‘Take This Hammer,’ James Baldwin’s KQED Documentary, Just Turned 60
A Year-Long Celebration of James Baldwin’s Centennial Comes to Oakland
At SFAC, a Soulful Exploration of James Baldwin's Legacy in the Bay
How to Write Film Music That Stops Time
Kwame Alexander Offers New Poems on Race and Hope as 'Psalms and Balms'
How to Celebrate Juneteenth in the Bay Area—at Home or Outside
Man vs. Manifesto: Rotimi Agbabiaka Explains it All at Brava Theater Center
Barry Jenkins Enjoys Doing Laundry, Talks 'Beale Street'
Stew Develops a Show Based on the Ideas of James Baldwin
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The film follows James Baldwin on a tour of the predominantly Black neighborhoods of 1960s San Francisco and, most importantly, gives a platform for young residents to talk about their lived experience of prejudice.\u003c/p>\n\u003cp>The film doesn’t waste any time getting to its core point.\u003c/p>\n\u003cp>[aside postid='arts_13959918']“They want to talk about the South?” one young Hunters Point resident exclaims in its opening scene. “The South is not half as bad as San Francisco … Let me tell you about San Francisco. The white man, he’s not taking advantage of you out in public like they’re doing down in Birmingham. But he’s killing you with that pencil and paper, brother. 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In this great ‘Paris of the West,’ widely advertised as a liberal, cultural and cosmopolitan center, Baldwin looked for and found what he sought: increasing bitterness, demoralization and despair of Negro youths.”\u003c/p>\n\u003cp>[aside postid='arts_13959796']Newton went on: “Comparing San Francisco with blemished racial conditions elsewhere, [Baldwin] says … ‘Nobody wants to destroy the image of San Francisco.’ But Baldwin destroys it in this film. He takes ‘this hammer’ and beats venom out of the Negro problem.”\u003c/p>\n\u003cp>Getting the controversial documentary into people’s homes had, for months, already posed a serious challenge for the KQED Film Unit who made it. “The Board of Directors of KQED … were reluctant to broadcast the program as originally filmed,” director Richard O. Moore recalled in \u003ca href=\"https://batv.quartexcollections.com/Documents/Detail/the-making-of-take-this-hammer/443\">2012 interview with the Bay Area Television Archive\u003c/a>. “All of this resulted in a very painful compromise of cutting out about 15 minutes of the film. They didn’t want to project the fact that there was a great deal of unrest in the Black ghettos in San Francisco.”\u003c/p>\n\u003cp>Moore’s willingness to cut the footage in order to get some form of the project on air so irritated Baldwin that the writer never spoke to Moore again. “Which from my perspective,” Moore noted in 2012, “was a tragic loss. From his, it was ‘good riddance’ probably. Who knows? This was a minor incident in his life, whereas it was a rather important incident in the life of, say, the KQED Film Unit.”\u003c/p>\n\u003cp>The documentary consists of interviews with local people and analysis from Baldwin, peppered with footage Moore and his crew shot while driving around the city with cameras mounted to a station wagon. The entire film is stark, unyielding and straight to the point. Black residents of San Francisco had plenty they wanted to share with Baldwin and outside viewers.\u003c/p>\n\u003cp>“In the way that I’ve been looking at it, Hunters Point is just like being in Alabama right now,” one woman tells Baldwin.\u003c/p>\n\u003cp>Another states: “Young people go to school together, they graduate off the same stage and then, when it comes to jobs, the Black face is not qualified. Then my daughter has to go clean up the same girl’s house that she graduated with.”\u003c/p>\n\u003cp>A teenage girl talks about the city’s “redevelopment” of Black neighborhoods. “There ain’t gonna be no place when they get through,” she says. “We’re gonna be living out here on the streets in tents.”\u003c/p>\n\u003cp>[aside postid='arts_13959163']This moment — which possibly seemed hyperbolic at the time — hits differently in 2024. A review published by Richmond newspaper \u003cem>The Independent\u003c/em> in 1964 captures exactly why \u003cem>Take This Hammer\u003c/em> remains essential viewing all these years later.\u003c/p>\n\u003cp>“Baldwin — volatile, articulate, a bit affected — is an education himself,” Jim Wood wrote. “Baldwin’s point is one that he has made in his writing, that society had to create its image of the Negro to avoid admitting that the image really lies within society itself. But when the writer can point, off-handedly, to the buildings and people of Hunter’s Point, to illustrate precisely what he is saying, the effect is chilling and unforgettable.\u003c/p>\n\u003cp>“The film itself is simple, beautiful, intimate and unpretentious,” Wood concluded. “Even if you don’t ordinarily watch television, see this film.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can watch the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/216518\">full, original version of the documentary courtesy of the Bay Area Television Archive\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"The film was an explosive look at Black communities in 1960s San Francisco. It remains essential viewing.","status":"publish","parent":0,"modified":1719263141,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":905},"headData":{"title":"Watch: ‘Take This Hammer,’ James Baldwin’s KQED Documentary | KQED","description":"The film was an explosive look at Black communities in 1960s San Francisco. It remains essential viewing.","ogTitle":"‘Take This Hammer,’ James Baldwin’s KQED Documentary, Just Turned 60","ogDescription":"","ogImgId":"","twTitle":"‘Take This Hammer,’ James Baldwin’s KQED Documentary, Just Turned 60","twDescription":"","twImgId":"","socialTitle":"Watch: ‘Take This Hammer,’ James Baldwin’s KQED Documentary %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Take This Hammer,’ James Baldwin’s KQED Documentary, Just Turned 60","datePublished":"2024-06-24T14:05:41-07:00","dateModified":"2024-06-24T14:05:41-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13960144","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13960144/james-baldwin-take-this-hammer-documentary-kqed","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The now-legendary documentary, aired by KQED in February 1964, is called \u003cem>Take This Hammer\u003c/em> — the title borrowed from \u003ca href=\"https://www.youtube.com/watch?v=280ZECc773g\">the Black folk song\u003c/a> of the same name that envisions an escape from brutal working conditions. The film follows James Baldwin on a tour of the predominantly Black neighborhoods of 1960s San Francisco and, most importantly, gives a platform for young residents to talk about their lived experience of prejudice.\u003c/p>\n\u003cp>The film doesn’t waste any time getting to its core point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13959918","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“They want to talk about the South?” one young Hunters Point resident exclaims in its opening scene. “The South is not half as bad as San Francisco … Let me tell you about San Francisco. The white man, he’s not taking advantage of you out in public like they’re doing down in Birmingham. But he’s killing you with that pencil and paper, brother. When you go to look for a job, can you get a job?”\u003c/p>\n\u003cp>The camera pans to Baldwin. “This is a San Francisco America pretends does not exist,” he says stoically. “They think that I am making it up.”\u003c/p>\n\u003cp>Before the movie even got to air, it received outraged reactions from some corners of the press.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The fine, fair face of San Francisco will be sullied tonight by Negro author James Baldwin in a special 45-minute Channel 9 program,” Dwight Newton wrote in his \u003cem>San Francisco Examiner\u003c/em> column. “Baldwin came here last year and KQED’s Channel 9 mobile film unit toured the town with him — to the uglier areas of Hunter’s Point and the Fillmore District. In this great ‘Paris of the West,’ widely advertised as a liberal, cultural and cosmopolitan center, Baldwin looked for and found what he sought: increasing bitterness, demoralization and despair of Negro youths.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13959796","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Newton went on: “Comparing San Francisco with blemished racial conditions elsewhere, [Baldwin] says … ‘Nobody wants to destroy the image of San Francisco.’ But Baldwin destroys it in this film. He takes ‘this hammer’ and beats venom out of the Negro problem.”\u003c/p>\n\u003cp>Getting the controversial documentary into people’s homes had, for months, already posed a serious challenge for the KQED Film Unit who made it. “The Board of Directors of KQED … were reluctant to broadcast the program as originally filmed,” director Richard O. Moore recalled in \u003ca href=\"https://batv.quartexcollections.com/Documents/Detail/the-making-of-take-this-hammer/443\">2012 interview with the Bay Area Television Archive\u003c/a>. “All of this resulted in a very painful compromise of cutting out about 15 minutes of the film. They didn’t want to project the fact that there was a great deal of unrest in the Black ghettos in San Francisco.”\u003c/p>\n\u003cp>Moore’s willingness to cut the footage in order to get some form of the project on air so irritated Baldwin that the writer never spoke to Moore again. “Which from my perspective,” Moore noted in 2012, “was a tragic loss. From his, it was ‘good riddance’ probably. Who knows? This was a minor incident in his life, whereas it was a rather important incident in the life of, say, the KQED Film Unit.”\u003c/p>\n\u003cp>The documentary consists of interviews with local people and analysis from Baldwin, peppered with footage Moore and his crew shot while driving around the city with cameras mounted to a station wagon. The entire film is stark, unyielding and straight to the point. Black residents of San Francisco had plenty they wanted to share with Baldwin and outside viewers.\u003c/p>\n\u003cp>“In the way that I’ve been looking at it, Hunters Point is just like being in Alabama right now,” one woman tells Baldwin.\u003c/p>\n\u003cp>Another states: “Young people go to school together, they graduate off the same stage and then, when it comes to jobs, the Black face is not qualified. Then my daughter has to go clean up the same girl’s house that she graduated with.”\u003c/p>\n\u003cp>A teenage girl talks about the city’s “redevelopment” of Black neighborhoods. “There ain’t gonna be no place when they get through,” she says. “We’re gonna be living out here on the streets in tents.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13959163","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>This moment — which possibly seemed hyperbolic at the time — hits differently in 2024. A review published by Richmond newspaper \u003cem>The Independent\u003c/em> in 1964 captures exactly why \u003cem>Take This Hammer\u003c/em> remains essential viewing all these years later.\u003c/p>\n\u003cp>“Baldwin — volatile, articulate, a bit affected — is an education himself,” Jim Wood wrote. “Baldwin’s point is one that he has made in his writing, that society had to create its image of the Negro to avoid admitting that the image really lies within society itself. But when the writer can point, off-handedly, to the buildings and people of Hunter’s Point, to illustrate precisely what he is saying, the effect is chilling and unforgettable.\u003c/p>\n\u003cp>“The film itself is simple, beautiful, intimate and unpretentious,” Wood concluded. “Even if you don’t ordinarily watch television, see this film.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can watch the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/216518\">full, original version of the documentary courtesy of the Bay Area Television Archive\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13960144/james-baldwin-take-this-hammer-documentary-kqed","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_11615","arts_990"],"tags":["arts_5426","arts_21958","arts_10278","arts_4017","arts_3087","arts_3652","arts_1146","arts_585"],"featImg":"arts_13960186","label":"arts_140"},"arts_13953475":{"type":"posts","id":"arts_13953475","meta":{"index":"posts_1716263798","site":"arts","id":"13953475","score":null,"sort":[1710272955000]},"parent":0,"labelTerm":{"site":"arts","term":140},"blocks":[],"publishDate":1710272955,"format":"aside","title":"A Year-Long Celebration of James Baldwin’s Centennial Comes to Oakland","headTitle":"A Year-Long Celebration of James Baldwin’s Centennial Comes to Oakland | KQED","content":"\u003cfigure id=\"attachment_13953478\" class=\"wp-caption aligncenter\" style=\"max-width: 2011px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-scaled.jpg\" alt=\"A colorful mixed medium image of James Baldwin, in collage form.\" width=\"2011\" height=\"2560\" class=\"size-full wp-image-13953478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-scaled.jpg 2011w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-800x1018.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-1020x1298.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-768x977.