity of surveillance and security in contemporary life while two children flew a drone on a decommissioned military base. Their toy was a recreational version of the killing machines introduced into our lexicon precisely because of those terrorist attacks.\u003c/p>\n\u003cp>The passage of time is often difficult to quantify. Even major events unfold slowly in retrospect. But the attacks of September 11, 2001, feel like one of those rare moments that unambiguously divide the worlds before and after it. It was the true first day of the 21st century.\u003c/p>\n\u003cp>\u003ci>Home Land Security\u003c/i> displays works in five neighboring sites in the Presidio: the Fort Scott Chapel, three artillery batteries overlooking the Pacific Ocean, and the Nike Administration Building, part of the nation’s Cold War-era anti-aircraft missile program.\u003c/p>\n\u003cfigure id=\"attachment_12086998\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/4-hls-MichelePred%E2%80%93Encirclement-e1474594016846.jpg\" alt=\"Michele Pred, 'Encirclement,' 2003.\" width=\"1200\" height=\"901\" class=\"size-full wp-image-12086998\">\u003cfigcaption class=\"wp-caption-text\">Michele Pred, ‘Encirclement,’ 2003. \u003ccite>(Courtesy of the artist and Nancy Hoffman Gallery. Photo: Robert Divers Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the latter, a pair of installations by New York-based Israeli artist Tirtzah Bassel and Oakland-based artist Michele Pred encapsulate the changes brought on by the omnipresent security state of the new century.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bassel’s \u003ci>Concourse\u003c/i> (2016) mural wraps around the interior concrete wall of one of the building’s rooms. Made entirely of colored duct tape rather than paint, the mural depicts an everyday scene in the departures hall of an airport. One subject is taking off a belt, several drag oversized suitcases, and all of them wind their way through a labyrinth of stanchions and retractable belts that define contemporary airport security. The duct tape makes the subjects anonymous; their experiences are abstracted. The scene is almost universal: this could be Ben Gurion, JFK, or SFO.\u003c/p>\n\u003cp>On the floor in an adjacent room, Pred’s installation \u003ci>Encirclement\u003c/i> (2003) is a large donut-shaped collection of items confiscated from airport security—another everyday occurrence in the post-9/11 paradigm. The innocuousness of the safety scissors, butter knives, corkscrews, and toy guns contrasts with the potential for violence ascribed to them by the TSA. \u003cem>Encirclement\u003c/em> makes the abstracted elements of Bassel’s \u003ci>Concourse\u003c/i> concrete.\u003c/p>\n\u003cp>Together these works depict a banal oppression. The kids flying the drone outside never knew a world in which people could travel by air without having to strip down, pose for body scans and surrender their fingernail clippers. Instead, they live in a world in which everyone is a potential terrorist.\u003c/p>\n\u003cfigure id=\"attachment_12087001\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/33-hls-KrzysztofWodiczko-VeteransFlame-e1474594057123.jpg\" alt=\"Krzysztof Wodiczko, 'Veterans' Flame,' 2009.\" width=\"1200\" height=\"901\" class=\"size-full wp-image-12087001\">\u003cfigcaption class=\"wp-caption-text\">Krzysztof Wodiczko, ‘Veterans’ Flame,’ 2009. \u003ccite>(Courtesy of the artist and Galerie Lelong. Photo: Robert Divers Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Krzysztof Wodiczko’s installation in nearby Battery Godfrey is a prime example of works in the exhibition that deftly utilize their site. Deep in the dungeon-like 19th-century structure is a long corridor with a projection of a flickering flame at its end. An audio track plays stories of trauma told by Iraq and Afghanistan war veterans. Though Battery Godfrey is unrelated to these contemporary wars, \u003ci>Veterans’ Flame\u003c/i> (2009) gives life to the soldiers that once walked these dark halls. The battery has been inactive for over 70 years, but the stories reanimate it as a place of war.\u003c/p>\n\u003cp>Like the other batteries, Battery Boutelle sits in the shadows of the Golden Gate Bridge, overlooking the Pacific. Iranian-Swedish artist Mandana Moghaddam’s video installation, \u003ci>Exodus\u003c/i> (2012), installed in an empty ammunition storage room, shows suitcases bobbing up and down in ocean waves. The piece references the dangerous journeys — whether by water, land or air — that millions of individuals take to flee violence and persecution, and the many refugees who fail to complete those journeys. Viewers face west as they watch the video, and sound from the piece and from the Pacific blend together. The screen is like a porthole in the battery, a window into the turbulent waters just feet away.\u003c/p>\n\u003cfigure id=\"attachment_12087002\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/36-hls-MandanaMoghaddam-Exodus-e1474594147464.jpg\" alt=\"Mandana Moghaddam, 'Exodus,' 2012.\" width=\"1200\" height=\"901\" class=\"size-full wp-image-12087002\">\u003cfigcaption class=\"wp-caption-text\">Mandana Moghaddam, ‘Exodus,’ 2012. \u003ccite>(Courtesy of the artist and Aaran Gallery. Photo: Robert Divers Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The state of surveillance and security is not uniform across the many countries the 18 artists in the exhibition call home or have called home. Risking one’s life at sea and having scissors confiscated at an airport are incredibly distinct experiences. But each of these artists addresses something shared among the world’s citizens: we are all subjected to forces that wish to watch and control us. And just as no single work can represent the totality of these forces in the world, no exhibition venue can provide the perfect context. But by exhibiting these works at the Presidio, the FOR-SITE Foundation is able to ground them in a tangible site of war and military surveillance, placing the world we live in now in the context of its precedents.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Home Land Security\u003c/strong> is on view at the Presidio of San Francisco through Dec. 18. For more information, visit \u003ca href=\"http://www.for-site.org/project/home-land-security/\">for-site.org\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As I wandered around the parade grounds at Fort Winfield Scott in San Francisco’s Presidio, looking for the FOR-SITE Foundation’s new exhibition \u003ca href=\"http://www.for-site.org/project/home-land-security/\" target=\"_blank\" rel=\"noopener\">\u003ci>Home Land Security\u003c/i>\u003c/a>, I heard something buzzing overhead. Thinking it was wind-rustled trees or a wasp nest, I looked up to see a small drone flying above me. Later, I found the two middle-school aged boys who were flying the toy in the near-empty historic complex. Still a little lost, I walked past a flag flying at half-mast. For an oblivious second I wondered which congressperson, military official, or civic leader had passed away. Then I remembered the date: September 11.\u003c/p>\n\u003cfigure id=\"attachment_12086995\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/2-hls-TirtzahBassel-Concourse-e1474593967909.jpg\" alt=\"Tirtzah Bassel, 'Concourse,' 2016.\" width=\"1200\" height=\"901\" class=\"size-full wp-image-12086995\">\u003cfigcaption class=\"wp-caption-text\">Tirtzah Bassel, ‘Concourse,’ 2016. \u003ccite>(Courtesy of the artist. Photo: Robert Divers Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The moment struck me. On the 15th anniversary of the 9/11 terrorist attacks, I was looking for an exhibition about the ubiquity of surveillance and security in contemporary life while two children flew a drone on a decommissioned military base. Their toy was a recreational version of the killing machines introduced into our lexicon precisely because of those terrorist attacks.\u003c/p>\n\u003cp>The passage of time is often difficult to quantify. Even major events unfold slowly in retrospect. But the attacks of September 11, 2001, feel like one of those rare moments that unambiguously divide the worlds before and after it. It was the true first day of the 21st century.\u003c/p>\n\u003cp>\u003ci>Home Land Security\u003c/i> displays works in five neighboring sites in the Presidio: the Fort Scott Chapel, three artillery batteries overlooking the Pacific Ocean, and the Nike Administration Building, part of the nation’s Cold War-era anti-aircraft missile program.\u003c/p>\n\u003cfigure id=\"attachment_12086998\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/4-hls-MichelePred%E2%80%93Encirclement-e1474594016846.jpg\" alt=\"Michele Pred, 'Encirclement,' 2003.\" width=\"1200\" height=\"901\" class=\"size-full wp-image-12086998\">\u003cfigcaption class=\"wp-caption-text\">Michele Pred, ‘Encirclement,’ 2003. \u003ccite>(Courtesy of the artist and Nancy Hoffman Gallery. Photo: Robert Divers Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the latter, a pair of installations by New York-based Israeli artist Tirtzah Bassel and Oakland-based artist Michele Pred encapsulate the changes brought on by the omnipresent security state of the new century.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bassel’s \u003ci>Concourse\u003c/i> (2016) mural wraps around the interior concrete wall of one of the building’s rooms. Made entirely of colored duct tape rather than paint, the mural depicts an everyday scene in the departures hall of an airport. One subject is taking off a belt, several drag oversized suitcases, and all of them wind their way through a labyrinth of stanchions and retractable belts that define contemporary airport security. The duct tape makes the subjects anonymous; their experiences are abstracted. The scene is almost universal: this could be Ben Gurion, JFK, or SFO.\u003c/p>\n\u003cp>On the floor in an adjacent room, Pred’s installation \u003ci>Encirclement\u003c/i> (2003) is a large donut-shaped collection of items confiscated from airport security—another everyday occurrence in the post-9/11 paradigm. The innocuousness of the safety scissors, butter knives, corkscrews, and toy guns contrasts with the potential for violence ascribed to them by the TSA. \u003cem>Encirclement\u003c/em> makes the abstracted elements of Bassel’s \u003ci>Concourse\u003c/i> concrete.\u003c/p>\n\u003cp>Together these works depict a banal oppression. The kids flying the drone outside never knew a world in which people could travel by air without having to strip down, pose for body scans and surrender their fingernail clippers. Instead, they live in a world in which everyone is a potential terrorist.\u003c/p>\n\u003cfigure id=\"attachment_12087001\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/33-hls-KrzysztofWodiczko-VeteransFlame-e1474594057123.jpg\" alt=\"Krzysztof Wodiczko, 'Veterans' Flame,' 2009.\" width=\"1200\" height=\"901\" class=\"size-full wp-image-12087001\">\u003cfigcaption class=\"wp-caption-text\">Krzysztof Wodiczko, ‘Veterans’ Flame,’ 2009. \u003ccite>(Courtesy of the artist and Galerie Lelong. Photo: Robert Divers Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Krzysztof Wodiczko’s installation in nearby Battery Godfrey is a prime example of works in the exhibition that deftly utilize their site. Deep in the dungeon-like 19th-century structure is a long corridor with a projection of a flickering flame at its end. An audio track plays stories of trauma told by Iraq and Afghanistan war veterans. Though Battery Godfrey is unrelated to these contemporary wars, \u003ci>Veterans’ Flame\u003c/i> (2009) gives life to the soldiers that once walked these dark halls. The battery has been inactive for over 70 years, but the stories reanimate it as a place of war.