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-1207x1536.jpg 1207w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-1609x2048.jpg 1609w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-1920x2444.jpg 1920w\" sizes=\"(max-width: 2011px) 100vw, 2011px\">\u003cfigcaption class=\"wp-caption-text\">James Baldwin in collage form, part of ‘Frontline Prophet: James Baldwin,’ on display now through April 27 at Joyce Gordon Gallery in Oakland. \u003ccite>(Sabrina Nelson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More than a half-century ago, the famed poet and author \u003ca href=\"https://www.kqed.org/arts/tag/james-baldwin\">James Baldwin\u003c/a> addressed major issues of the era: racism, sexism and classism. In 2024, as we still reckon with the same problems, a movement is underway to celebrate what would have been Baldwin’s 100th birthday this coming August. In doing so, artists are revisiting his astute observations, and showing how his work continues to resonate.\u003c/p>\n\u003cp>As a part of this celebration, a traveling exhibition of works by Detroit-based artist Sabrina Nelson, titled \u003ca href=\"https://www.instagram.com/p/C3orV3-Oluk/?img_index=1\" target=\"_blank\" rel=\"noopener\">\u003cem>Frontline Prophet: James Baldwin\u003c/em>\u003c/a>, is on display now through April 27 at Joyce Gordon Gallery in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13953483\" class=\"wp-caption aligncenter\" style=\"max-width: 1760px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-scaled.jpg\" alt=\"An image of James Baldwin's radiant smile and some of his words of wisdom.\" width=\"1760\" height=\"2560\" class=\"size-full wp-image-13953483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-scaled.jpg 1760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-800x1164.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-1020x1484.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-768x1117.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-1056x1536.jpg 1056w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-1408x2048.jpg 1408w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-1920x2793.jpg 1920w\" sizes=\"(max-width: 1760px) 100vw, 1760px\">\u003cfigcaption class=\"wp-caption-text\">James Baldwin’s smile: poetry in human form. \u003ccite>(Sabrina Nelson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Co-curated by \u003ca href=\"https://www.instagram.com/blublakwomyn/\" target=\"_blank\" rel=\"noopener\">Ashara Ekundayo\u003c/a> and \u003ca href=\"https://omomisha.com/\" target=\"_blank\" rel=\"noopener\">Omo Misha\u003c/a>, the exhibition centers a series of illustrations by Nelson, charting her personal journey in understanding brother Baldwin. The sketchbooks are displayed alongside paintings, poetic works on scrolls, projected videos, and more; the centerpiece is one golden sketchbook with Nelson’s first drawing of Baldwin.\u003c/p>\n\u003cp>The series began eight years ago, when Nelson was invited to Paris with poet \u003ca href=\"https://www.instagram.com/jessicacaremoor/?hl=en\" target=\"_blank\" rel=\"noopener\">jessica Care moore\u003c/a> to paint live images of James Baldwin during a plenary session at the James Baldwin Conference at the American University of Paris in 2016.\u003c/p>\n\u003cp>To plan for the trip, Nelson immersed herself in Baldwin’s work, speeches and written pieces, starting with his 1963 book \u003cem>The Fire Next Time\u003c/em>. With a comfortable amount of knowledge ahead of the conference, she realized once she arrived that she was surrounded by actual \u003cem>Baldwinites\u003c/em> — devout followers of the late poet’s work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Unfazed, she sat in on the first presentation, and opened her sketchbook with Baldwin on her mind.\u003c/p>\n\u003cfigure id=\"attachment_13953856\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_2207.jpg\" alt=\"Four women sit and pose for a photo at the Joyce Gordon Gallery in Oakland.\" width=\"640\" height=\"480\" class=\"size-full wp-image-13953856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_2207.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_2207-160x120.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jazz artist and educator Dr. Angela Wellman, art curator Ashara Ekundayo, gallery owner Joyce Gordon and interdisciplinary artist Sabrina Nelson at Joyce Gordon Gallery in Oakland. \u003ccite>(Courtesy Ashara Ekundayo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I started drawing his image, and I felt something touch me spiritually,” Nelson tells me during a video call, motioning to her forearms as she revisits the hair-raising sensation. “It was the first time I’d drawn his image.”\u003c/p>\n\u003cp>She looked around the room, checking for open windows or a sign of a breeze that might have caused goosebumps. And then, Nelson says, she addressed Baldwin’s spirit directly. “If you’re in this room, Mr. Baldwin, I don’t know you like that,” she says with a slight laugh, admitting that she was no Baldwinite.\u003c/p>\n\u003cp>Nelson, who’d studied the Yoruba faith, was clear with her request to Baldwin’s spirit: “If you’re here, and you’re trying to touch me in a spiritual way,” Nelson said, “teach me \u003cem>how to know you\u003c/em>.” \u003c/p>\n\u003cfigure id=\"attachment_13953857\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_2219.jpg\" alt=\"Filmmaker Celia Peters stands in admiration of an image of James Baldwin on the wall at the Joyce Gordon Gallery.\" width=\"480\" height=\"640\" class=\"size-full wp-image-13953857\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_2219.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_2219-160x213.jpg 160w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Celia Peters admires an image of James Baldwin at Joyce Gordon Gallery. \u003ccite>(Ashara Ekundayo )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nelson continued to draw Baldwin’s image throughout her trip, but stopped for a few months when she returned to the states. In October of that same year, however, she was tasked with drawing a superhero for the month-long artist exercise known as Inktober. Nelson chose Baldwin, and instead of drawing one image per day, or 31 total, as the challenge called for, she drew 91.\u003c/p>\n\u003cp>From this body of work, she started sharing the art with high schoolers who also participated in Inktober — and soon realized that schools weren’t teaching Baldwin to their students.\u003c/p>\n\u003cp>[aside postID='arts_13953326']“When you have a prophet like James Baldwin, who said things that are relevant to this moment that we now live in,” says Nelson, pointing to issues of book bans, low literacy rates and living conditions in our cities, “we need to bring back some of these prophets so we can pay attention to what they said… that’s the story of the sketchbooks.”\u003c/p>\n\u003cp>For six years, the sketchbooks sat in a drawer in Nelson’s studio. Then, in 2022, she was visited by Ashara Ekundayo, a longtime friend. Just like Nelson, Ekundayo was born in Detroit amidst the rebellions of the 1960s. They call themselves “riot babies.”\u003c/p>\n\u003cp>“What are these doing here?” asked Ekundayo of the sketchbooks. From that one question, a multi-city tour was birthed.\u003c/p>\n\u003cfigure id=\"attachment_13953858\" class=\"wp-caption aligncenter\" style=\"max-width: 1029px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-4.jpg\" alt=\"A stoic yet colorful portrait of James Baldwin starring straight ahead.\" width=\"1029\" height=\"1489\" class=\"size-full wp-image-13953858\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-4.jpg 1029w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-4-800x1158.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-4-1020x1476.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-4-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-4-768x1111.jpg 768w\" sizes=\"(max-width: 1029px) 100vw, 1029px\">\u003cfigcaption class=\"wp-caption-text\">James Baldwin in stoic form. \u003ccite>(Sabrina Nelson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The traveling exhibition premiered on Aug. 2, 2023 — Baldwin’s 99th birthday — in Harlem, New York, where he was born. It was shown at New Orleans’ African-American Museum before coming to Oakland’s Joyce Gordon Gallery. It’ll spend the early summer months at the Blanc Gallery in Chicago before closing at Detroit’s Charles H. Wright Museum on August 2, 2024 — what would have been Baldwin’s 100th birthday.\u003c/p>\n\u003cp>[aside postID='arts_13952570']The exhibition is intentionally being shown in cities significant to Baldwin — where he lived or made speeches, says Ekundayo. “We began in Harlem where (Baldwin) was born, and are going to end in Detroit,” says Ekundayo, noting that it’s one of the last American cities in which Baldwin lived before he moved back to Paris, where he passed in 1987.\u003c/p>\n\u003cp>Baldwin has several connections to the Bay Area. He hosted the 1964 documentary film \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=J9UG9nJ2E9U\">Take This Hammer\u003c/a>\u003c/em>, a study of Black San Francisco at the time, filmed by KQED. In the ’70s, Baldwin spoke at \u003ca href=\"https://avplayer.lib.berkeley.edu/Video-Public-MRC/(mrc)00018\" target=\"_blank\" rel=\"noopener\">UC Berkeley\u003c/a> and \u003ca href=\"https://californiarevealed.org/do/a2bf356f-9353-4977-a2e8-e90f80cd764b\" target=\"_blank\" rel=\"noopener\">Berkeley High School\u003c/a>. A decade prior, he spoke at Oakland’s \u003ca href=\"https://archive.org/details/copl_000050/copl_000050_t01_a_access.mp3\" target=\"_blank\" rel=\"noopener\">Castlemont High School\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J9UG9nJ2E9U\u003c/p>\n\u003cp>It’s those touch points, specifically Baldwin’s visit to Castlemont, that makes this exhibition in Oakland important, says Ekundayo. Supported by the African American Library and Museum of Oakland and the Alameda County Behavioral Health Department, the Oakland stop also has a political education aspect to it, she adds.\u003c/p>\n\u003cp>In September of this year, in a bit of a full-circle moment, Nelson will show a totally new body of work as part of the James Baldwin Centennial Festival at the American University of Paris. It’ll be another chance for Nelson to reconnect with Baldwin’s spirit — that is, if he hasn’t been traveling with her this whole time.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sabrina Nelson’s \u003ca href=\"https://www.instagram.com/p/C3orV3-Oluk/?img_index=1\" target=\"_blank\" rel=\"noopener\">\u003cem>Frontline Prophet: James Baldwin\u003c/em>\u003c/a> runs now through April 27 at Joyce Gordon Gallery in Oakland; \u003ca href=\"https://www.instagram.com/p/C3orV3-Oluk/?img_index=1\">details here\u003c/a>. A ‘Wine, Words & Baldwin’ event with Oakland Poet Laureate \u003ca href=\"https://www.instagram.com/wordslanger/?hl=en\">Ayodele Nzinga\u003c/a> and the Lower Bottom Playaz takes place March 30 at the BAM House in Oakland; \u003ca href=\"https://www.onthestage.tickets/show/the-lower-bottom-playaz/65e68812958d7713fe8238e5\">details here\u003c/a>. ‘Winter in America: The SpeakEasy – Bold, Black & Brilliant: The Baldwin Edition’ takes place April 3 at Joyce Gordon Gallery; \u003ca href=\"https://www.instagram.com/joycegordongallery/?hl=en\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1171,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":23},"modified":1710272955,"excerpt":"Sabrina Nelson's illustrations of James Baldwin are on view at Joyce Gordon Gallery through April 27. ","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Sabrina Nelson's illustrations of James Baldwin are on view at Joyce Gordon Gallery through April 27. ","title":"A Year-Long Celebration of James Baldwin’s Centennial Comes to Oakland | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Year-Long Celebration of James Baldwin’s Centennial Comes to Oakland","datePublished":"2024-03-12T12:49:15-07:00","dateModified":"2024-03-12T12:49:15-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"a-year-long-celebration-of-james-baldwins-centennial-comes-to-oakland","status":"publish","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"articleAge":"0","path":"/arts/13953475/a-year-long-celebration-of-james-baldwins-centennial-comes-to-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13953478\" class=\"wp-caption aligncenter\" style=\"max-width: 2011px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-scaled.jpg\" alt=\"A colorful mixed medium image of James Baldwin, in collage form.\" width=\"2011\" height=\"2560\" class=\"size-full wp-image-13953478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-scaled.jpg 2011w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-800x1018.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-1020x1298.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-768x977.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-1207x1536.jpg 1207w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-1609x2048.jpg 1609w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-1920x2444.jpg 1920w\" sizes=\"(max-width: 2011px) 100vw, 2011px\">\u003cfigcaption class=\"wp-caption-text\">James Baldwin in collage form, part of ‘Frontline Prophet: James Baldwin,’ on display now through April 27 at Joyce Gordon Gallery in Oakland. \u003ccite>(Sabrina Nelson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More than a half-century ago, the famed poet and author \u003ca href=\"https://www.kqed.org/arts/tag/james-baldwin\">James Baldwin\u003c/a> addressed major issues of the era: racism, sexism and classism. In 2024, as we still reckon with the same problems, a movement is underway to celebrate what would have been Baldwin’s 100th birthday this coming August. In doing so, artists are revisiting his astute observations, and showing how his work continues to resonate.