\u003c/p>\n\u003cp>Like the other batteries, Battery Boutelle sits in the shadows of the Golden Gate Bridge, overlooking the Pacific. Iranian-Swedish artist Mandana Moghaddam’s video installation, \u003ci>Exodus\u003c/i> (2012), installed in an empty ammunition storage room, shows suitcases bobbing up and down in ocean waves. The piece references the dangerous journeys — whether by water, land or air — that millions of individuals take to flee violence and persecution, and the many refugees who fail to complete those journeys. Viewers face west as they watch the video, and sound from the piece and from the Pacific blend together. The screen is like a porthole in the battery, a window into the turbulent waters just feet away.\u003c/p>\n\u003cfigure id=\"attachment_12087002\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/36-hls-MandanaMoghaddam-Exodus-e1474594147464.jpg\" alt=\"Mandana Moghaddam, 'Exodus,' 2012.\" width=\"1200\" height=\"901\" class=\"size-full wp-image-12087002\">\u003cfigcaption class=\"wp-caption-text\">Mandana Moghaddam, ‘Exodus,’ 2012. \u003ccite>(Courtesy of the artist and Aaran Gallery. Photo: Robert Divers Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The state of surveillance and security is not uniform across the many countries the 18 artists in the exhibition call home or have called home. Risking one’s life at sea and having scissors confiscated at an airport are incredibly distinct experiences. But each of these artists addresses something shared among the world’s citizens: we are all subjected to forces that wish to watch and control us. And just as no single work can represent the totality of these forces in the world, no exhibition venue can provide the perfect context. But by exhibiting these works at the Presidio, the FOR-SITE Foundation is able to ground them in a tangible site of war and military surveillance, placing the world we live in now in the context of its precedents.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Home Land Security\u003c/strong> is on view at the Presidio of San Francisco through Dec. 18. For more information, visit \u003ca href=\"http://www.for-site.org/project/home-land-security/\">for-site.org\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In her second memoir \u003cem>\u003ca href=\"http://www.penguinrandomhouse.com/books/249083/m-train-by-patti-smith/9781101910160/\">M Train\u003c/a>,\u003c/em> released in paperback this month, Patti Smith writes about a black coat given to her on her fifty-seventh birthday; an “ill-fitting, unlined” Comme des Garçons overcoat that she had “secretly coveted” despite — or perhaps because of — its frayed sleeves, moth gnawings, unstitched pocket seams, and tattered hem.\u003c/p>\n\u003cblockquote>\u003cp>Every morning, I got up, put on my coat and watch cap, grabbed my pen and notebook, and headed across Sixth Avenue to my cafe. I loved my coat and the cafe and my morning routine. It was the clearest and simplest expression of my solitary identity.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_12116820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12116820\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/SmithMTRain.bigger.jpg\" alt=\"Patti Smith, from 'M Train.'\" width=\"800\" height=\"628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SmithMTRain.bigger.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SmithMTRain.bigger-400x314.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SmithMTRain.bigger-764x600.jpg 764w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SmithMTRain.bigger-768x603.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patti Smith, from ‘M Train.’\u003c/figcaption>\u003c/figure>\n\u003cp>“Every time I put it on I felt like myself,” writes Smith.\u003c/p>\n\u003cp>Alas, after being replaced by a warmer winter coat, the Comme des Garçons overcoat disappears. Smith is left to mourn its lost existence, and the piece of her identity that’s vanished along with it. Underneath this, of course, lies a greater void, left by the death in 1994 of her husband Fred Smith, and her brother who \u003ca href=\"https://web.archive.org/web/20080611145837/http://www.aristarec.com/psmith/smithbio.html\">died suddenly\u003c/a> one month later.\u003c/p>\n\u003cp>Before reading about Patti Smith’s coat, I’d never thought of an item of clothing in this particular way, as an item that provides both a barrier between skin and the outside world, and a sacred object that would allow me to construct myself in my own image. For me, clothes have long been a source of confusion, just another patriarchal complication in an overly complicated world. I’ve moved between wearing the same butchered jean shorts for an entire summer to guzzling fast fashion in a desperate attempt to look hot (ugh, early thirties), to where I stand now, somewhere between tired, under-coiffed yoga mom and clothing-swap chic.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12104204 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/c6243e47fa6d79000bdac49cb7c98b4a.jpg\" alt=\"c6243e47fa6d79000bdac49cb7c98b4a\" width=\"236\" height=\"355\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>What identity do my clothes give me?\u003c/em> I began to wonder. \u003cem>Do I have my own version of the Comme des Garçons coat?\u003c/em> The closest, I figure, is a Levi’s jean jacket, bought for $10 at a thrift store and fitted with a purple \u003ca href=\"http://otherwild.com/products/the-future-is-female-pin\">The Future is Female\u003c/a> pin, a combination that makes me feel happy, sharp, and middle-aged yet still connected to my edgier past. I found the pin at a small boutique in Sebastopol and bought it on the spot despite a $12 price tag; the one-sentence feminist manifesto completed the jacket, added that edge I needed to feel like myself in the world.\u003c/p>\n\u003cp>Still, I’ve never been a friend to fashion. Sure, I like a nice pair of dangling earrings and a well-fitting soft cotton dress as much as the next woman, but it’s not something I’ve ever wanted to confess out loud for fear of being superficial. There are way more \u003ca href=\"https://www.washingtonpost.com/news/post-nation/wp/2016/09/22/tulsa-officer-who-fatally-shot-terrence-crutcher-charged-with-first-degree-manslaughter/?utm_term=.31e8c0d55328\">important\u003c/a> \u003ca href=\"https://www.yahoo.com/news/air-raids-pound-rebel-held-aleppo-syria-army-074917338.html\">issues\u003c/a> \u003ca href=\"https://www.yahoo.com/news/air-raids-pound-rebel-held-aleppo-syria-army-074917338.html\">in the world\u003c/a> to consider than whether my boots match my purse. Would that I just cultivated a uniform, a few choice items that fit well, work together, and let me get on with my day.\u003c/p>\n\u003cfigure id=\"attachment_12104203\" class=\"wp-caption aligncenter\" style=\"max-width: 1536px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12104203\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/AR00185_10.jpg\" alt=\"Patti Smith 1975 Robert Mapplethorpe 1946-1989 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 http://www.tate.org.uk/art/work/AR00185\" width=\"1536\" height=\"1526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/AR00185_10.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/AR00185_10-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/AR00185_10-604x600.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/AR00185_10-768x763.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/AR00185_10-1180x1172.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/AR00185_10-960x954.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/AR00185_10-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/AR00185_10-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/AR00185_10-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/AR00185_10-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/AR00185_10-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/AR00185_10-150x150.jpg 150w\" sizes=\"(max-width: 1536px) 100vw, 1536px\">\u003cfigcaption class=\"wp-caption-text\">Patti Smith, 1975, by Robert Mapplethorpe.\u003c/figcaption>\u003c/figure>\n\u003cp>Lately, though, I’ve come to understand that there’s more to this style thing than I’d known. Patti Smith, for one, might not abide by the latest fashion, but she has cultivated a specific, iconic style parallel with a considerable intellect. She can love a coat, and how it makes her feel, and also be a potent modern philosopher. The two can coexist outside of a binary. Style has more than one value.\u003c/p>\n\u003cp>And thus, Patti Smith’s coat started me started me on the path to thinking about style and clothing and how it manifests in my life. As I always do, I studied books to help me sort out my questions. I started with \u003ca href=\"http://into-mind.com/curatedcloset/\">\u003cem>The Curated Closet\u003c/em>\u003c/a> (Ten Speed Press; 2016), a new book by Anuschka Rees, a style blogger from Berlin. I first discovered Rees’ blog \u003ca href=\"http://into-mind.com/\">INTO MIND \u003c/a>two years ago when, in an attempt to develop the perfect uniform and cut down on decisions, I began to obsessively Google “capsule wardrobes.” In her book, Rees argues that personal style trumps fashion; it’s up to you to discover that personal style through study, observation, and instinct.\u003c/p>\n\u003cblockquote>\u003cp>Most women think you have to be fashionable to be well-dressed. And that’s what I thought too until only a few years ago. But here’s what I’ve learned since: Some of the biggest style icons of the last century were people who explicitly did not follow every new trend out there and instead had their own very distinctive looks from which they rarely strayed. Think Marlene Dietrich, Grace Jones, or Marilyn Monroe and also modern style icons like Jenna Lyons, Tilda Swinton or Angelina Jolie. In fact, some of the most consistent style icons of today come from the fashion industry itself, like Karl Lagerfield, Anna Wintour, and Emmanualle Alt. All these people are stylish, not despite the fact that they don’t follow trends, but because of it. They know exactly what they like and what they don’t like. Their style is iconic because it is completely authentic.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12107989\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Curated-Closet-book-cover-1-e1474642228706.jpg\" alt=\"Curated Closet - book cover-1\" width=\"500\" height=\"712\">\u003c/p>\n\u003cp>Rees goes on to challenge the idea of being effortlessly stylish. Like anything, developing personal style takes legwork, experimentation, time, and work. It’s a “skill like any other” and takes practice.\u003c/p>\n\u003cblockquote>\u003cp>Many people have the misconception that a great sense of style is one of those things you either have or don’t have. They imagine that people who are well-dressed simply get up in the morning and, through some act of divine inspiration, come up with a perfectly original and brilliant new outfit idea.\u003c/p>\u003c/blockquote>\n\u003cp>Rees then jumps into the actual work of deciphering style. Step 1: document your outfits for two weeks and keep a log of the when and why the outfit was worn. I love a good assignment, and leaped at the task, although it felt vain, at first, to be shooting full-body selfies of myself in a mirror. But, I did it. So far, the main thing I’ve discovered is that I like to wear the same shoes every single day. And that I feel most comfortable in black.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12107802\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/20160923_071517-COLLAGE-600x600.jpg\" alt=\"20160923_071517-COLLAGE\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160923_071517-COLLAGE-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160923_071517-COLLAGE-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160923_071517-COLLAGE-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160923_071517-COLLAGE-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160923_071517-COLLAGE-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160923_071517-COLLAGE-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160923_071517-COLLAGE-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160923_071517-COLLAGE-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160923_071517-COLLAGE-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160923_071517-COLLAGE-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160923_071517-COLLAGE.jpg 1024w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>As I continued to think about all of this, I turned to the public library, checking out \u003cem>Women in Clothes\u003c/em> (Blue Rider Press; 2014) by Sheila Heti, Heidi Julavits, and Leanne Sharpton.\u003c/p>\n\u003cp>Sheila Heti said in \u003ca href=\"http://www.npr.org/2014/09/04/345290998/for-women-in-clothes-its-not-what-you-wear-its-why-you-wear-it\" target=\"_blank\" rel=\"noopener\">an NPR interview\u003c/a> that the idea for the book — which collects interviews, photos, compliments, dressing tips, and style manifestos from a disparate array of women, famous and not — came from a desire to free clothing from the superficial, patronizing language of fashion magazines. Heti, who admits to not thinking much about clothes for most of her life, said that she “woke up one day and I just thought, ‘Today’s the day that I want to figure out how to dress.’ You know, I wanted to know what other women thought about as they got dressed: how they knew what to buy in the store, how they knew what they wanted to wear. I wanted to sort of figure out what my taste was.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12116821\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/womeninclothes.lrg_.jpg\" alt=\"womeninclothes.lrg\" width=\"400\" height=\"536\">\u003c/p>\n\u003cp>The book’s core derives from a survey, an “ever-evolving” list of questions sent out to women worldwide. In total, there are over 100 questions, such as:\u003c/p>\n\u003cul>\n\u003cli>Do you think you have taste or style?\u003c/li>\n\u003cli>Can you say a bit about how your mother’s body and style have been passed down to you or not?\u003c/li>\n\u003cli>What are some things you admire about how other women present themselves?\u003c/li>\n\u003cli>Do you notice women on the street?\u003c/li>\n\u003cli>What is really beautiful, for you, in general?\u003c/li>\n\u003cli>What do you consider very ugly?\u003c/li>\n\u003cli>What’s your process of getting dressed in the morning?\u003c/li>\n\u003cli>What would you say is “you,” and what would you say is “not you”?\u003c/li>\n\u003cli>Is it comforting or constraining to have a uniform?\u003c/li>\n\u003c/ul>\n\u003cp>But more than simply asking questions, the book legitimizes the study of what women wear and why they choose to wear it. One way it accomplishes this is by including a diverse, dynamic chorus of women’s voices, stories, confessions, and demands about style (or refusal of same).\u003c/p>\n\u003cfigure id=\"attachment_12107990\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12107990\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/women1_wide-94268c08669e164170967943bf239fbef1f28ea9-s900-c85.jpg\" alt=\"Six strangers where one another's favorite outfits by Miranda July (from Women in Clothes) \" width=\"900\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/women1_wide-94268c08669e164170967943bf239fbef1f28ea9-s900-c85.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/women1_wide-94268c08669e164170967943bf239fbef1f28ea9-s900-c85-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/women1_wide-94268c08669e164170967943bf239fbef1f28ea9-s900-c85-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/women1_wide-94268c08669e164170967943bf239fbef1f28ea9-s900-c85-768x432.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">Six strangers wear one another’s favorite outfits by Miranda July (from Women in Clothes)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Women in Clothes\u003c/em> serves as an invaluable companion as I indulge, with somewhat furtive embarrassment, in figuring out my own personal style. The book operates like a group of hundreds of smart friends who say, “It’s okay to think about these things. It doesn’t make you less feminist. It doesn’t make you superficial. It doesn’t mean you’ve gone to the dark Kardashian side of the universe. It’s okay to interrogate how you present to the world and why. We’re all thinking about it too.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10905230\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Spine.jpg\" alt=\"Spine\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine-400x21.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Patti Smith’s \u003ca href=\"http://www.cityarts.net/event/patti-smith/\" target=\"_blank\" rel=\"noopener\">City Arts and Lectures appearance on Oct. 4\u003c/a> is sold out. To get a Smith fix, check out \u003ca href=\"https://mcam.mills.edu/exhibitions/current1.php\">Root Connection: 20 Years of Patti Smith\u003c/a>, a collection of photos, wriitngs and ephemera running through Dec. 11 at Mills College.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In her second memoir \u003cem>\u003ca href=\"http://www.penguinrandomhouse.com/books/249083/m-train-by-patti-smith/9781101910160/\">M Train\u003c/a>,\u003c/em> released in paperback this month, Patti Smith writes about a black coat given to her on her fifty-seventh birthday; an “ill-fitting, unlined” Comme des Garçons overcoat that she had “secretly coveted” despite — or perhaps because of — its frayed sleeves, moth gnawings, unstitched pocket seams, and tattered hem.\u003c/p>\n\u003cblockquote>\u003cp>Every morning, I got up, put on my coat and watch cap, grabbed my pen and notebook, and headed across Sixth Avenue to my cafe. I loved my coat and the cafe and my morning routine. It was the clearest and simplest expression of my solitary identity.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_12116820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12116820\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/SmithMTRain.bigger.jpg\" alt=\"Patti Smith, from 'M Train.'\" width=\"800\" height=\"628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SmithMTRain.bigger.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SmithMTRain.bigger-400x314.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SmithMTRain.bigger-764x600.jpg 764w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SmithMTRain.bigger-768x603.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patti Smith, from ‘M Train.’\u003c/figcaption>\u003c/figure>\n\u003cp>“Every time I put it on I felt like myself,” writes Smith.\u003c/p>\n\u003cp>Alas, after being replaced by a warmer winter coat, the Comme des Garçons overcoat disappears. Smith is left to mourn its lost existence, and the piece of her identity that’s vanished along with it. Underneath this, of course, lies a greater void, left by the death in 1994 of her husband Fred Smith, and her brother who \u003ca href=\"https://web.archive.org/web/20080611145837/http://www.aristarec.com/psmith/smithbio.html\">died suddenly\u003c/a> one month later.\u003c/p>\n\u003cp>Before reading about Patti Smith’s coat, I’d never thought of an item of clothing in this particular way, as an item that provides both a barrier between skin and the outside world, and a sacred object that would allow me to construct myself in my own image. For me, clothes have long been a source of confusion, just another patriarchal complication in an overly complicated world. I’ve moved between wearing the same butchered jean shorts for an entire summer to guzzling fast fashion in a desperate attempt to look hot (ugh, early thirties), to where I stand now, somewhere between tired, under-coiffed yoga mom and clothing-swap chic.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12104204 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/c6243e47fa6d79000bdac49cb7c98b4a.jpg\" alt=\"c6243e47fa6d79000bdac49cb7c98b4a\" width=\"236\" height=\"355\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>What identity do my clothes give me?\u003c/em> I began to wonder. \u003cem>Do I have my own version of the Comme des Garçons coat?\u003c/em> The closest, I figure, is a Levi’s jean jacket, bought for $10 at a thrift store and fitted with a purple \u003ca href=\"http://otherwild.com/products/the-future-is-female-pin\">The Future is Female\u003c/a> pin, a combination that makes me feel happy, sharp, and middle-aged yet still connected to my edgier past. I found the pin at a small boutique in Sebastopol and bought it on the spot despite a $12 price tag; the one-sentence feminist manifesto completed the jacket, added that edge I needed to feel like myself in the world.\u003c/p>\n\u003cp>Still, I’ve never been a friend to fashion. Sure, I like a nice pair of dangling earrings and a well-fitting soft cotton dress as much as the next woman, but it’s not something I’ve ever wanted to confess out loud for fear of being superficial. There are way more \u003ca href=\"https://www.washingtonpost.com/news/post-nation/wp/2016/09/22/tulsa-officer-who-fatally-shot-terrence-crutcher-charged-with-first-degree-manslaughter/?utm_term=.31e8c0d55328\">important\u003c/a> \u003ca href=\"https://www.yahoo.com/news/air-raids-pound-rebel-held-aleppo-syria-army-074917338.html\">issues\u003c/a> \u003ca href=\"https://www.yahoo.com/news/air-raids-pound-rebel-held-aleppo-syria-army-074917338.html\">in the world\u003c/a> to consider than whether my boots match my purse. Would that I just cultivated a uniform, a few choice items that fit well, work together, and let me get on with my day.\u003c/p>\n\u003cfigure id=\"attachment_12104203\" class=\"wp-caption aligncenter\" style=\"max-width: 1536px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12104203\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/AR00185_10.jpg\" alt=\"Patti Smith 1975 Robert Mapplethorpe 1946-1989 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 http://www.tate.org.uk/art/work/AR00185\" width=\"1536\" height=\"1526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/AR00185_10.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/AR00185_10-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/AR00185_10-604x600.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/AR00185_10-768x763.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/AR00185_10-1180x1172.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/AR00185_10-960x954.