\u003c/p>\n\u003cp>As a part of this celebration, a traveling exhibition of works by Detroit-based artist Sabrina Nelson, titled \u003ca href=\"https://www.instagram.com/p/C3orV3-Oluk/?img_index=1\" target=\"_blank\" rel=\"noopener\">\u003cem>Frontline Prophet: James Baldwin\u003c/em>\u003c/a>, is on display now through April 27 at Joyce Gordon Gallery in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13953483\" class=\"wp-caption aligncenter\" style=\"max-width: 1760px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-scaled.jpg\" alt=\"An image of James Baldwin's radiant smile and some of his words of wisdom.\" width=\"1760\" height=\"2560\" class=\"size-full wp-image-13953483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-scaled.jpg 1760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-800x1164.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-1020x1484.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-768x1117.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-1056x1536.jpg 1056w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-1408x2048.jpg 1408w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-1920x2793.jpg 1920w\" sizes=\"(max-width: 1760px) 100vw, 1760px\">\u003cfigcaption class=\"wp-caption-text\">James Baldwin’s smile: poetry in human form. \u003ccite>(Sabrina Nelson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Co-curated by \u003ca href=\"https://www.instagram.com/blublakwomyn/\" target=\"_blank\" rel=\"noopener\">Ashara Ekundayo\u003c/a> and \u003ca href=\"https://omomisha.com/\" target=\"_blank\" rel=\"noopener\">Omo Misha\u003c/a>, the exhibition centers a series of illustrations by Nelson, charting her personal journey in understanding brother Baldwin. The sketchbooks are displayed alongside paintings, poetic works on scrolls, projected videos, and more; the centerpiece is one golden sketchbook with Nelson’s first drawing of Baldwin.\u003c/p>\n\u003cp>The series began eight years ago, when Nelson was invited to Paris with poet \u003ca href=\"https://www.instagram.com/jessicacaremoor/?hl=en\" target=\"_blank\" rel=\"noopener\">jessica Care moore\u003c/a> to paint live images of James Baldwin during a plenary session at the James Baldwin Conference at the American University of Paris in 2016.\u003c/p>\n\u003cp>To plan for the trip, Nelson immersed herself in Baldwin’s work, speeches and written pieces, starting with his 1963 book \u003cem>The Fire Next Time\u003c/em>. With a comfortable amount of knowledge ahead of the conference, she realized once she arrived that she was surrounded by actual \u003cem>Baldwinites\u003c/em> — devout followers of the late poet’s work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unfazed, she sat in on the first presentation, and opened her sketchbook with Baldwin on her mind.\u003c/p>\n\u003cfigure id=\"attachment_13953856\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_2207.jpg\" alt=\"Four women sit and pose for a photo at the Joyce Gordon Gallery in Oakland.\" width=\"640\" height=\"480\" class=\"size-full wp-image-13953856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_2207.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_2207-160x120.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jazz artist and educator Dr. Angela Wellman, art curator Ashara Ekundayo, gallery owner Joyce Gordon and interdisciplinary artist Sabrina Nelson at Joyce Gordon Gallery in Oakland. \u003ccite>(Courtesy Ashara Ekundayo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I started drawing his image, and I felt something touch me spiritually,” Nelson tells me during a video call, motioning to her forearms as she revisits the hair-raising sensation. “It was the first time I’d drawn his image.”\u003c/p>\n\u003cp>She looked around the room, checking for open windows or a sign of a breeze that might have caused goosebumps. And then, Nelson says, she addressed Baldwin’s spirit directly. “If you’re in this room, Mr. Baldwin, I don’t know you like that,” she says with a slight laugh, admitting that she was no Baldwinite.\u003c/p>\n\u003cp>Nelson, who’d studied the Yoruba faith, was clear with her request to Baldwin’s spirit: “If you’re here, and you’re trying to touch me in a spiritual way,” Nelson said, “teach me \u003cem>how to know you\u003c/em>.” \u003c/p>\n\u003cfigure id=\"attachment_13953857\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_2219.jpg\" alt=\"Filmmaker Celia Peters stands in admiration of an image of James Baldwin on the wall at the Joyce Gordon Gallery.\" width=\"480\" height=\"640\" class=\"size-full wp-image-13953857\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_2219.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_2219-160x213.jpg 160w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Celia Peters admires an image of James Baldwin at Joyce Gordon Gallery. \u003ccite>(Ashara Ekundayo )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nelson continued to draw Baldwin’s image throughout her trip, but stopped for a few months when she returned to the states. In October of that same year, however, she was tasked with drawing a superhero for the month-long artist exercise known as Inktober. Nelson chose Baldwin, and instead of drawing one image per day, or 31 total, as the challenge called for, she drew 91.\u003c/p>\n\u003cp>From this body of work, she started sharing the art with high schoolers who also participated in Inktober — and soon realized that schools weren’t teaching Baldwin to their students.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953326","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“When you have a prophet like James Baldwin, who said things that are relevant to this moment that we now live in,” says Nelson, pointing to issues of book bans, low literacy rates and living conditions in our cities, “we need to bring back some of these prophets so we can pay attention to what they said… that’s the story of the sketchbooks.”\u003c/p>\n\u003cp>For six years, the sketchbooks sat in a drawer in Nelson’s studio. Then, in 2022, she was visited by Ashara Ekundayo, a longtime friend. Just like Nelson, Ekundayo was born in Detroit amidst the rebellions of the 1960s. They call themselves “riot babies.”\u003c/p>\n\u003cp>“What are these doing here?” asked Ekundayo of the sketchbooks. From that one question, a multi-city tour was birthed.\u003c/p>\n\u003cfigure id=\"attachment_13953858\" class=\"wp-caption aligncenter\" style=\"max-width: 1029px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-4.jpg\" alt=\"A stoic yet colorful portrait of James Baldwin starring straight ahead.\" width=\"1029\" height=\"1489\" class=\"size-full wp-image-13953858\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-4.jpg 1029w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-4-800x1158.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-4-1020x1476.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-4-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-4-768x1111.jpg 768w\" sizes=\"(max-width: 1029px) 100vw, 1029px\">\u003cfigcaption class=\"wp-caption-text\">James Baldwin in stoic form. \u003ccite>(Sabrina Nelson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The traveling exhibition premiered on Aug. 2, 2023 — Baldwin’s 99th birthday — in Harlem, New York, where he was born. It was shown at New Orleans’ African-American Museum before coming to Oakland’s Joyce Gordon Gallery. It’ll spend the early summer months at the Blanc Gallery in Chicago before closing at Detroit’s Charles H. Wright Museum on August 2, 2024 — what would have been Baldwin’s 100th birthday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952570","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The exhibition is intentionally being shown in cities significant to Baldwin — where he lived or made speeches, says Ekundayo. “We began in Harlem where (Baldwin) was born, and are going to end in Detroit,” says Ekundayo, noting that it’s one of the last American cities in which Baldwin lived before he moved back to Paris, where he passed in 1987.\u003c/p>\n\u003cp>Baldwin has several connections to the Bay Area. He hosted the 1964 documentary film \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=J9UG9nJ2E9U\">Take This Hammer\u003c/a>\u003c/em>, a study of Black San Francisco at the time, filmed by KQED. In the ’70s, Baldwin spoke at \u003ca href=\"https://avplayer.lib.berkeley.edu/Video-Public-MRC/(mrc)00018\" target=\"_blank\" rel=\"noopener\">UC Berkeley\u003c/a> and \u003ca href=\"https://californiarevealed.org/do/a2bf356f-9353-4977-a2e8-e90f80cd764b\" target=\"_blank\" rel=\"noopener\">Berkeley High School\u003c/a>. A decade prior, he spoke at Oakland’s \u003ca href=\"https://archive.org/details/copl_000050/copl_000050_t01_a_access.mp3\" target=\"_blank\" rel=\"noopener\">Castlemont High School\u003c/a>.\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/J9UG9nJ2E9U'\n title='//www.youtube.com/embed/J9UG9nJ2E9U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s those touch points, specifically Baldwin’s visit to Castlemont, that makes this exhibition in Oakland important, says Ekundayo. Supported by the African American Library and Museum of Oakland and the Alameda County Behavioral Health Department, the Oakland stop also has a political education aspect to it, she adds.\u003c/p>\n\u003cp>In September of this year, in a bit of a full-circle moment, Nelson will show a totally new body of work as part of the James Baldwin Centennial Festival at the American University of Paris. It’ll be another chance for Nelson to reconnect with Baldwin’s spirit — that is, if he hasn’t been traveling with her this whole time.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sabrina Nelson’s \u003ca href=\"https://www.instagram.com/p/C3orV3-Oluk/?img_index=1\" target=\"_blank\" rel=\"noopener\">\u003cem>Frontline Prophet: James Baldwin\u003c/em>\u003c/a> runs now through April 27 at Joyce Gordon Gallery in Oakland; \u003ca href=\"https://www.instagram.com/p/C3orV3-Oluk/?img_index=1\">details here\u003c/a>. A ‘Wine, Words & Baldwin’ event with Oakland Poet Laureate \u003ca href=\"https://www.instagram.com/wordslanger/?hl=en\">Ayodele Nzinga\u003c/a> and the Lower Bottom Playaz takes place March 30 at the BAM House in Oakland; \u003ca href=\"https://www.onthestage.tickets/show/the-lower-bottom-playaz/65e68812958d7713fe8238e5\">details here\u003c/a>. ‘Winter in America: The SpeakEasy – Bold, Black & Brilliant: The Baldwin Edition’ takes place April 3 at Joyce Gordon Gallery; \u003ca href=\"https://www.instagram.com/joycegordongallery/?hl=en\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953475/a-year-long-celebration-of-james-baldwins-centennial-comes-to-oakland","authors":["11491"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_70"],"tags":["arts_820","arts_21725","arts_10278","arts_3087","arts_22006","arts_1143","arts_585"],"featImg":"arts_13953946","label":"arts_140"},"arts_13929636":{"type":"posts","id":"arts_13929636","meta":{"index":"posts_1716263798","site":"arts","id":"13929636","score":null,"sort":[1685034035000]},"parent":0,"labelTerm":{"site":"arts","term":140},"blocks":[],"publishDate":1685034035,"format":"audio","title":"At SFAC, a Soulful Exploration of James Baldwin's Legacy in the Bay","headTitle":"At SFAC, a Soulful Exploration of James Baldwin’s Legacy in the Bay | KQED","content":"\u003cp>A new art exhibition curated by San Francisco artist \u003ca href=\"https://www.artofmarkharris.com/\">Mark Harris\u003c/a> pays homage to the prolific writer and activist James Baldwin, 60 years after Baldwin’s visit to San Francisco in the spring of 1963.\u003c/p>\n\u003cp>Titled \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/invincible-black-soul-art-bearing-witness\">\u003cem>Invincible Black Soul: The Art of Bearing Witness\u003c/em>\u003c/a>, and on view at the San Francisco Arts Commission Main Gallery through July 8, it was partially inspired by the 1964 KQED documentary \u003ca href=\"https://www.pbs.org/video/thirteen-specials-take-hammer/\">\u003cem>Take this Hammer\u003c/em>\u003c/a>, which captured Baldwin’s Bay Area visit.\u003c/p>\n\u003cfigure id=\"attachment_13929638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/mark-harris_52835049317_o-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/mark-harris_52835049317_o-800x1006.jpg\" alt=\"a collage with the printed words 'black exodus'\" width=\"800\" height=\"1006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-800x1006.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1020x1282.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-768x966.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1222x1536.jpg 1222w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1629x2048.jpg 1629w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1920x2414.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-scaled.jpg 2036w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Black Exodus,’ 2018, by Mark Harris. Mixed media on Panel. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He took it as his calling to bear witness to what was going on. And he’s inspired so many people, so many artists,” Harris says.\u003c/p>\n\u003cp>The show features Harris’ own work, which centers the practice of mixed-media collage, along with two of his longtime friends and fellow Bay Area artists: \u003ca href=\"https://www.raymondlhaywood.com/\">Raymond L. Haywood\u003c/a>, an abstract expressionist, and \u003ca href=\"https://www.bryankeiththomas.com/\">Bryan Keith Thomas\u003c/a>, who makes sculpture and paintings heavily inspired by symbols in Black history. Harris says the show overall is a bold statement following in Baldwin’s tradition.