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/AR00185_10-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/AR00185_10-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/AR00185_10-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/AR00185_10-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/AR00185_10-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/AR00185_10-150x150.jpg 150w\" sizes=\"(max-width: 1536px) 100vw, 1536px\">\u003cfigcaption class=\"wp-caption-text\">Patti Smith, 1975, by Robert Mapplethorpe.\u003c/figcaption>\u003c/figure>\n\u003cp>Lately, though, I’ve come to understand that there’s more to this style thing than I’d known. Patti Smith, for one, might not abide by the latest fashion, but she has cultivated a specific, iconic style parallel with a considerable intellect. She can love a coat, and how it makes her feel, and also be a potent modern philosopher. The two can coexist outside of a binary. Style has more than one value.\u003c/p>\n\u003cp>And thus, Patti Smith’s coat started me started me on the path to thinking about style and clothing and how it manifests in my life. As I always do, I studied books to help me sort out my questions. I started with \u003ca href=\"http://into-mind.com/curatedcloset/\">\u003cem>The Curated Closet\u003c/em>\u003c/a> (Ten Speed Press; 2016), a new book by Anuschka Rees, a style blogger from Berlin. I first discovered Rees’ blog \u003ca href=\"http://into-mind.com/\">INTO MIND \u003c/a>two years ago when, in an attempt to develop the perfect uniform and cut down on decisions, I began to obsessively Google “capsule wardrobes.” In her book, Rees argues that personal style trumps fashion; it’s up to you to discover that personal style through study, observation, and instinct.\u003c/p>\n\u003cblockquote>\u003cp>Most women think you have to be fashionable to be well-dressed. And that’s what I thought too until only a few years ago. But here’s what I’ve learned since: Some of the biggest style icons of the last century were people who explicitly did not follow every new trend out there and instead had their own very distinctive looks from which they rarely strayed. Think Marlene Dietrich, Grace Jones, or Marilyn Monroe and also modern style icons like Jenna Lyons, Tilda Swinton or Angelina Jolie. In fact, some of the most consistent style icons of today come from the fashion industry itself, like Karl Lagerfield, Anna Wintour, and Emmanualle Alt. All these people are stylish, not despite the fact that they don’t follow trends, but because of it. They know exactly what they like and what they don’t like. Their style is iconic because it is completely authentic.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12107989\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Curated-Closet-book-cover-1-e1474642228706.jpg\" alt=\"Curated Closet - book cover-1\" width=\"500\" height=\"712\">\u003c/p>\n\u003cp>Rees goes on to challenge the idea of being effortlessly stylish. Like anything, developing personal style takes legwork, experimentation, time, and work. It’s a “skill like any other” and takes practice.\u003c/p>\n\u003cblockquote>\u003cp>Many people have the misconception that a great sense of style is one of those things you either have or don’t have. They imagine that people who are well-dressed simply get up in the morning and, through some act of divine inspiration, come up with a perfectly original and brilliant new outfit idea.\u003c/p>\u003c/blockquote>\n\u003cp>Rees then jumps into the actual work of deciphering style. Step 1: document your outfits for two weeks and keep a log of the when and why the outfit was worn. I love a good assignment, and leaped at the task, although it felt vain, at first, to be shooting full-body selfies of myself in a mirror. But, I did it. So far, the main thing I’ve discovered is that I like to wear the same shoes every single day. And that I feel most comfortable in black.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12107802\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/20160923_071517-COLLAGE-600x600.jpg\" alt=\"20160923_071517-COLLAGE\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160923_071517-COLLAGE-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160923_071517-COLLAGE-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160923_071517-COLLAGE-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160923_071517-COLLAGE-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160923_071517-COLLAGE-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160923_071517-COLLAGE-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160923_071517-COLLAGE-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160923_071517-COLLAGE-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160923_071517-COLLAGE-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160923_071517-COLLAGE-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/20160923_071517-COLLAGE.jpg 1024w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>As I continued to think about all of this, I turned to the public library, checking out \u003cem>Women in Clothes\u003c/em> (Blue Rider Press; 2014) by Sheila Heti, Heidi Julavits, and Leanne Sharpton.\u003c/p>\n\u003cp>Sheila Heti said in \u003ca href=\"http://www.npr.org/2014/09/04/345290998/for-women-in-clothes-its-not-what-you-wear-its-why-you-wear-it\" target=\"_blank\" rel=\"noopener\">an NPR interview\u003c/a> that the idea for the book — which collects interviews, photos, compliments, dressing tips, and style manifestos from a disparate array of women, famous and not — came from a desire to free clothing from the superficial, patronizing language of fashion magazines. Heti, who admits to not thinking much about clothes for most of her life, said that she “woke up one day and I just thought, ‘Today’s the day that I want to figure out how to dress.’ You know, I wanted to know what other women thought about as they got dressed: how they knew what to buy in the store, how they knew what they wanted to wear. I wanted to sort of figure out what my taste was.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12116821\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/womeninclothes.lrg_.jpg\" alt=\"womeninclothes.lrg\" width=\"400\" height=\"536\">\u003c/p>\n\u003cp>The book’s core derives from a survey, an “ever-evolving” list of questions sent out to women worldwide. In total, there are over 100 questions, such as:\u003c/p>\n\u003cul>\n\u003cli>Do you think you have taste or style?\u003c/li>\n\u003cli>Can you say a bit about how your mother’s body and style have been passed down to you or not?\u003c/li>\n\u003cli>What are some things you admire about how other women present themselves?\u003c/li>\n\u003cli>Do you notice women on the street?\u003c/li>\n\u003cli>What is really beautiful, for you, in general?\u003c/li>\n\u003cli>What do you consider very ugly?\u003c/li>\n\u003cli>What’s your process of getting dressed in the morning?\u003c/li>\n\u003cli>What would you say is “you,” and what would you say is “not you”?\u003c/li>\n\u003cli>Is it comforting or constraining to have a uniform?\u003c/li>\n\u003c/ul>\n\u003cp>But more than simply asking questions, the book legitimizes the study of what women wear and why they choose to wear it. One way it accomplishes this is by including a diverse, dynamic chorus of women’s voices, stories, confessions, and demands about style (or refusal of same).\u003c/p>\n\u003cfigure id=\"attachment_12107990\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12107990\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/women1_wide-94268c08669e164170967943bf239fbef1f28ea9-s900-c85.jpg\" alt=\"Six strangers where one another's favorite outfits by Miranda July (from Women in Clothes) \" width=\"900\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/women1_wide-94268c08669e164170967943bf239fbef1f28ea9-s900-c85.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/women1_wide-94268c08669e164170967943bf239fbef1f28ea9-s900-c85-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/women1_wide-94268c08669e164170967943bf239fbef1f28ea9-s900-c85-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/women1_wide-94268c08669e164170967943bf239fbef1f28ea9-s900-c85-768x432.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">Six strangers wear one another’s favorite outfits by Miranda July (from Women in Clothes)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Women in Clothes\u003c/em> serves as an invaluable companion as I indulge, with somewhat furtive embarrassment, in figuring out my own personal style. The book operates like a group of hundreds of smart friends who say, “It’s okay to think about these things. It doesn’t make you less feminist. It doesn’t make you superficial. It doesn’t mean you’ve gone to the dark Kardashian side of the universe. It’s okay to interrogate how you present to the world and why. We’re all thinking about it too.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10905230\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Spine.jpg\" alt=\"Spine\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine-400x21.jpg 400w\" 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>Patti Smith’s \u003ca href=\"http://www.cityarts.net/event/patti-smith/\" target=\"_blank\" rel=\"noopener\">City Arts and Lectures appearance on Oct. 4\u003c/a> is sold out. To get a Smith fix, check out \u003ca href=\"https://mcam.mills.edu/exhibitions/current1.php\">Root Connection: 20 Years of Patti Smith\u003c/a>, a collection of photos, wriitngs and ephemera running through Dec. 11 at Mills College.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'The Magnificent Seven': Because 'The Pretty Good Seven' Didn't Test Well",
"headTitle": "‘The Magnificent Seven’: Because ‘The Pretty Good Seven’ Didn’t Test Well | KQED",
"content": "\u003cp>Even 60 years ago, there were westerns that interrogated the genre’s veneration of masculinity and might-for-right.\u003c/p>\n\u003cp>\u003cem>The Magnificent Seve\u003c/em>n wasn’t one of them.\u003c/p>\n\u003cp>Arriving seven years after the pacifist fable \u003cem>Shane\u003c/em> but two years before the myth-busting \u003cem>The Man Who Shot Liberty Valance,\u003c/em> John Sturges’ 1960 classic is basically a what-you-see-is-what-you get paean to brotherhood and violent sacrifice. It’s about a small pack of wolves, led by Yul Brynner and Steve McQueen, that decides to protect a flock of sheep from a big pack of wolves led by Eli Wallach. That’s all, and that’s enough.\u003c/p>\n\u003cp>As in its source text — Akira Kurosawa’s 1954 \u003cem>Seven Samurai\u003c/em> — what motivates these soldiers of fortune remains largely opaque. (Not fortune. Penance, maybe.) The besieged farmers who beg for their assistance can’t afford them, but will give what little they have. “I’ve been offered a lot for my work, but never everything,” says Brynner.\u003c/p>\n\u003cp>William Roberts wrote that line, one of a handful that screenwriters Richard Wenk and Nic Pizzolatto were smart enough to retain for Denzel Washington in their fun but nonessential new version, the star’s third collaboration with \u003cem>Training Day\u003c/em> and \u003cem>The Equalizer\u003c/em> director Antoine Fuqua. Fuqua and Washington are a good team: They haven’t made a masterpiece together — the first 70 minutes or so of \u003cem>Training Day\u003c/em> are great enough to make you mad when that movie doesn’t go the distance — but they turn out high-grade pulp, present company included.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Their new \u003cem>Magnificent\u003c/em> \u003cem>Seven\u003c/em> is less white than the old one, obviously. It lets a woman (Haley Bennett) fire a rifle and even speak a few substantive lines. Inevitably, it insists on developing its heroes’ backstories in greater depth than its forebear. (Expect an “origin story” prequel to be put in development for each of them if the movie is a hit.) And yet for all that tinkering — some profitable, some merely decorative — \u003cem>The Magnificent Seven\u003c/em> ’16 still feels surprisingly unreconstructed. It tips its hat to \u003cem>Django Unchained\u003c/em>, but it’s not a revisionist western.\u003c/p>\n\u003cp>Nor is it an anti-western.\u003c/p>\n\u003cp>It’s a western.\u003c/p>\n\u003cp>https://youtu.be/q-RBA0xoaWU\u003c/p>\n\u003cp>At least I think it is. So costly is its final battle, in lives and infrastructure, that you have to wonder whether the peace-loving homesteaders of Rose Creek circa 1879 might’ve fared better if they’d just taken evil mining mogul Bartholomew Bogue’s lowball offer for their land and hit the road like he asked. Does the suggestion that all this crisply shot, adroitly edited killing and suffering might ultimately have been pointless make the picture revisionist? A truly abysmal bit of closing narration, seemingly borne of some executive’s note that someone in the movie must speak the word “magnificent” at some point, answers that question: Nope!\u003c/p>\n\u003cp>It pains me to report that the movie lacks (until the end credits) Elmer Bernstein’s heroic theme music, familiar from decades of Academy Awards telecasts. The composer James Horner, who has written more sweeping, romantic adventure scores than anybody in the last 30 years, was commissioned for this movie. Sadly, he died in an airplane crash last year. His arranger Simon Franglen finished the film’s music, with ersatz results.\u003c/p>\n\u003cp>The villain Wallach played all those decades ago was a bully who stole from the poor, but he was also a man of his word who in the end was just trying to keep his starving soldiers fed. That’s not antagonistic enough an antagonist for the Age of Ultron, apparently, because Fuqua & Co. go to comic extremes to make their malefactor truly satanic: Bogue runs a mining company, first of all, dismissing claims he’s polluting Rose Creek’s water supply. In the film’s prologue, he and his henchmen burst into the town parish, manhandle a child, spit tobacco on the floor, and then beat and/or shoot several unarmed civilians before setting the church on fire. Most damning of all, he wears the face of Peter Sarsgaard, whose soft features peg him in movie-language as a predatory creep just as surely as Washington’s symmetrical mug makes him a man of virtue.\u003c/p>\n\u003cp>Good news: Denzel looks great beneath a Stetson, on top of a horse. Who cares that at 60-plus, he’s more than 20 years longer-in-the-tooth than Brynner was? He’s still the most quietly commanding presence in movies. He’s grown a glorious pair of mutton-chops and learned to twirl a Colt Peacemaker, and that unhurried, shoulder-sloping gait of his suggests he should’ve been starring in westerns all along.\u003c/p>\n\u003cp>Ultimately, this kind of movie sinks or swims on the chemistry among its band of brothers. On that score, this one is a winner. A magnificent four-sevenths of them are now men of color, which — perhaps anachronistically — evokes little comment from the mostly-white villagers. Though the screenwriters have given them all new names, most of them map easily onto the lineup from the original \u003cem>Seven\u003c/em>. Washington is Brynner, obviously, down to the all-black wardrobe. Chris Pratt is McQueen — no longer a mere gambler, but a rakish skirt-chaser and an amateur card magician, too. (He does more winking and mugging in this 133-minute movie than McQueen did in his 25-year career. At one point, he vows to an enemy, “You’ll be murdered by the world’s greatest lover,” a line that would’ve been too embarrassing for Roger Moore. But since he didn’t smile even once in \u003cem>Jurassic World,\u003c/em> we’ll allow it.)\u003c/p>\n\u003cp>South Korean star Byung Hun Lee fills what was James Coburn’s part, the quiet guy who’s good with a blade. Ethan Hawke takes over for Robert Vaughn as the shell-shocked Confederate deserter. (It’s fun to see Washington and Hawke together again, 15 years after they both got Oscar nominations for \u003cem>Training Day\u003c/em>.) Rounding out the team are Vincent D’Onofrio as a weirdo trapper who speaks like his lungs are full of helium, Martin Sensmeier as a Commanche warrior who has left his tribe, and Manuel Garcia-Rulfo as a Mexican bounty hunter. Everyone looks authentically sweaty, not to say glossy.\u003c/p>\n\u003cp>Fuqua is smart enough to let us get to know each of them through behavior rather than dialogue, and he’s in no hurry to get to the bloody confrontation. There’s substantial pleasure, and humor, in the scenes where these soldiers try to shape the villagers into a militia that might have a prayer of fending of the mercenary battalion just a few days from their door.\u003c/p>\n\u003cp>If we’ve somehow gone almost 60 years without an officially licensed \u003cem>Seven Samurai/Magnificent Seven\u003c/em> update, it’s only because its imitators are legion. The \u003cem>Magnificent Seven\u003c/em> spawned three official sequels and innumerable unofficial ones. Fuqua’s own \u003cem>Tears of the Sun,\u003c/em> from 2003, was about a SEAL team that decides, against orders, to defend a group of refugees threatened with genocide. Counting team leader Bruce Willis, there were eight of them, and the setting was 21st century Nigeria rather than 19th century Mexico or 16th century Japan … but it was still \u003cem>Seven Samurai\u003c/em> in everything but name. The 1980s NBC series \u003cem>The A-Team\u003c/em> retold the second half of \u003cem>The Magnificent Seven\u003c/em> weekly for five seasons — a lot longer than CBS’s official \u003cem>Magnificent Seven\u003c/em> TV spinoff lasted.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If it ain’t woke, don’t fix it.\u003c/p>\n\n",
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"excerpt": "Director Antoine Fuqua remakes the classic 1960 Western; our critic calls it a \"fun but nonessential\" example of \"high-grade pulp.\"",
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"title": "'The Magnificent Seven': Because 'The Pretty Good Seven' Didn't Test Well | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even 60 years ago, there were westerns that interrogated the genre’s veneration of masculinity and might-for-right.\u003c/p>\n\u003cp>\u003cem>The Magnificent Seve\u003c/em>n wasn’t one of them.\u003c/p>\n\u003cp>Arriving seven years after the pacifist fable \u003cem>Shane\u003c/em> but two years before the myth-busting \u003cem>The Man Who Shot Liberty Valance,\u003c/em> John Sturges’ 1960 classic is basically a what-you-see-is-what-you get paean to brotherhood and violent sacrifice. It’s about a small pack of wolves, led by Yul Brynner and Steve McQueen, that decides to protect a flock of sheep from a big pack of wolves led by Eli Wallach. That’s all, and that’s enough.\u003c/p>\n\u003cp>As in its source text — Akira Kurosawa’s 1954 \u003cem>Seven Samurai\u003c/em> — what motivates these soldiers of fortune remains largely opaque. (Not fortune. Penance, maybe.) The besieged farmers who beg for their assistance can’t afford them, but will give what little they have. “I’ve been offered a lot for my work, but never everything,” says Brynner.\u003c/p>\n\u003cp>William Roberts wrote that line, one of a handful that screenwriters Richard Wenk and Nic Pizzolatto were smart enough to retain for Denzel Washington in their fun but nonessential new version, the star’s third collaboration with \u003cem>Training Day\u003c/em> and \u003cem>The Equalizer\u003c/em> director Antoine Fuqua. Fuqua and Washington are a good team: They haven’t made a masterpiece together — the first 70 minutes or so of \u003cem>Training Day\u003c/em> are great enough to make you mad when that movie doesn’t go the distance — but they turn out high-grade pulp, present company included.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Their new \u003cem>Magnificent\u003c/em> \u003cem>Seven\u003c/em> is less white than the old one, obviously. It lets a woman (Haley Bennett) fire a rifle and even speak a few substantive lines. Inevitably, it insists on developing its heroes’ backstories in greater depth than its forebear. (Expect an “origin story” prequel to be put in development for each of them if the movie is a hit.) And yet for all that tinkering — some profitable, some merely decorative — \u003cem>The Magnificent Seven\u003c/em> ’16 still feels surprisingly unreconstructed. It tips its hat to \u003cem>Django Unchained\u003c/em>, but it’s not a revisionist western.\u003c/p>\n\u003cp>Nor is it an anti-western.\u003c/p>\n\u003cp>It’s a western.\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/q-RBA0xoaWU'\n title='//www.youtube.com/embed/q-RBA0xoaWU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At least I think it is. So costly is its final battle, in lives and infrastructure, that you have to wonder whether the peace-loving homesteaders of Rose Creek circa 1879 might’ve fared better if they’d just taken evil mining mogul Bartholomew Bogue’s lowball offer for their land and hit the road like he asked. Does the suggestion that all this crisply shot, adroitly edited killing and suffering might ultimately have been pointless make the picture revisionist? A truly abysmal bit of closing narration, seemingly borne of some executive’s note that someone in the movie must speak the word “magnificent” at some point, answers that question: Nope!\u003c/p>\n\u003cp>It pains me to report that the movie lacks (until the end credits) Elmer Bernstein’s heroic theme music, familiar from decades of Academy Awards telecasts. The composer James Horner, who has written more sweeping, romantic adventure scores than anybody in the last 30 years, was commissioned for this movie. Sadly, he died in an airplane crash last year. His arranger Simon Franglen finished the film’s music, with ersatz results.\u003c/p>\n\u003cp>The villain Wallach played all those decades ago was a bully who stole from the poor, but he was also a man of his word who in the end was just trying to keep his starving soldiers fed. That’s not antagonistic enough an antagonist for the Age of Ultron, apparently, because Fuqua & Co. go to comic extremes to make their malefactor truly satanic: Bogue runs a mining company, first of all, dismissing claims he’s polluting Rose Creek’s water supply. In the film’s prologue, he and his henchmen burst into the town parish, manhandle a child, spit tobacco on the floor, and then beat and/or shoot several unarmed civilians before setting the church on fire. Most damning of all, he wears the face of Peter Sarsgaard, whose soft features peg him in movie-language as a predatory creep just as surely as Washington’s symmetrical mug makes him a man of virtue.\u003c/p>\n\u003cp>Good news: Denzel looks great beneath a Stetson, on top of a horse. Who cares that at 60-plus, he’s more than 20 years longer-in-the-tooth than Brynner was? He’s still the most quietly commanding presence in movies. He’s grown a glorious pair of mutton-chops and learned to twirl a Colt Peacemaker, and that unhurried, shoulder-sloping gait of his suggests he should’ve been starring in westerns all along.