\u003c/p>\n\u003cfigure id=\"attachment_13929641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929641\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-800x1020.jpg\" alt=\"a collage with black and white photos of young Black folks\" width=\"800\" height=\"1020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-800x1020.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1020x1300.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-768x979.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1205x1536.jpg 1205w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1606x2048.jpg 1606w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1920x2448.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-scaled.jpg 2008w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Passport One,’ 2023, by Bryan Keith Thomas. Mixed media collage on paper. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[We’re] letting people know Black artists are still here in the Bay Area, and we’re creating work about what’s going on, about what we’re seeing,” Harris says. “When [Baldwin] was here 60 years ago, this wouldn’t have been possible, right? They wouldn’t have given three Black artists the main gallery of the Arts Commission to say anything. And now I’m here, saying exactly what I want to say.”\u003c/p>\n\u003cfigure id=\"attachment_13929642\" class=\"wp-caption aligncenter\" style=\"max-width: 467px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/raymond-l-haywood_52836082998_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13929642\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/raymond-l-haywood_52836082998_o.jpg\" alt=\"an abstract expressionist collage \" width=\"467\" height=\"467\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘The Love,’ 2020, by Raymond L. Haywood. Acrylic and mixed media on wood panel. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Invincible Black Soul: The Art of Bearing Witness’ is on view at the San Francisco Arts Commission Main Gallery through July 8. \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/invincible-black-soul-art-bearing-witness\">More info here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":342,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":9},"modified":1705005456,"excerpt":"Artist Mark Harris curates a powerful exhibition inspired by the writer and activist's 1963 visit to SF.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Artist Mark Harris curates a powerful exhibition inspired by the writer and activist's 1963 visit to SF.","title":"At SFAC, a Soulful Exploration of James Baldwin's Legacy in the Bay | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"At SFAC, a Soulful Exploration of James Baldwin's Legacy in the Bay","datePublished":"2023-05-25T10:00:35-07:00","dateModified":"2024-01-11T12:37:36-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"sfac-james-baldwin-mark-harris","status":"publish","templateType":"standard","audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/2efbe4a3-6fe4-410c-9734-b007010b7395/audio.mp3","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"articleAge":"0","path":"/arts/13929636/sfac-james-baldwin-mark-harris","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new art exhibition curated by San Francisco artist \u003ca href=\"https://www.artofmarkharris.com/\">Mark Harris\u003c/a> pays homage to the prolific writer and activist James Baldwin, 60 years after Baldwin’s visit to San Francisco in the spring of 1963.\u003c/p>\n\u003cp>Titled \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/invincible-black-soul-art-bearing-witness\">\u003cem>Invincible Black Soul: The Art of Bearing Witness\u003c/em>\u003c/a>, and on view at the San Francisco Arts Commission Main Gallery through July 8, it was partially inspired by the 1964 KQED documentary \u003ca href=\"https://www.pbs.org/video/thirteen-specials-take-hammer/\">\u003cem>Take this Hammer\u003c/em>\u003c/a>, which captured Baldwin’s Bay Area visit.\u003c/p>\n\u003cfigure id=\"attachment_13929638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/mark-harris_52835049317_o-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/mark-harris_52835049317_o-800x1006.jpg\" alt=\"a collage with the printed words 'black exodus'\" width=\"800\" height=\"1006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-800x1006.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1020x1282.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-768x966.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1222x1536.jpg 1222w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1629x2048.jpg 1629w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1920x2414.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-scaled.jpg 2036w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Black Exodus,’ 2018, by Mark Harris. Mixed media on Panel. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He took it as his calling to bear witness to what was going on. And he’s inspired so many people, so many artists,” Harris says.\u003c/p>\n\u003cp>The show features Harris’ own work, which centers the practice of mixed-media collage, along with two of his longtime friends and fellow Bay Area artists: \u003ca href=\"https://www.raymondlhaywood.com/\">Raymond L. Haywood\u003c/a>, an abstract expressionist, and \u003ca href=\"https://www.bryankeiththomas.com/\">Bryan Keith Thomas\u003c/a>, who makes sculpture and paintings heavily inspired by symbols in Black history. Harris says the show overall is a bold statement following in Baldwin’s tradition.\u003c/p>\n\u003cfigure id=\"attachment_13929641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929641\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-800x1020.jpg\" alt=\"a collage with black and white photos of young Black folks\" width=\"800\" height=\"1020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-800x1020.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1020x1300.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-768x979.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1205x1536.jpg 1205w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1606x2048.jpg 1606w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1920x2448.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-scaled.jpg 2008w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Passport One,’ 2023, by Bryan Keith Thomas. Mixed media collage on paper. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[We’re] letting people know Black artists are still here in the Bay Area, and we’re creating work about what’s going on, about what we’re seeing,” Harris says. “When [Baldwin] was here 60 years ago, this wouldn’t have been possible, right? They wouldn’t have given three Black artists the main gallery of the Arts Commission to say anything. And now I’m here, saying exactly what I want to say.”\u003c/p>\n\u003cfigure id=\"attachment_13929642\" class=\"wp-caption aligncenter\" style=\"max-width: 467px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/raymond-l-haywood_52836082998_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13929642\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/raymond-l-haywood_52836082998_o.jpg\" alt=\"an abstract expressionist collage \" width=\"467\" height=\"467\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘The Love,’ 2020, by Raymond L. Haywood. Acrylic and mixed media on wood panel. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Invincible Black Soul: The Art of Bearing Witness’ is on view at the San Francisco Arts Commission Main Gallery through July 8. \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/invincible-black-soul-art-bearing-witness\">More info here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13929636/sfac-james-baldwin-mark-harris","authors":["11296"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_70"],"tags":["arts_3087","arts_1300","arts_1879","arts_585","arts_699","arts_901"],"featImg":"arts_13929662","label":"arts_140"},"arts_13927554":{"type":"posts","id":"arts_13927554","meta":{"index":"posts_1716263798","site":"arts","id":"13927554","score":null,"sort":[1681231436000]},"parent":0,"labelTerm":{"site":"arts","term":140},"blocks":[],"publishDate":1681231436,"format":"standard","title":"How to Write Film Music That Stops Time","headTitle":"How to Write Film Music That Stops Time | KQED","content":"\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s a standout scene in \u003cem>Moonlight\u003c/em>, Barry Jenkins’ widely acclaimed 2016 coming-of-age film, that doesn’t have the typical “pivotal moment” hallmarks of an \u003ca href=\"https://www.youtube.com/watch?v=GCQn_FkFElI\" target=\"_blank\" rel=\"noopener\">Oscars Best Picture winner\u003c/a>. There’s not a big speech. Not a lot really happens, even.\u003c/p>\n\u003cp>But the scene in which Juan (Mahershala Ali) teaches Little (Alex Hibbert) how to swim is rich text for other reasons. There’s the painterly light, athletic camera work. The symbolism is somehow both striking and understated — a rare glimpse of Black masculinity as a nurturing force, as well as what Jenkins has called a “spiritual transference” between these two characters.\u003c/p>\n\u003cp>Then there’s the music. Bright, anxious violins pick up speed as the figurative baptism progresses; over the course of a two-minute piece, composer Nicholas Britell’s score reflects the beauty and danger of the ocean, as well as the complex sea of emotions in our young protagonist: determination, hope and fear. I dare you to find me someone who didn’t sit in the movie theater holding their breath for the entire scene.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z6yMItXePG8\u003c/p>\n\u003cp>In the seven years since \u003cem>Moonlight\u003c/em>’s release, with films like \u003cem>If Beale Street Could Talk\u003c/em> and the limited series \u003cem>The Underground Railroad\u003c/em>, the partnership between Jenkins and Britell has produced numerous breathtaking moments like this. Jenkins tells stories of Black America, consistently turning an artful, unflinching eye on protagonists who are limited or literally trapped by injustice, by poverty and incarceration. And while Jenkins’ writing and direction are deeply empathetic, it’s often Britell’s scores — soaring, evocative works that apply R&B and hip-hop production techniques to classical music — that grant these characters their full humanity, reminding us that even people living in the most tragic of circumstances experience a vast range of emotion, including love and yearning along with anguish.[aside postid='forum_2010101892493']\u003c/p>\n\u003cp>A horn line swells, and we remember — oh, right. Every single person I meet has an entire universe of pain and beauty and unfulfilled dreams swirling inside them at all times. And then we weep uncontrollably into our popcorn.\u003c/p>\n\u003cp>Britell, a classically trained pianist, has been a “\u003ca href=\"https://www.sfsymphony.org/About-SFS/Collaborative-Partners\" target=\"_blank\" rel=\"noopener\">collaborative partner\u003c/a>” with the San Francisco Symphony since 2018. But his April 14–15 events with Jenkins at \u003ca href=\"https://www.kqed.org/arts/tag/soundbox\" target=\"_blank\" rel=\"noopener\">SoundBox\u003c/a>, with Symphony musicians performing works from \u003cem>Moonlight,\u003c/em> \u003cem>Beale Street\u003c/em> and \u003cem>The Underground Railroad\u003c/em>, will present his most personal collaboration yet with the organization.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Emma Silvers: Barry, your projects have always shown a love of music, even going back to \u003ca href=\"https://www.kqed.org/arts/24154/medicine_for_melancholy\">\u003cem>Medicine for Melancholy\u003c/em>\u003c/a>. Can you talk about where music lives in your writing process? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Barry Jenkins:\u003c/strong> Music has always been part of it. I mean, I’ve always been surrounded by music — I grew up in a household where, even though we were so extremely poor, there was always music playing. Or I would go to the flea market and get tapes — and this is terrible as someone who now makes a living from copywritten material — but people would make these cassette tapes with all these different songs on them, and you could get a tape for like five bucks, as opposed to an album, which cost 15 or 20 bucks.\u003c/p>\n\u003cp>[aside postid='arts_13844783']And I’ve always listened to music while I write. When I first got to college and started pursuing creative writing and working on film, I would go to this café to work. And between coffee, wine and music, I found that I could slip into a place where I could translate the feeling of what was happening in the scene in my head to the page.\u003c/p>\n\u003cp>This was also when I was discovering the filmmakers who became foundational to my idea of what cinema was, people like Claire Denis and Wong Kar-wai, and they used music in a very open, very clear way. In film school, I was taught music is meant to be in the background of a film, which is kind of making it elevator music. So I was like, \u003cem>No, no, no:\u003c/em> I’ve seen films where you can use this combination of sound and images and score to really elevate what the character was feeling. That’s the place it’s always had for me.\u003c/p>\n\u003cfigure id=\"attachment_13927608\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927608\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-800x530.jpg\" alt=\"a black and white photo of a young Black man in a dark collared shirt with glasses, smiling at the camera \" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-1536x1018.