\u003c/p>\n\u003cp>Ultimately, this kind of movie sinks or swims on the chemistry among its band of brothers. On that score, this one is a winner. A magnificent four-sevenths of them are now men of color, which — perhaps anachronistically — evokes little comment from the mostly-white villagers. Though the screenwriters have given them all new names, most of them map easily onto the lineup from the original \u003cem>Seven\u003c/em>. Washington is Brynner, obviously, down to the all-black wardrobe. Chris Pratt is McQueen — no longer a mere gambler, but a rakish skirt-chaser and an amateur card magician, too. (He does more winking and mugging in this 133-minute movie than McQueen did in his 25-year career. At one point, he vows to an enemy, “You’ll be murdered by the world’s greatest lover,” a line that would’ve been too embarrassing for Roger Moore. But since he didn’t smile even once in \u003cem>Jurassic World,\u003c/em> we’ll allow it.)\u003c/p>\n\u003cp>South Korean star Byung Hun Lee fills what was James Coburn’s part, the quiet guy who’s good with a blade. Ethan Hawke takes over for Robert Vaughn as the shell-shocked Confederate deserter. (It’s fun to see Washington and Hawke together again, 15 years after they both got Oscar nominations for \u003cem>Training Day\u003c/em>.) Rounding out the team are Vincent D’Onofrio as a weirdo trapper who speaks like his lungs are full of helium, Martin Sensmeier as a Commanche warrior who has left his tribe, and Manuel Garcia-Rulfo as a Mexican bounty hunter. Everyone looks authentically sweaty, not to say glossy.\u003c/p>\n\u003cp>Fuqua is smart enough to let us get to know each of them through behavior rather than dialogue, and he’s in no hurry to get to the bloody confrontation. There’s substantial pleasure, and humor, in the scenes where these soldiers try to shape the villagers into a militia that might have a prayer of fending of the mercenary battalion just a few days from their door.\u003c/p>\n\u003cp>If we’ve somehow gone almost 60 years without an officially licensed \u003cem>Seven Samurai/Magnificent Seven\u003c/em> update, it’s only because its imitators are legion. The \u003cem>Magnificent Seven\u003c/em> spawned three official sequels and innumerable unofficial ones. Fuqua’s own \u003cem>Tears of the Sun,\u003c/em> from 2003, was about a SEAL team that decides, against orders, to defend a group of refugees threatened with genocide. Counting team leader Bruce Willis, there were eight of them, and the setting was 21st century Nigeria rather than 19th century Mexico or 16th century Japan … but it was still \u003cem>Seven Samurai\u003c/em> in everything but name. The 1980s NBC series \u003cem>The A-Team\u003c/em> retold the second half of \u003cem>The Magnificent Seven\u003c/em> weekly for five seasons — a lot longer than CBS’s official \u003cem>Magnificent Seven\u003c/em> TV spinoff lasted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Tom Sachs Leads Space Mission to Jupiter's Europa Without Leaving Earth",
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"content": "\u003cp>We live in a world savaged by disbelief, where we’re quick to label everything a scam. So one of the strangest effects of Tom Sachs’ \u003cem>Space Program: Europa — \u003c/em>both the multimedia art installation showing at San Francisco’s Yerba Buena Center for the Arts (YBCA) through Sunday, Jan. 15, and the six-hour performance that Sachs and company undertook for the show’s opening weekend — is how it reconstitutes the possibilities of belief.\u003c/p>\n\u003cp>That it does so by constructing artifacts of a mission to Europa, Jupiter’s icy moon, as a Smithsonian style exhibition, and then re-animating that exhibition through performance, is kind of miracle. No matter how you experience Sachs’ wildly inventive take on exploration, either by roaming through the YBCA galleries or catching all or part of the accompanying performance (which the artist and his team intend to remount once again before the show closes) the message is bracing and consistent: we are creatures of belief and imagination. And these qualities compel us — sometimes vainly and foolishly, but always with joy — to wilder and wilder feats of daring.\u003c/p>\n\u003cfigure id=\"attachment_12097181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12097181\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-800x450.jpg\" alt=\"The Landing Excursion Module that the Astronauts use to explore Europa in Tom Sachs' 'Space Program: Europa' at YBCA.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Landing Excursion Module that the Astronauts use to explore Europa in Tom Sachs’ ‘Space Program: Europa’ at YBCA. \u003ccite>(Photo: Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stand before “Mission Control Center” in Gallery Two and marvel at its “can do” futurism. Comprised of 50 television screens, a JVC boom box, and a ticking clock, it’s all you need to feel like you’re witnessing the longest human voyage in history. The same goes for the Hibachi grill in the YBCA’s bamboo garden that plays such a crucial role in piercing Europa’s icy surface (a piece in the exhibit that gives new meaning to ice sculpture); and for that matter, the majestic “Landing Excursion Module” in Gallery One, an eye-catching plywood variant on the Apollo 13 lunar module measuring over 20 feet in height and width. The line between art and equipment has never been so thin. It’s a boy scout’s path to the sublime.\u003c/p>\n\u003cp>To see Sachs and a company of at least 20 helpers, including \u003cem>Myth Busters\u003c/em>’ star Adam Savage, turn the exhibition into a performance is thrilling. Sachs prefers to call it a “demonstration”, but that word undersells the sweeping power of what he’s achieved. \u003cem>Space Program: Europa\u003c/em> has the feel of a distant memory coming to life. If the exhibition is the proof, the aftermath of one grand moment in human history, the performance of Sachs’ demonstration is the ghostly reminder of what it took to make it happen.\u003c/p>\n\u003cp>So when we enter the main performance space in Gallery Two, we’re in Mission Control just before the first manned (though both astronauts are women) flight to Europa. Three technical operators sit at the master panel, readying for blast off. Sachs paces the stage, confident and nervous. Of course, it’s all a ritual of performance: From \u003cem>Capricorn 1\u003c/em> to \u003cem>Apollo 13\u003c/em>, the space drama has always been the stuffy cousin to the backstage farce.\u003c/p>\n\u003cfigure id=\"attachment_12097185\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12097185\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-800x452.jpg\" alt=\"Ready for the ordeal of a long, long flight in Tom Sachs' 'Space Program: Europa' at YBCA.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ready for the ordeal of a long, long flight in Tom Sachs’ ‘Space Program: Europa’ at YBCA. \u003ccite>(Photo: Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If we have lost a taste for the momentous nature of space flight, Sachs reminds us how wonderful and challenging the momentous can be, even if just a stunt. So in the quiet right before the start of the mission, the first movement of Gustav Holst’s \u003cem>The Planets\u003c/em>, “\u003ca href=\"https://www.youtube.com/watch?v=cXOanvv4plU\">Mars, the Bringer of Wars\u003c/a>,” roars through the speakers. And we watch on the monitors as the astronauts — in full space suit regalia — jog through the YBCA galleries towards their ship. The museum erupts into applause, the first of many spontaneous expressions of joy throughout the performance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Just like the production of a real mission, Sachs balances these moments of ecstasy with minute details and excruciating boredom. The most memorable section is a 40-minute (it feels longer) tour-de-force, where the astronauts drill into Europa’s frozen surface. When the drill gets stuck in the ice, it takes a pickax, a blowtorch, and the ever-handy Hibachi to save the mission. At first we watch in agony as the clumsy, gloved hands of the astronauts attempt to dislodge the drill. And then we see a bare hand enter the picture to work on the drill, too.\u003c/p>\n\u003cp>It is part of the exquisite charm of Sachs’ vision that he can maintain two fictions at once: that we are in space and that this is a production whose stars, the astronauts, are constantly aided by a backstage team — not just in mission control, but also on Europa with them, like an extra terrestrial team of Mt. Everest Sherpas. In freeing the drill, both worlds collide without comment. And yet the piece feels all the more real for it. So that when Sachs yells, “whatever you do, keep that Hibachi lit,” it becomes a serious concern for both the fiction of the mission and the actual production before us.\u003c/p>\n\u003cp>There are moments of stunning beauty: the astronauts spooning to Al Green’s “\u003ca href=\"https://www.youtube.com/watch?v=COiIC3A0ROM&list=RDCOiIC3A0ROM\">Let’s Stay Together\u003c/a>,” a tea ceremony to mark the last moments on Europa, the sharing of one last Oreo cookie, and the wild celebrations in Mission Control every time a difficult task is completed. And the pleasure comes from the simple realization that human ingenuity never stops.\u003c/p>\n\u003cfigure id=\"attachment_12097187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12097187\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-800x451.jpg\" alt=\"The astronauts perform a tea ceremony on Europa in Tom Sachs' 'Space Program: Europa' at YBCA.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The astronauts perform a tea ceremony on Europa in Tom Sachs’ ‘Space Program: Europa’ at YBCA. \u003ccite>(Photo: Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But perhaps the greatest achievement of Sachs’ performance is what he does to time. We can’t help but be aware of it: the performance is epic in length and the clock keeps on ticking. But sometimes it stops without explanation, as if in the high stakes game of space exploration and art, there are moments that just slip away, that we simply cannot catch. And then, of course, you realize that in a fundamental way this performance of \u003cem>Space Program: Europa\u003c/em> isn’t happening. We’re watching something in the present that is by the logic of the exhibition it created, already over. Even in a scam, there are so many beautiful things to believe in.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Space Program: Europa\u003c/em> is on display at Yerba Buena Center for the Arts in San Francisco through Sunday, Jan. 15. There will be one more performance of \u003cem>Space Program: Europa\u003c/em> on the closing weekend, also at YBCA. For tickets and information please \u003ca href=\"https://www.ybca.org\">click here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"title": "Tom Sachs Leads Space Mission to Jupiter's Europa Without Leaving Earth | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We live in a world savaged by disbelief, where we’re quick to label everything a scam. So one of the strangest effects of Tom Sachs’ \u003cem>Space Program: Europa — \u003c/em>both the multimedia art installation showing at San Francisco’s Yerba Buena Center for the Arts (YBCA) through Sunday, Jan. 15, and the six-hour performance that Sachs and company undertook for the show’s opening weekend — is how it reconstitutes the possibilities of belief.\u003c/p>\n\u003cp>That it does so by constructing artifacts of a mission to Europa, Jupiter’s icy moon, as a Smithsonian style exhibition, and then re-animating that exhibition through performance, is kind of miracle. No matter how you experience Sachs’ wildly inventive take on exploration, either by roaming through the YBCA galleries or catching all or part of the accompanying performance (which the artist and his team intend to remount once again before the show closes) the message is bracing and consistent: we are creatures of belief and imagination. And these qualities compel us — sometimes vainly and foolishly, but always with joy — to wilder and wilder feats of daring.\u003c/p>\n\u003cfigure id=\"attachment_12097181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12097181\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-800x450.jpg\" alt=\"The Landing Excursion Module that the Astronauts use to explore Europa in Tom Sachs' 'Space Program: Europa' at YBCA.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Landing Excursion Module that the Astronauts use to explore Europa in Tom Sachs’ ‘Space Program: Europa’ at YBCA. \u003ccite>(Photo: Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stand before “Mission Control Center” in Gallery Two and marvel at its “can do” futurism. Comprised of 50 television screens, a JVC boom box, and a ticking clock, it’s all you need to feel like you’re witnessing the longest human voyage in history. The same goes for the Hibachi grill in the YBCA’s bamboo garden that plays such a crucial role in piercing Europa’s icy surface (a piece in the exhibit that gives new meaning to ice sculpture); and for that matter, the majestic “Landing Excursion Module” in Gallery One, an eye-catching plywood variant on the Apollo 13 lunar module measuring over 20 feet in height and width. The line between art and equipment has never been so thin. It’s a boy scout’s path to the sublime.\u003c/p>\n\u003cp>To see Sachs and a company of at least 20 helpers, including \u003cem>Myth Busters\u003c/em>’ star Adam Savage, turn the exhibition into a performance is thrilling. Sachs prefers to call it a “demonstration”, but that word undersells the sweeping power of what he’s achieved. \u003cem>Space Program: Europa\u003c/em> has the feel of a distant memory coming to life. If the exhibition is the proof, the aftermath of one grand moment in human history, the performance of Sachs’ demonstration is the ghostly reminder of what it took to make it happen.\u003c/p>\n\u003cp>So when we enter the main performance space in Gallery Two, we’re in Mission Control just before the first manned (though both astronauts are women) flight to Europa. Three technical operators sit at the master panel, readying for blast off. Sachs paces the stage, confident and nervous. Of course, it’s all a ritual of performance: From \u003cem>Capricorn 1\u003c/em> to \u003cem>Apollo 13\u003c/em>, the space drama has always been the stuffy cousin to the backstage farce.\u003c/p>\n\u003cfigure id=\"attachment_12097185\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12097185\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-800x452.jpg\" alt=\"Ready for the ordeal of a long, long flight in Tom Sachs' 'Space Program: Europa' at YBCA.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ready for the ordeal of a long, long flight in Tom Sachs’ ‘Space Program: Europa’ at YBCA. \u003ccite>(Photo: Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If we have lost a taste for the momentous nature of space flight, Sachs reminds us how wonderful and challenging the momentous can be, even if just a stunt. So in the quiet right before the start of the mission, the first movement of Gustav Holst’s \u003cem>The Planets\u003c/em>, “\u003ca href=\"https://www.youtube.com/watch?v=cXOanvv4plU\">Mars, the Bringer of Wars\u003c/a>,” roars through the speakers. And we watch on the monitors as the astronauts — in full space suit regalia — jog through the YBCA galleries towards their ship. The museum erupts into applause, the first of many spontaneous expressions of joy throughout the performance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just like the production of a real mission, Sachs balances these moments of ecstasy with minute details and excruciating boredom. The most memorable section is a 40-minute (it feels longer) tour-de-force, where the astronauts drill into Europa’s frozen surface. When the drill gets stuck in the ice, it takes a pickax, a blowtorch, and the ever-handy Hibachi to save the mission. At first we watch in agony as the clumsy, gloved hands of the astronauts attempt to dislodge the drill. And then we see a bare hand enter the picture to work on the drill, too.\u003c/p>\n\u003cp>It is part of the exquisite charm of Sachs’ vision that he can maintain two fictions at once: that we are in space and that this is a production whose stars, the astronauts, are constantly aided by a backstage team — not just in mission control, but also on Europa with them, like an extra terrestrial team of Mt. Everest Sherpas. In freeing the drill, both worlds collide without comment. And yet the piece feels all the more real for it. So that when Sachs yells, “whatever you do, keep that Hibachi lit,” it becomes a serious concern for both the fiction of the mission and the actual production before us.\u003c/p>\n\u003cp>There are moments of stunning beauty: the astronauts spooning to Al Green’s “\u003ca href=\"https://www.youtube.com/watch?v=COiIC3A0ROM&list=RDCOiIC3A0ROM\">Let’s Stay Together\u003c/a>,” a tea ceremony to mark the last moments on Europa, the sharing of one last Oreo cookie, and the wild celebrations in Mission Control every time a difficult task is completed. And the pleasure comes from the simple realization that human ingenuity never stops.\u003c/p>\n\u003cfigure id=\"attachment_12097187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12097187\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-800x451.jpg\" alt=\"The astronauts perform a tea ceremony on Europa in Tom Sachs' 'Space Program: Europa' at YBCA.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The astronauts perform a tea ceremony on Europa in Tom Sachs’ ‘Space Program: Europa’ at YBCA. \u003ccite>(Photo: Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But perhaps the greatest achievement of Sachs’ performance is what he does to time. We can’t help but be aware of it: the performance is epic in length and the clock keeps on ticking. But sometimes it stops without explanation, as if in the high stakes game of space exploration and art, there are moments that just slip away, that we simply cannot catch. And then, of course, you realize that in a fundamental way this performance of \u003cem>Space Program: Europa\u003c/em> isn’t happening. We’re watching something in the present that is by the logic of the exhibition it created, already over. Even in a scam, there are so many beautiful things to believe in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Space Program: Europa\u003c/em> is on display at Yerba Buena Center for the Arts in San Francisco through Sunday, Jan. 15. There will be one more performance of \u003cem>Space Program: Europa\u003c/em> on the closing weekend, also at YBCA. For tickets and information please \u003ca href=\"https://www.ybca.org\">click here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Atlas Obscura' Tour of Manhattan Finds Hidden Wonders in a Well-Trodden Place",
"headTitle": "‘Atlas Obscura’ Tour of Manhattan Finds Hidden Wonders in a Well-Trodden Place | KQED",
"content": "\u003cp>Sometimes the world can feel a bit uniform: the same department stores in every shopping mall, the same fast food chains on every corner. The website \u003ca href=\"http://www.atlasobscura.com/\" target=\"_blank\" rel=\"noopener\">Atlas Obscura\u003c/a> will make you reconsider that sense of monotony.\u003c/p>\n\u003cp>“The world is still this huge, bizarre, vast place filled with astounding stuff,” says co-founder Dylan Thuras. “And if you sort of tilt your view a little bit and start looking for it, you start finding it everywhere.”\u003c/p>\n\u003cp>Thuras’ new book, also called \u003cem>Atlas Obscura\u003c/em>, is a guide to the world’s hidden wonders — like a \u003ca href=\"http://www.atlasobscura.com/places/vent-haven-museum\" target=\"_blank\" rel=\"noopener\">ventriloquist dummy museum in Kentucky\u003c/a> or a \u003ca href=\"http://www.atlasobscura.com/places/the-gates-of-hell\" target=\"_blank\" rel=\"noopener\">230-foot-wide hole in Turkmenistan\u003c/a> that’s been on fire for 40 years.\u003c/p>\n\u003cp>“That’s an amazing place,” Thuras says. “And it’s kind of one of these places that when you find out it exists, you’re a little bit surprised you didn’t know it existed before.”\u003c/p>\n\u003cp>But you don’t have go all the way to Turkmenistan to see these places; Thuras says there’s plenty of wonder in your own backyard. To prove it, he took NPR on a tour of the wonders in \u003cem>his\u003c/em> backyard: Manhattan.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thuras starts his tour on the 6 train. “Basically, you stay on the 6 train after its last stop [Brooklyn Bridge-City Hall],” he says. “You’re able to look out the subway car windows and see the \u003ca href=\"http://www.atlasobscura.com/places/city-hall-station-mro\" target=\"_blank\" rel=\"noopener\">City Hall station\u003c/a>, which is one of the most beautiful subway stations ever created. It’s been shuttered since 1945, but it is this immaculate space. It’s this little piece of lost New York grandeur.”\u003c/p>\n\u003cp>The station has hanging chandeliers and arched ceilings that are covered in green and white tiles. (For the best view, \u003cem>Atlas Obscura\u003c/em> recommends sitting in the 7th, 8th or 9th car.)\u003c/p>\n\u003cp>The next stop is an artwork by Walter De Maria. It’s called \u003ca href=\"http://www.atlasobscura.com/places/the-new-york-earth-room\" target=\"_blank\" rel=\"noopener\">the Earth Room\u003c/a>, “which is what it sounds like,” Thuras says: “It is 280,000 pounds of dirt that has been sitting in a room in a SoHo loft.”\u003c/p>\n\u003cfigure id=\"attachment_12096239\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Atlas-Obscura-Flckr-800x532.jpg\" alt=\"Manhattan's long-shuttered City Hall subway station has hanging chandeliers and arched ceilings that are covered in green and white tiles.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-12096239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Atlas-Obscura-Flckr.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Atlas-Obscura-Flckr-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Atlas-Obscura-Flckr-768x511.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Manhattan’s long-shuttered City Hall subway station has hanging chandeliers and arched ceilings that are covered in green and white tiles. \u003ccite>(Photo: Julian Dunn/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A little sign outside instructs visitors to buzz in and walk up to the second floor. There, they’ll find a loft in which the entire floor is covered in “rich, nicely groomed-looking dirt,” as Thuras describes it. Somebody has raked and misted the dirt every week since De Maria created the work in 1977. “It’s got the real smell of a forest floor,” Thuras says.\u003c/p>\n\u003cp>Spanish tourist Juan Carlos Fernandez’s visit coincided with NPR’s. He says he’s wanted to visit the Earth Room since 1986, “but for different reasons every time we were here in the city, we couldn’t.” Was it worth the 30-year wait? Fernandez says yes. “I am so thrilled right now.”