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-2048x1358.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-1920x1273.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Barry Jenkins’ San Francisco-set debut feature, ‘Medicine for Melancholy,’ will be released by The Criterion Collection in June, with new commentary from the filmmaker. \u003ccite>(Matt Morris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’ve both spoken about not wanting to tell the audience how to feel, that it’s more about music that sounds the way the characters feel — kind of achieving interiority through music. Which, especially as a non-musician, seems mystical to me. Can you talk about what it looks like to get into that headspace and compose for different characters, especially people with very different lived experiences from your own?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nicholas Britell:\u003c/strong> It can \u003cem>feel\u003c/em> mystical; I also use the word “alchemy” a lot. And so much of it is about this incredibly close collaboration, searching \u003cem>together\u003c/em> for things — I’m never working alone. Which is why it’s so special that Barry and I are doing this show; we get into this stream of consciousness when we’re in the room together.\u003c/p>\n\u003cp>On \u003cem>Beale Street\u003c/em>, for example, Barry said “I’m hearing brass and horns.” So I started thinking about the scene where Tish and Fonny have finally been able to rent that apartment, and they’re in the street and they start shouting to the sky with joy. I think a lot about shapes. I feel that the shapes of things in music actually affect us all in similar ways. So, OK, I want the music to go upward — to shout to the sky. Well, what if it’s a trumpet shouting to the sky? And then I start doing experiments with brass, French horns, clarinet, trumpet, flugelhorn, piccolo trumpet, and I kind of go off into the wilderness and try things.\u003c/p>\n\u003cp>Then, through experimenting together, we realized it was missing cellos. Like, \u003cem>oh, the cellos are the feeling of love.\u003c/em> And all of a sudden, if I take the chords that I was playing with brass but the cellos play them, everything feels different. It’s never, oh, what key signature is this, or what type of chord is this. It ultimately always comes back to feelings.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mmK71ZfaZO4\u003c/p>\n\u003cp>\u003cstrong>Audiences have these incredibly poignant, personal responses to these scores, where the music seems to help them access complicated feelings about their own lives. Have you seen \u003ca href=\"https://www.youtube.com/watch?v=eWQ7neoBhCE\" target=\"_blank\" rel=\"noopener\">the comments\u003c/a> on “Agape” on YouTube?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Barry Jenkins:\u003c/strong> They’re nuts. (Laughs.) Nuts! Way more people have listened to that piece than have even heard of this film. Way more people are going to hear that song than will ever watch \u003cem>If Beale Street Could Talk\u003c/em>. And I remember being there at the moment of its creation, in this really diligent but simple process of chasing what that moment felt like, both within the film and within the characters’ lives. It’s this very aspirational moment, when Tish is at her most hopeful, like everything is on the table for this family. And Nick just did this thing where he had the song keep reaching \u003cem>up and up and up\u003c/em>.\u003c/p>\n\u003cp>[pullquote align=\"right\" size=\"medium\" citation=\"Barry Jenkins\"]‘[James] Baldwin was … bottling this nuclear atom of the hopes, the aspirations, the yearning, the melancholy of Black life in America. And Nick somehow found a way to get in there and really translate that into music.’[/pullquote]But the way that piece of music connects with people, and this is me saying this, not Nick — these are Black films and this is Black music. It really is. And it’s amazing to me there are white people all over the world, we’ve seen this on Instagram, who walk down the aisle to this piece of music. I say it’s Black music because what Mr. Baldwin was writing, and what Regina and Stephan and KiKi are doing in that sequence, is bottling this nuclear atom of the hopes, the aspirations, the yearning, the melancholy of Black life in America. And Nick somehow found a way to get in there and really translate that into music.\u003c/p>\n\u003cp>When I get a little tipsy and I go read those comments on YouTube, I see that the whole journey of making that film, even if people only accessed it through hearing this one song, would have been worth it. Because the way people respond to the feeling of that music … I mean, sometimes it knocks me down. If you want to know the power, the effect, the legitimate movement that a piece of score can create, go look up that thing on YouTube and the things that complete strangers — who have no skin in the game on how successful this film is or isn’t! — and they’re just pouring themselves out about what this piece of music means to them.\u003c/p>\n\u003cfigure id=\"attachment_13927605\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/image0-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927605\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/image0-800x533.jpg\" alt=\"a young white man with light brown hair in a black button-down shirt and glasses looks down away from the camera\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image0-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image0-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image0-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image0-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image0-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image0-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image0-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nicholas Britell’s other scores include collaborations with director Adam McKay, including ‘The Big Short’ and ‘Don’t Look Up,’ as well as the HBO show ‘Succession.’ \u003ccite>(Emma McIntyre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nicholas Britell:\u003c/strong> I’ll just add that the music that I write with Barry is unlike anything else that I write. In some ways, I think Barry lets me tap into different emotions, and there are certain feelings that I think we are both drawn to. And I get to figure out: what is the sound of that? So much of what we do is experimentation — Barry will like a kernel of something, so we follow that, but we don’t know where we’re going. Just that when we’re there, we’ll know.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Moonlight\u003c/em> and \u003cem>Beale Street\u003c/em> were both so rooted in Miami and New York, respectively, the cities where they took place. But \u003cem>The Underground Railroad\u003c/em> takes us to so many different locations, and then also has surreal elements. How do you find the sound for something of that scope, especially without the anchor of a specific, singular time or place?\u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13897166']\u003cstrong>Nicholas Britell:\u003c/strong> The scale and scope and difficulty of \u003cem>The Underground Railroad\u003c/em> was unlike anything I’d ever done. I remember Barry saying to me, you know, each state is a different state of mind for Cora — and we thought of it almost like different planets. Because that journey is unlike \u003cem>anything\u003c/em>. As a comparison, it’s not \u003cem>Succession,\u003c/em> where, from episode 1 to 2, we’re probably in New York City, probably in the Roy family. This is like we’re in a different \u003cem>universe\u003c/em>. We’re in a different dimension, possibly.\u003c/p>\n\u003cp>Then there’s the sonic experimentation, just the amount that we were going to push… we look at \u003cem>Moonlight\u003c/em>, where there was the idea of using \u003ca href=\"https://ra.co/features/4040\">chopped and screwed\u003c/a> as a technique, or in \u003cem>Beale Street\u003c/em>, where we’re taking the sounds of love and harming them so they’re broken and they become a sound of injustice. On \u003cem>Underground Railroad\u003c/em>, it was times 100. How do we push things to feel beyond what we can even imagine?\u003c/p>\n\u003cp>Then, what is the architecture? Because if you establish a musical idea at the very beginning of a film, part of the beauty, hopefully, is that if it comes back later, you have a memory of having felt it — even just subconsciously. So multiplying that across 10 episodes, when do we echo back? I remember showing Barry some new ideas at one point, and he was like, ‘You know what? No new ideas. We’re done.’\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-sUIo56q-Qw\u003c/p>\n\u003cp>\u003cstrong>Barry Jenkins: \u003c/strong>\u003cem>The Underground Railroad\u003c/em> was definitely less of a literal journey, but to me it was also a much more clear emotional one: every state is different, because Cora’s mental state has shifted in addition to the setting. What Nick said about planets — I love that because different planets have different atmospheres, and these soundscapes are like those atmospheres. Venus is not like Mars, you know, it’s got to be completely different.\u003c/p>\n\u003cp>And we’re also responding to the world around us. [At one point during production] Nick and Caitlin, his wife, who’s a cellist, had moved out to L.A., and Nick, do you remember Caitlin took up this hobby of birdwatching?\u003c/p>\n\u003cp>\u003cstrong>Nicholas Britell: \u003c/strong>She’s still doing it. She’s an avid birder.\u003c/p>\n\u003cp>\u003cstrong>Barry Jenkins:\u003c/strong> She had all these feeders around, so there were these hummingbirds always around the studio. And I was thinking the other day, Nick, about the track “Fireflies.” And there’s a harp that’s played really fast, and to me, that’s the hummingbird wings.\u003c/p>\n\u003cfigure id=\"attachment_13927602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/DSC09282-grittani-creative-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927602\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/DSC09282-grittani-creative-800x533.jpg\" alt=\"a crowd of people sits watching classical musicians perform in a dark club-like space with large artworks projected onto the walls and ceiling\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC09282-grittani-creative-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC09282-grittani-creative-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC09282-grittani-creative-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC09282-grittani-creative-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC09282-grittani-creative-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC09282-grittani-creative-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC09282-grittani-creative-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘SoundBox: Modern Sanctuary,’ conducted by Edwin Outwater in February 2020. \u003ccite>(Mike Grittani/Grittani Creative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you want people to know going into these SoundBox shows?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nicholas Britell:\u003c/strong> These performances are something Barry and I have never really done. While we’ve played \u003cem>Moonlight\u003c/em> live to picture before with orchestras, we have never actually performed in the authentic forms of the film with the original orchestrations. This is something we’ve been talking about since these were first written — like, how could we do this? \u003cem>Can\u003c/em> we do this? Because, for example, \u003cem>Beale Street\u003c/em> is as much an orchestration exercise, with these different instrument colors, as it is about these very special reverbs at times, where you hear the sounds sort of floating and soaring and swirling.\u003c/p>\n\u003cp>\u003cstrong>Barry Jenkins: \u003c/strong>We have heard stories about the reverb quality of SoundBox and we are hoping to put it through its paces. We’ve heard it’s legit. And the cats that work there are out to prove to us that it’s legit, so we’re pushing the boundaries with this concert.\u003c/p>\n\u003cp>I’ll also say — I moved to the Bay at a time in my life when I was incredibly down on myself, and I went through some ups and downs there. And I’d walk past the Symphony all the time, and I just never thought … There are going to be images of Black folks projected all throughout this show. These folks are going to be playing music that I think organically reflects the experience of Black people. And I just never, never thought there was a world in which that would ever happen. It’s gonna be very cool.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘SoundBox: In Conversation With Nicholas Britell and Barry Jenkins’ takes place at 9 p.m. on Friday, April 14 and Saturday, April 15 at the San Francisco Symphony’s SoundBox (300 Franklin St., San Francisco). Tickets start at $99; \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2022-23/SBX-NicholasBritell\">details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":2569,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":36},"modified":1705005640,"excerpt":"Barry Jenkins and Nicholas Britell discuss the alchemy behind their breathtaking scores for 'Moonlight' and 'If Beale Street Could Talk.'","headData":{"twImgId":"","twTitle":"Barry Jenkins, Nicholas Britell, and Film Music That Stops Time","socialTitle":"Q&A: Barry Jenkins and Nicholas Britell Discuss 'Moonlight,' 'If Beale Street Could Talk' %%page%% %%sep%% KQED","ogTitle":"Barry Jenkins, Nicholas Britell, and Film Music That Stops Time","ogImgId":"","twDescription":"Barry Jenkins and Nicholas Britell discuss the alchemy of breathtaking film scores for 'Moonlight' and 'If Beale Street Could Talk.'","description":"The director and composer reveal what goes into a breathtaking film score. The two appear in San Francisco April 14–15.","socialDescription":"The director and composer reveal what goes into a breathtaking film score. The two appear in San Francisco April 14–15.","title":"Q&A: Barry Jenkins and Nicholas Britell Discuss 'Moonlight,' 'If Beale Street Could Talk' | KQED","ogDescription":"The director and composer reveal what goes into a breathtaking film score. The two appear in San Francisco April 14–15.","schema":{"@context":"http://schema.org","@type":"Article","headline":"How to Write Film Music That Stops Time","datePublished":"2023-04-11T09:43:56-07:00","dateModified":"2024-01-11T12:40:40-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"barry-jenkins-nicholas-britell-interview-soundbox-san-francisco-symphony","status":"publish","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"articleAge":"0","path":"/arts/13927554/barry-jenkins-nicholas-britell-interview-soundbox-san-francisco-symphony","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s a standout scene in \u003cem>Moonlight\u003c/em>, Barry Jenkins’ widely acclaimed 2016 coming-of-age film, that doesn’t have the typical “pivotal moment” hallmarks of an \u003ca href=\"https://www.youtube.com/watch?v=GCQn_FkFElI\" target=\"_blank\" rel=\"noopener\">Oscars Best Picture winner\u003c/a>. There’s not a big speech. Not a lot really happens, even.\u003c/p>\n\u003cp>But the scene in which Juan (Mahershala Ali) teaches Little (Alex Hibbert) how to swim is rich text for other reasons. There’s the painterly light, athletic camera work. The symbolism is somehow both striking and understated — a rare glimpse of Black masculinity as a nurturing force, as well as what Jenkins has called a “spiritual transference” between these two characters.\u003c/p>\n\u003cp>Then there’s the music. Bright, anxious violins pick up speed as the figurative baptism progresses; over the course of a two-minute piece, composer Nicholas Britell’s score reflects the beauty and danger of the ocean, as well as the complex sea of emotions in our young protagonist: determination, hope and fear. I dare you to find me someone who didn’t sit in the movie theater holding their breath for the entire scene.\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/z6yMItXePG8'\n title='//www.youtube.com/embed/z6yMItXePG8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the seven years since \u003cem>Moonlight\u003c/em>’s release, with films like \u003cem>If Beale Street Could Talk\u003c/em> and the limited series \u003cem>The Underground Railroad\u003c/em>, the partnership between Jenkins and Britell has produced numerous breathtaking moments like this. Jenkins tells stories of Black America, consistently turning an artful, unflinching eye on protagonists who are limited or literally trapped by injustice, by poverty and incarceration. And while Jenkins’ writing and direction are deeply empathetic, it’s often Britell’s scores — soaring, evocative works that apply R&B and hip-hop production techniques to classical music — that grant these characters their full humanity, reminding us that even people living in the most tragic of circumstances experience a vast range of emotion, including love and yearning along with anguish.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"forum_2010101892493","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A horn line swells, and we remember — oh, right. Every single person I meet has an entire universe of pain and beauty and unfulfilled dreams swirling inside them at all times. And then we weep uncontrollably into our popcorn.\u003c/p>\n\u003cp>Britell, a classically trained pianist, has been a “\u003ca href=\"https://www.sfsymphony.org/About-SFS/Collaborative-Partners\" target=\"_blank\" rel=\"noopener\">collaborative partner\u003c/a>” with the San Francisco Symphony since 2018. But his April 14–15 events with Jenkins at \u003ca href=\"https://www.kqed.org/arts/tag/soundbox\" target=\"_blank\" rel=\"noopener\">SoundBox\u003c/a>, with Symphony musicians performing works from \u003cem>Moonlight,\u003c/em> \u003cem>Beale Street\u003c/em> and \u003cem>The Underground Railroad\u003c/em>, will present his most personal collaboration yet with the organization.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Emma Silvers: Barry, your projects have always shown a love of music, even going back to \u003ca href=\"https://www.kqed.org/arts/24154/medicine_for_melancholy\">\u003cem>Medicine for Melancholy\u003c/em>\u003c/a>. Can you talk about where music lives in your writing process? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Barry Jenkins:\u003c/strong> Music has always been part of it. I mean, I’ve always been surrounded by music — I grew up in a household where, even though we were so extremely poor, there was always music playing. Or I would go to the flea market and get tapes — and this is terrible as someone who now makes a living from copywritten material — but people would make these cassette tapes with all these different songs on them, and you could get a tape for like five bucks, as opposed to an album, which cost 15 or 20 bucks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13844783","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>And I’ve always listened to music while I write. When I first got to college and started pursuing creative writing and working on film, I would go to this café to work. And between coffee, wine and music, I found that I could slip into a place where I could translate the feeling of what was happening in the scene in my head to the page.\u003c/p>\n\u003cp>This was also when I was discovering the filmmakers who became foundational to my idea of what cinema was, people like Claire Denis and Wong Kar-wai, and they used music in a very open, very clear way. In film school, I was taught music is meant to be in the background of a film, which is kind of making it elevator music. So I was like, \u003cem>No, no, no:\u003c/em> I’ve seen films where you can use this combination of sound and images and score to really elevate what the character was feeling. That’s the place it’s always had for me.\u003c/p>\n\u003cfigure id=\"attachment_13927608\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927608\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-800x530.jpg\" alt=\"a black and white photo of a young Black man in a dark collared shirt with glasses, smiling at the camera \" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-1536x1018.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-2048x1358.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-1920x1273.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Barry Jenkins’ San Francisco-set debut feature, ‘Medicine for Melancholy,’ will be released by The Criterion Collection in June, with new commentary from the filmmaker. \u003ccite>(Matt Morris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’ve both spoken about not wanting to tell the audience how to feel, that it’s more about music that sounds the way the characters feel — kind of achieving interiority through music. Which, especially as a non-musician, seems mystical to me. Can you talk about what it looks like to get into that headspace and compose for different characters, especially people with very different lived experiences from your own?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nicholas Britell:\u003c/strong> It can \u003cem>feel\u003c/em> mystical; I also use the word “alchemy” a lot. And so much of it is about this incredibly close collaboration, searching \u003cem>together\u003c/em> for things — I’m never working alone. Which is why it’s so special that Barry and I are doing this show; we get into this stream of consciousness when we’re in the room together.\u003c/p>\n\u003cp>On \u003cem>Beale Street\u003c/em>, for example, Barry said “I’m hearing brass and horns.” So I started thinking about the scene where Tish and Fonny have finally been able to rent that apartment, and they’re in the street and they start shouting to the sky with joy. I think a lot about shapes. I feel that the shapes of things in music actually affect us all in similar ways. So, OK, I want the music to go upward — to shout to the sky. Well, what if it’s a trumpet shouting to the sky? And then I start doing experiments with brass, French horns, clarinet, trumpet, flugelhorn, piccolo trumpet, and I kind of go off into the wilderness and try things.\u003c/p>\n\u003cp>Then, through experimenting together, we realized it was missing cellos. Like, \u003cem>oh, the cellos are the feeling of love.\u003c/em> And all of a sudden, if I take the chords that I was playing with brass but the cellos play them, everything feels different. It’s never, oh, what key signature is this, or what type of chord is this. It ultimately always comes back to feelings.\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/mmK71ZfaZO4'\n title='//www.youtube.com/embed/mmK71ZfaZO4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Audiences have these incredibly poignant, personal responses to these scores, where the music seems to help them access complicated feelings about their own lives. Have you seen \u003ca href=\"https://www.youtube.com/watch?v=eWQ7neoBhCE\" target=\"_blank\" rel=\"noopener\">the comments\u003c/a> on “Agape” on YouTube?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Barry Jenkins:\u003c/strong> They’re nuts. (Laughs.) Nuts! Way more people have listened to that piece than have even heard of this film. Way more people are going to hear that song than will ever watch \u003cem>If Beale Street Could Talk\u003c/em>. And I remember being there at the moment of its creation, in this really diligent but simple process of chasing what that moment felt like, both within the film and within the characters’ lives. It’s this very aspirational moment, when Tish is at her most hopeful, like everything is on the table for this family. And Nick just did this thing where he had the song keep reaching \u003cem>up and up and up\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘[James] Baldwin was … bottling this nuclear atom of the hopes, the aspirations, the yearning, the melancholy of Black life in America. And Nick somehow found a way to get in there and really translate that into music.’","name":"pullquote","attributes":{"named":{"align":"right","size":"medium","citation":"Barry Jenkins","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But the way that piece of music connects with people, and this is me saying this, not Nick — these are Black films and this is Black music. It really is. And it’s amazing to me there are white people all over the world, we’ve seen this on Instagram, who walk down the aisle to this piece of music. I say it’s Black music because what Mr. Baldwin was writing, and what Regina and Stephan and KiKi are doing in that sequence, is bottling this nuclear atom of the hopes, the aspirations, the yearning, the melancholy of Black life in America. And Nick somehow found a way to get in there and really translate that into music.\u003c/p>\n\u003cp>When I get a little tipsy and I go read those comments on YouTube, I see that the whole journey of making that film, even if people only accessed it through hearing this one song, would have been worth it. Because the way people respond to the feeling of that music … I mean, sometimes it knocks me down. If you want to know the power, the effect, the legitimate movement that a piece of score can create, go look up that thing on YouTube and the things that complete strangers — who have no skin in the game on how successful this film is or isn’t! — and they’re just pouring themselves out about what this piece of music means to them.\u003c/p>\n\u003cfigure id=\"attachment_13927605\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/image0-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927605\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/image0-800x533.jpg\" alt=\"a young white man with light brown hair in a black button-down shirt and glasses looks down away from the camera\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image0-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image0-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image0-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image0-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image0-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image0-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image0-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nicholas Britell’s other scores include collaborations with director Adam McKay, including ‘The Big Short’ and ‘Don’t Look Up,’ as well as the HBO show ‘Succession.’ \u003ccite>(Emma McIntyre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nicholas Britell:\u003c/strong> I’ll just add that the music that I write with Barry is unlike anything else that I write. In some ways, I think Barry lets me tap into different emotions, and there are certain feelings that I think we are both drawn to. And I get to figure out: what is the sound of that? So much of what we do is experimentation — Barry will like a kernel of something, so we follow that, but we don’t know where we’re going. Just that when we’re there, we’ll know.