\u003c/p>\n\u003cp>After the Earth Room, it’s time for lunch at the kind of restaurant Atlas Obscura loves. “We are going to \u003ca href=\"http://www.atlasobscura.com/places/el-sabroso\" target=\"_blank\" rel=\"noopener\">El Sabroso\u003c/a>, which is a small South American lunch counter in a freight elevator entrance,” Thuras says.\u003c/p>\n\u003cp>The restaurant is in Midtown in a sort of loading dock. Behind the counter, a cook tends to eight pots bubbling on a small stove. Seating consists of a long folding table with plastic chairs.\u003c/p>\n\u003cp>Thuras says, “In a way, there’s a history here because Midtown has always been home to garment workers and people, you know, who were kind of working on a tighter budget, and that’s still true today. So there’s a few remaining … old school lunch counters where you can get a great meal for like $6. … And it’s killer. It’s like super killer.” (He’s not kidding. It was the best $6 lunch this reporter has had in a long time.)\u003c/p>\n\u003cp>Thuras is the kind of traveler who will pack every minute of a day with experiences. After lunch, he leads NPR to \u003ca href=\"http://www.atlasobscura.com/places/toynbee-tiles-3\" target=\"_blank\" rel=\"noopener\">mysterious tiles embedded in the roadway\u003c/a>, \u003ca href=\"http://www.atlasobscura.com/places/gimbel-s-bridge\" target=\"_blank\" rel=\"noopener\">a shuttered art deco skywalk\u003c/a> that is completely sealed off to the world and the \u003ca href=\"http://www.atlasobscura.com/places/the-conjuring-arts-research-center\" target=\"_blank\" rel=\"noopener\">Conjuring Arts Research Center\u003c/a>, one of the world’s largest collections of books about magic.\u003c/p>\n\u003cp>The last stop on his tour is an easily overlooked wonder in the middle of Times Square. It’s called \u003ca href=\"http://www.atlasobscura.com/places/the-times-square-hum\" target=\"_blank\" rel=\"noopener\">the Times Square Hum\u003c/a> and it comes from under a metal grate on a pedestrian island. (You can hear it for yourself in the audio story above.) An artist named Max Neuhaus created it almost 40 years ago.\u003c/p>\n\u003cp>“It’s this kind of sonic secret, just tucked away,” Thuras says. “Almost nobody stops and says, ‘What is that strange noise?’ ” Because, of course, the Hum is surrounded by noise: car horns, street performers, crowds, squeaking brakes.\u003c/p>\n\u003cp>“For me, it sort of serves as this wonderful reminder that in the middle of all this madness — in what I think most people would find the most commercial, least sort of whimsical or magical place in Manhattan — is this kind of little gem waiting for you if you’re willing to sort of slow down, look around, listen and kind of start asking questions.”\u003c/p>\n\u003cp>Does he ever worry about Atlas Obscura running out of wonders to write about?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We asked ourselves this question at the start,” Thuras says, “and so far the answer seems to be: It is infinite.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Atlas+Obscura%27+Tour+Of+Manhattan+Finds+Hidden+Wonders+In+A+Well-Trodden+Place&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes the world can feel a bit uniform: the same department stores in every shopping mall, the same fast food chains on every corner. The website \u003ca href=\"http://www.atlasobscura.com/\" target=\"_blank\" rel=\"noopener\">Atlas Obscura\u003c/a> will make you reconsider that sense of monotony.\u003c/p>\n\u003cp>“The world is still this huge, bizarre, vast place filled with astounding stuff,” says co-founder Dylan Thuras. “And if you sort of tilt your view a little bit and start looking for it, you start finding it everywhere.”\u003c/p>\n\u003cp>Thuras’ new book, also called \u003cem>Atlas Obscura\u003c/em>, is a guide to the world’s hidden wonders — like a \u003ca href=\"http://www.atlasobscura.com/places/vent-haven-museum\" target=\"_blank\" rel=\"noopener\">ventriloquist dummy museum in Kentucky\u003c/a> or a \u003ca href=\"http://www.atlasobscura.com/places/the-gates-of-hell\" target=\"_blank\" rel=\"noopener\">230-foot-wide hole in Turkmenistan\u003c/a> that’s been on fire for 40 years.\u003c/p>\n\u003cp>“That’s an amazing place,” Thuras says. “And it’s kind of one of these places that when you find out it exists, you’re a little bit surprised you didn’t know it existed before.”\u003c/p>\n\u003cp>But you don’t have go all the way to Turkmenistan to see these places; Thuras says there’s plenty of wonder in your own backyard. To prove it, he took NPR on a tour of the wonders in \u003cem>his\u003c/em> backyard: Manhattan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thuras starts his tour on the 6 train. “Basically, you stay on the 6 train after its last stop [Brooklyn Bridge-City Hall],” he says. “You’re able to look out the subway car windows and see the \u003ca href=\"http://www.atlasobscura.com/places/city-hall-station-mro\" target=\"_blank\" rel=\"noopener\">City Hall station\u003c/a>, which is one of the most beautiful subway stations ever created. It’s been shuttered since 1945, but it is this immaculate space. It’s this little piece of lost New York grandeur.”\u003c/p>\n\u003cp>The station has hanging chandeliers and arched ceilings that are covered in green and white tiles. (For the best view, \u003cem>Atlas Obscura\u003c/em> recommends sitting in the 7th, 8th or 9th car.)\u003c/p>\n\u003cp>The next stop is an artwork by Walter De Maria. It’s called \u003ca href=\"http://www.atlasobscura.com/places/the-new-york-earth-room\" target=\"_blank\" rel=\"noopener\">the Earth Room\u003c/a>, “which is what it sounds like,” Thuras says: “It is 280,000 pounds of dirt that has been sitting in a room in a SoHo loft.”\u003c/p>\n\u003cfigure id=\"attachment_12096239\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Atlas-Obscura-Flckr-800x532.jpg\" alt=\"Manhattan's long-shuttered City Hall subway station has hanging chandeliers and arched ceilings that are covered in green and white tiles.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-12096239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Atlas-Obscura-Flckr.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Atlas-Obscura-Flckr-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Atlas-Obscura-Flckr-768x511.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Manhattan’s long-shuttered City Hall subway station has hanging chandeliers and arched ceilings that are covered in green and white tiles. \u003ccite>(Photo: Julian Dunn/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A little sign outside instructs visitors to buzz in and walk up to the second floor. There, they’ll find a loft in which the entire floor is covered in “rich, nicely groomed-looking dirt,” as Thuras describes it. Somebody has raked and misted the dirt every week since De Maria created the work in 1977. “It’s got the real smell of a forest floor,” Thuras says.\u003c/p>\n\u003cp>Spanish tourist Juan Carlos Fernandez’s visit coincided with NPR’s. He says he’s wanted to visit the Earth Room since 1986, “but for different reasons every time we were here in the city, we couldn’t.” Was it worth the 30-year wait? Fernandez says yes. “I am so thrilled right now.”\u003c/p>\n\u003cp>After the Earth Room, it’s time for lunch at the kind of restaurant Atlas Obscura loves. “We are going to \u003ca href=\"http://www.atlasobscura.com/places/el-sabroso\" target=\"_blank\" rel=\"noopener\">El Sabroso\u003c/a>, which is a small South American lunch counter in a freight elevator entrance,” Thuras says.\u003c/p>\n\u003cp>The restaurant is in Midtown in a sort of loading dock. Behind the counter, a cook tends to eight pots bubbling on a small stove. Seating consists of a long folding table with plastic chairs.\u003c/p>\n\u003cp>Thuras says, “In a way, there’s a history here because Midtown has always been home to garment workers and people, you know, who were kind of working on a tighter budget, and that’s still true today. So there’s a few remaining … old school lunch counters where you can get a great meal for like $6. … And it’s killer. It’s like super killer.” (He’s not kidding. It was the best $6 lunch this reporter has had in a long time.)\u003c/p>\n\u003cp>Thuras is the kind of traveler who will pack every minute of a day with experiences. After lunch, he leads NPR to \u003ca href=\"http://www.atlasobscura.com/places/toynbee-tiles-3\" target=\"_blank\" rel=\"noopener\">mysterious tiles embedded in the roadway\u003c/a>, \u003ca href=\"http://www.atlasobscura.com/places/gimbel-s-bridge\" target=\"_blank\" rel=\"noopener\">a shuttered art deco skywalk\u003c/a> that is completely sealed off to the world and the \u003ca href=\"http://www.atlasobscura.com/places/the-conjuring-arts-research-center\" target=\"_blank\" rel=\"noopener\">Conjuring Arts Research Center\u003c/a>, one of the world’s largest collections of books about magic.\u003c/p>\n\u003cp>The last stop on his tour is an easily overlooked wonder in the middle of Times Square. It’s called \u003ca href=\"http://www.atlasobscura.com/places/the-times-square-hum\" target=\"_blank\" rel=\"noopener\">the Times Square Hum\u003c/a> and it comes from under a metal grate on a pedestrian island. (You can hear it for yourself in the audio story above.) An artist named Max Neuhaus created it almost 40 years ago.\u003c/p>\n\u003cp>“It’s this kind of sonic secret, just tucked away,” Thuras says. “Almost nobody stops and says, ‘What is that strange noise?’ ” Because, of course, the Hum is surrounded by noise: car horns, street performers, crowds, squeaking brakes.\u003c/p>\n\u003cp>“For me, it sort of serves as this wonderful reminder that in the middle of all this madness — in what I think most people would find the most commercial, least sort of whimsical or magical place in Manhattan — is this kind of little gem waiting for you if you’re willing to sort of slow down, look around, listen and kind of start asking questions.”\u003c/p>\n\u003cp>Does he ever worry about Atlas Obscura running out of wonders to write about?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We asked ourselves this question at the start,” Thuras says, “and so far the answer seems to be: It is infinite.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Atlas+Obscura%27+Tour+Of+Manhattan+Finds+Hidden+Wonders+In+A+Well-Trodden+Place&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\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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"politicalbreakdown": {
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"title": "Political Breakdown",
"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.",
"airtime": "THU 6:30pm-7pm",
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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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"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": {
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"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": {
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"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.",
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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",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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