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Moonlight\u003c/em> and \u003cem>Beale Street\u003c/em> were both so rooted in Miami and New York, respectively, the cities where they took place. But \u003cem>The Underground Railroad\u003c/em> takes us to so many different locations, and then also has surreal elements. How do you find the sound for something of that scope, especially without the anchor of a specific, singular time or place?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13897166","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>Nicholas Britell:\u003c/strong> The scale and scope and difficulty of \u003cem>The Underground Railroad\u003c/em> was unlike anything I’d ever done. I remember Barry saying to me, you know, each state is a different state of mind for Cora — and we thought of it almost like different planets. Because that journey is unlike \u003cem>anything\u003c/em>. As a comparison, it’s not \u003cem>Succession,\u003c/em> where, from episode 1 to 2, we’re probably in New York City, probably in the Roy family. This is like we’re in a different \u003cem>universe\u003c/em>. We’re in a different dimension, possibly.\u003c/p>\n\u003cp>Then there’s the sonic experimentation, just the amount that we were going to push… we look at \u003cem>Moonlight\u003c/em>, where there was the idea of using \u003ca href=\"https://ra.co/features/4040\">chopped and screwed\u003c/a> as a technique, or in \u003cem>Beale Street\u003c/em>, where we’re taking the sounds of love and harming them so they’re broken and they become a sound of injustice. On \u003cem>Underground Railroad\u003c/em>, it was times 100. How do we push things to feel beyond what we can even imagine?\u003c/p>\n\u003cp>Then, what is the architecture? Because if you establish a musical idea at the very beginning of a film, part of the beauty, hopefully, is that if it comes back later, you have a memory of having felt it — even just subconsciously. So multiplying that across 10 episodes, when do we echo back? I remember showing Barry some new ideas at one point, and he was like, ‘You know what? No new ideas. We’re done.’\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/-sUIo56q-Qw'\n title='//www.youtube.com/embed/-sUIo56q-Qw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Barry Jenkins: \u003c/strong>\u003cem>The Underground Railroad\u003c/em> was definitely less of a literal journey, but to me it was also a much more clear emotional one: every state is different, because Cora’s mental state has shifted in addition to the setting. What Nick said about planets — I love that because different planets have different atmospheres, and these soundscapes are like those atmospheres. Venus is not like Mars, you know, it’s got to be completely different.\u003c/p>\n\u003cp>And we’re also responding to the world around us. [At one point during production] Nick and Caitlin, his wife, who’s a cellist, had moved out to L.A., and Nick, do you remember Caitlin took up this hobby of birdwatching?\u003c/p>\n\u003cp>\u003cstrong>Nicholas Britell: \u003c/strong>She’s still doing it. She’s an avid birder.\u003c/p>\n\u003cp>\u003cstrong>Barry Jenkins:\u003c/strong> She had all these feeders around, so there were these hummingbirds always around the studio. And I was thinking the other day, Nick, about the track “Fireflies.” And there’s a harp that’s played really fast, and to me, that’s the hummingbird wings.\u003c/p>\n\u003cfigure id=\"attachment_13927602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/DSC09282-grittani-creative-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927602\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/DSC09282-grittani-creative-800x533.jpg\" alt=\"a crowd of people sits watching classical musicians perform in a dark club-like space with large artworks projected onto the walls and ceiling\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC09282-grittani-creative-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC09282-grittani-creative-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC09282-grittani-creative-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC09282-grittani-creative-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC09282-grittani-creative-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC09282-grittani-creative-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC09282-grittani-creative-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘SoundBox: Modern Sanctuary,’ conducted by Edwin Outwater in February 2020. \u003ccite>(Mike Grittani/Grittani Creative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you want people to know going into these SoundBox shows?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nicholas Britell:\u003c/strong> These performances are something Barry and I have never really done. While we’ve played \u003cem>Moonlight\u003c/em> live to picture before with orchestras, we have never actually performed in the authentic forms of the film with the original orchestrations. This is something we’ve been talking about since these were first written — like, how could we do this? \u003cem>Can\u003c/em> we do this? Because, for example, \u003cem>Beale Street\u003c/em> is as much an orchestration exercise, with these different instrument colors, as it is about these very special reverbs at times, where you hear the sounds sort of floating and soaring and swirling.\u003c/p>\n\u003cp>\u003cstrong>Barry Jenkins: \u003c/strong>We have heard stories about the reverb quality of SoundBox and we are hoping to put it through its paces. We’ve heard it’s legit. And the cats that work there are out to prove to us that it’s legit, so we’re pushing the boundaries with this concert.\u003c/p>\n\u003cp>I’ll also say — I moved to the Bay at a time in my life when I was incredibly down on myself, and I went through some ups and downs there. And I’d walk past the Symphony all the time, and I just never thought … There are going to be images of Black folks projected all throughout this show. These folks are going to be playing music that I think organically reflects the experience of Black people. And I just never, never thought there was a world in which that would ever happen. It’s gonna be very cool.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘SoundBox: In Conversation With Nicholas Britell and Barry Jenkins’ takes place at 9 p.m. on Friday, April 14 and Saturday, April 15 at the San Francisco Symphony’s SoundBox (300 Franklin St., San Francisco). Tickets start at $99; \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2022-23/SBX-NicholasBritell\">details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13927554/barry-jenkins-nicholas-britell-interview-soundbox-san-francisco-symphony","authors":["7237"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_74","arts_69"],"tags":["arts_928","arts_15393","arts_1312","arts_10278","arts_977","arts_1050","arts_3087","arts_989","arts_1367","arts_8904","arts_585"],"featImg":"arts_13927583","label":"arts_140"},"arts_13889657":{"type":"posts","id":"arts_13889657","meta":{"index":"posts_1716263798","site":"arts","id":"13889657","score":null,"sort":[1606261093000]},"parent":0,"labelTerm":{"site":"arts","term":137},"blocks":[],"publishDate":1606261093,"format":"standard","title":"Kwame Alexander Offers New Poems on Race and Hope as 'Psalms and Balms'","headTitle":"Kwame Alexander Offers New Poems on Race and Hope as ‘Psalms and Balms’ | KQED","content":"\u003cp>With his new book of poetry about race in America, \u003cem>Morning Edition\u003c/em> poet-in-residence Kwame Alexander hopes to “shine a little light for the world.”\u003c/p>\n\u003cp>In the book, \u003cem>Light For The World To See: A Thousand Words On Race And Hope, \u003c/em>Alexander writes three poems on three events: the murder of George Floyd at the hands of police officers in Minneapolis, Colin Kaepernick’s kneeling protests before NFL games, and the election of Barack Obama as president.\u003c/p>\n\u003cp>“I think that through the listening of a poem or the reading of a poem about the woes of the world—and we’ve got a lot of woes right now—we can be inspired to find the wonderful in ourselves and in each other,” he tells NPR.\u003c/p>\n\u003cp>[\u003cem>You can hear Alexander read the poem “The Undefeated” from the book in the audio version of the interview or watch a \u003ca href=\"https://theundefeated.com/videos/this-one-is-for-us/\" target=\"_blank\" rel=\"noopener noreferrer\">video of the poem here\u003c/a>. He also created a community poem, “Running For Your Life,” based on submissions to NPR about what it means to be Black and safe in America today that you can \u003ca href=\"https://www.npr.org/2020/05/27/862339935/running-for-your-life-a-community-poem-for-ahmaud-arbery\" target=\"_blank\" rel=\"noopener noreferrer\">read here\u003c/a>.\u003c/em>]\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On why he wrote this book of poems \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889659 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/9780358539414_hres_custom-7c03c2ad34a13039a6258643769b8626e925c1eb.jpg\" alt=\"\" width=\"200\" height=\"285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/9780358539414_hres_custom-7c03c2ad34a13039a6258643769b8626e925c1eb.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/9780358539414_hres_custom-7c03c2ad34a13039a6258643769b8626e925c1eb-160x228.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">I think the weight of being Black was too much to carry for me for a long time. I didn’t know how to find answers to assert myself to do something. And then a friend of mine sent me a quote by Toni Morrison that said this is precisely the time when artists go to work. There’s no time for despair. No place for self pity. No need for silence. No room for fear. We speak, we write, we do language, that is how civilizations heal. And so I wrote. I used my words to scream, to shout, to sort of lift up my voice to shine a little light for the world.\u003c/p>\n\u003cp>I wanted to write this as a reminder to Black children and families to remember their humanity. I wanted to write it as sort of a wake-up call to white Americans to acknowledge and know the truth, to fight against a proclivity to maintain the hierarchy, whether conscious or not. I think of these poems as sort of negro spirituals in a way—which are timeless in their comfort and their guidance and their roots in praise houses and ring shouts and other informal gatherings of enslaved Africans who needed to express their sorrows and their hopes, wading in the water. \u003cem>Nobody knows the trouble I’ve seen\u003c/em>. \u003cem>Steal away to Jesus\u003c/em>. That’s what these poems are for me. They are psalms and balms for my soul and hopefully for our souls so that we can get on with the business of making the world a better place.\u003c/p>\n\u003cp>\u003cstrong>On the parallels he sees in James Baldwin’s \u003c/strong>\u003cstrong>\u003cem>A Report From Occupied Territory, \u003c/em>\u003c/strong>\u003cstrong>\u003ca href=\"https://www.thenation.com/article/archive/report-occupied-territory/\" target=\"_blank\" rel=\"noopener noreferrer\">an essay written in 1966 about police brutality\u003c/a>, and what the nation is going through today—and on his own writing in this tradition\u003c/strong>\u003c/p>\n\u003cp>I think [it’s] in the sense that Baldwin was crying out. It was a plea for our humanity, for the humanity of Black people in particular, of oppressed people in general, to be recognized. I don’t know if I’m writing a plea more so that I’m making a demand and that I’m saying we’ve got to reclaim our own humanity and cannot allow ourselves to be defined by other people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The wound, the wound has been here. The wound has been here since Africans first arrived on these shores. These episodes of police killings and brutality—they’ve existed for 400 years. I wrote this to remind us of the tragedy, while also showcasing the triumph. The only way for us to do things better in the future is to understand what we did wrong in the past. I do think that we are at a critical boiling point of resistance in America and you see whites and Blacks and all Americans coming together to stand up for what’s right. We’ve got to all say that we are fired up and we can’t take no more and I think that’s what’s happening.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kwame+Alexander+Offers+New+Poems+On+Race+And+Hope+As+%27Psalms+And+Balms%27+For+The+Soul&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":743,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":12},"modified":1705019808,"excerpt":"Alexander's new book contains poems about George Floyd's death, Colin Kaepernick's protests, and the election of Barack Obama.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Alexander's new book contains poems about George Floyd's death, Colin Kaepernick's protests, and the election of Barack Obama.","title":"Kwame Alexander Offers New Poems on Race and Hope as 'Psalms and Balms' | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Kwame Alexander Offers New Poems on Race and Hope as 'Psalms and Balms'","datePublished":"2020-11-24T15:38:13-08:00","dateModified":"2024-01-11T16:36:48-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"kwame-alexander-offers-new-poems-on-race-and-hope-as-psalms-and-balms","status":"publish","nprApiLink":"http://api.npr.org/query?id=935504543&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","templateType":"standard","nprStoryDate":"Tue, 24 Nov 2020 05:08:00 -0500","nprLastModifiedDate":"Tue, 24 Nov 2020 06:13:58 -0500","featuredImageType":"standard","nprHtmlLink":"https://www.npr.org/2020/11/24/935504543/kwame-alexander-offers-new-poems-on-race-and-hope-as-psalms-and-balms-for-the-so?ft=nprml&f=935504543","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2020/11/20201124_me_kwame_alexander_offers_new_poems_on_race_and_hope_as_psalms_and_balms_for_the_soul.mp3?orgId=1&topicId=1032&d=417&p=3&story=935504543&ft=nprml&f=935504543","nprImageAgency":"Getty Images","nprAudioM3u":"http://api.npr.org/m3u/1938326637-f53d4c.m3u?orgId=1&topicId=1032&d=417&p=3&story=935504543&ft=nprml&f=935504543","nprStoryId":"935504543","nprByline":"Rachel Martin","sticky":false,"nprImageCredit":"Slaven Vlasic","nprRetrievedStory":"1","nprPubDate":"Tue, 24 Nov 2020 08:26:00 -0500","path":"/arts/13889657/kwame-alexander-offers-new-poems-on-race-and-hope-as-psalms-and-balms","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2020/11/20201124_me_kwame_alexander_offers_new_poems_on_race_and_hope_as_psalms_and_balms_for_the_soul.mp3?orgId=1&topicId=1032&d=417&p=3&story=935504543&ft=nprml&f=935504543","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>With his new book of poetry about race in America, \u003cem>Morning Edition\u003c/em> poet-in-residence Kwame Alexander hopes to “shine a little light for the world.”\u003c/p>\n\u003cp>In the book, \u003cem>Light For The World To See: A Thousand Words On Race And Hope, \u003c/em>Alexander writes three poems on three events: the murder of George Floyd at the hands of police officers in Minneapolis, Colin Kaepernick’s kneeling protests before NFL games, and the election of Barack Obama as president.\u003c/p>\n\u003cp>“I think that through the listening of a poem or the reading of a poem about the woes of the world—and we’ve got a lot of woes right now—we can be inspired to find the wonderful in ourselves and in each other,” he tells NPR.\u003c/p>\n\u003cp>[\u003cem>You can hear Alexander read the poem “The Undefeated” from the book in the audio version of the interview or watch a \u003ca href=\"https://theundefeated.com/videos/this-one-is-for-us/\" target=\"_blank\" rel=\"noopener noreferrer\">video of the poem here\u003c/a>. He also created a community poem, “Running For Your Life,” based on submissions to NPR about what it means to be Black and safe in America today that you can \u003ca href=\"https://www.npr.org/2020/05/27/862339935/running-for-your-life-a-community-poem-for-ahmaud-arbery\" target=\"_blank\" rel=\"noopener noreferrer\">read here\u003c/a>.\u003c/em>]\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On why he wrote this book of poems \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889659 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/9780358539414_hres_custom-7c03c2ad34a13039a6258643769b8626e925c1eb.jpg\" alt=\"\" width=\"200\" height=\"285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/9780358539414_hres_custom-7c03c2ad34a13039a6258643769b8626e925c1eb.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/9780358539414_hres_custom-7c03c2ad34a13039a6258643769b8626e925c1eb-160x228.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">I think the weight of being Black was too much to carry for me for a long time. I didn’t know how to find answers to assert myself to do something. And then a friend of mine sent me a quote by Toni Morrison that said this is precisely the time when artists go to work. There’s no time for despair. No place for self pity. No need for silence. No room for fear. We speak, we write, we do language, that is how civilizations heal. And so I wrote. I used my words to scream, to shout, to sort of lift up my voice to shine a little light for the world.\u003c/p>\n\u003cp>I wanted to write this as a reminder to Black children and families to remember their humanity. I wanted to write it as sort of a wake-up call to white Americans to acknowledge and know the truth, to fight against a proclivity to maintain the hierarchy, whether conscious or not. I think of these poems as sort of negro spirituals in a way—which are timeless in their comfort and their guidance and their roots in praise houses and ring shouts and other informal gatherings of enslaved Africans who needed to express their sorrows and their hopes, wading in the water. \u003cem>Nobody knows the trouble I’ve seen\u003c/em>. \u003cem>Steal away to Jesus\u003c/em>. That’s what these poems are for me. They are psalms and balms for my soul and hopefully for our souls so that we can get on with the business of making the world a better place.\u003c/p>\n\u003cp>\u003cstrong>On the parallels he sees in James Baldwin’s \u003c/strong>\u003cstrong>\u003cem>A Report From Occupied Territory, \u003c/em>\u003c/strong>\u003cstrong>\u003ca href=\"https://www.thenation.com/article/archive/report-occupied-territory/\" target=\"_blank\" rel=\"noopener noreferrer\">an essay written in 1966 about police brutality\u003c/a>, and what the nation is going through today—and on his own writing in this tradition\u003c/strong>\u003c/p>\n\u003cp>I think [it’s] in the sense that Baldwin was crying out. It was a plea for our humanity, for the humanity of Black people in particular, of oppressed people in general, to be recognized. I don’t know if I’m writing a plea more so that I’m making a demand and that I’m saying we’ve got to reclaim our own humanity and cannot allow ourselves to be defined by other people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The wound, the wound has been here. The wound has been here since Africans first arrived on these shores. These episodes of police killings and brutality—they’ve existed for 400 years. I wrote this to remind us of the tragedy, while also showcasing the triumph. The only way for us to do things better in the future is to understand what we did wrong in the past. I do think that we are at a critical boiling point of resistance in America and you see whites and Blacks and all Americans coming together to stand up for what’s right. We’ve got to all say that we are fired up and we can’t take no more and I think that’s what’s happening.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kwame+Alexander+Offers+New+Poems+On+Race+And+Hope+As+%27Psalms+And+Balms%27+For+The+Soul&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13889657/kwame-alexander-offers-new-poems-on-race-and-hope-as-psalms-and-balms","authors":["byline_arts_13889657"],"categories":["arts_1","arts_73"],"tags":["arts_3675","arts_2558","arts_11163","arts_3087","arts_6713"],"affiliates":["arts_137"],"featImg":"arts_13889658","label":"arts_137"},"arts_13882177":{"type":"posts","id":"arts_13882177","meta":{"index":"posts_1716263798","site":"arts","id":"13882177","score":null,"sort":[1592485209000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1592485209,"format":"standard","title":"How to Celebrate Juneteenth in the Bay Area—at Home or Outside","headTitle":"How to Celebrate Juneteenth in the Bay Area—at Home or Outside | KQED","content":"\u003cp>As the country enters a third week of constant protests over the killing of George Floyd and Breonna Taylor and reckons with its racist structures, this year’s Juneteenth celebrations have seen increased interest.\u003c/p>\n\u003cp>An \u003ca href=\"https://www.kqed.org/news/11824859/juneteenth-2020-in-the-bay-area-what-to-know-where-to-go\" rel=\"noopener noreferrer\" target=\"_blank\">annual day observing the end of slavery in the south\u003c/a>, Juneteenth falls each year on June 19. This Friday’s celebrations get underway not only during a national uprising for racial justice, but during a global pandemic. Below, find ways to honor Juneteenth at home with streamed music and art, and view a select list of outdoor celebrations happening around the Bay Area.[aside postid='news_11824859']\u003c/p>\n\u003cp>\u003cem>Additional reporting by Dacia Mitchell.\u003c/em>\u003c/p>\n\u003ch2>Select Online Juneteenth Events on June 19\u003c/h2>\n\u003cp>\u003cstrong>‘Polar Bears, Black Boys & Prairie Fringed Orchids’\u003c/strong>\u003cbr>\nThirty Bay Area theater companies come together for this streamed performance of Vincent Terrell Durham’s play, \u003cem>Polar Bears, Black Boys & Prairie Fringed Orchids\u003c/em>, a timely meditation on police killings of Black people and the Black Lives Matter movement. The play is presented as part of the PlayGround Zoom Fest and the Juneteenth Theatre Justice Project, a national movement spanning theaters across America. Starts at 7pm Pacific time; \u003ca href=\"https://playground-sf.org/juneteenth/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Marcus Shelby: Juneteenth and the Blues\u003c/strong>\u003cbr>\nCarrying on the tradition of figures like Charles Mingus and Archie Shepp, who infused jazz with politics, composer and bassist Marcus Shelby has presented jazz programs on Harriet Tubman, the Negro Leagues, the school-to-prison pipeline and more. In an hour-long Zoom presentation of live music, readings and poetry, Shelby delves into Juneteenth’s history and resonance today. Starts at 4pm Pacific time; \u003ca href=\"https://www.moadsf.org/event/talk-performance-juneteenth-and-the-blues-with-marcus-shelby/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13882181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-800x450.jpg\" alt=\"A still from 'Take This Hammer,' featuring James Baldwin.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Take This Hammer,’ featuring James Baldwin. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Take This Hammer’\u003c/strong>\u003cbr>\nFilmed by KQED in 1963, \u003cem>Take This Hammer\u003c/em> follows James Baldwin around San Francisco as he speaks with young Black people and compasres the racial atmosphere in the so-called “progressive” city to the segregated south. The full director’s cut is available to stream; \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/216518\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>NAACP Black Family Reunion\u003cbr>\nThe NAACP hosts a two-hour special about lives lost and personal stories from the Black community. Participants can submit their story for potential inclusion in advance. Starts at 1pm Pacific time; \u003ca href=\"https://naacp.org/juneteenth/\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Music From Other Minds: Juneteenth\u003c/strong>\u003cbr>\nThe Other Minds radio show expands to two hours for a Juneteenth special with the music of Black American composers including Matana Roberts, Moor Mother, Ben LaMar Gay, LOAN (Tongo Eisen-Martin & Chris Peck) and more. Hosted by Liam Herb, the special starts at 10pm Pacific time; \u003ca href=\"https://www.otherminds.org/mfom/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Harlem of the West: The San Francisco Fillmore Jazz Era\u003c/strong>\u003cbr>\nElizabeth Pepin Silva and Lewis Watts, authors of the book \u003cem>Harlem of the West: The San Francisco Fillmore Jazz Era\u003c/em>, discuss the neighborhood’s robust history of Black culture, which urban renewal erased in the 1960s and 1970s. Starts at noon Pacific time; \u003ca href=\"https://bit.ly/HarlemWestJune2020\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>Select Outdoor Juneteenth Events on June 19\u003c/h2>\n\u003cp>\u003cstrong>Oakland\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.juneteenthspt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth West Coast Port Shutdown\u003c/a> & Caravan to Frank Ogawa Plaza – 10am\u003c/p>\n\u003cp>Second Annual \u003ca href=\"https://www.instagram.com/p/CBWcTrTBwMc/\" target=\"_blank\" rel=\"noopener noreferrer\">Bike 4 Justice Rally\u003c/a> in West Oakland – 12:30pm to 4pm[aside postid='arts_13882225']\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBb2gBLhIYF/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth at the Lake\u003c/a> – Meet at Alameda County Courthouse & March around Lake Merritt – 1pm to Sunset\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/balck-youth-march-people-liberation/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Youth for the People’s Liberation\u003c/a> Protest at deFremery Park – 4pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBe819Oh0J6/\" target=\"_blank\" rel=\"noopener noreferrer\">California Nurses Assoc. Black Lives Matter Protest\u003c/a> – at Kaiser on Broadway – 4pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBVBduHhUUA/\" target=\"_blank\" rel=\"noopener noreferrer\">Lake Merritt Amphitheater Juneteenth Celebration\u003c/a> – 4pm to 7pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/justice-juneteenth-lakemerritt/\" target=\"_blank\" rel=\"noopener noreferrer\">Justice for Juneteenth \u003c/a>at Lake Merritt – 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://hueypnewtonfoundation.org/initiatives\" target=\"_blank\" rel=\"noopener noreferrer\">Rally for Huey P. Newton Monument\u003c/a> with Fredrika Newton at Alameda County Courthouse – 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/funcheap/photos/p.10156909708402504/10156909708402504/?type=3&av=327396872503&eav=AfZ5kPmE0-C1VtLOp9LqpPcbLt1c78rut53h4mwMK1lSdSC28es2LLLFvjaVap3CjuA&theater\" target=\"_blank\" rel=\"noopener noreferrer\">Park Blvd. Juneteenth Protest\u003c/a> at Park Blvd. between I-580 and CA13. – 5-6pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBWu88Yhtmu/\" target=\"_blank\" rel=\"noopener noreferrer\">‘Black Mass’ Juneteenth Spoken Word & Drum Circle\u003c/a> at Lake Merritt Amphitheater – 7pm\u003c/p>\n\u003cp>\u003cstrong>San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/events/566725343925258/?event_time_id=566725350591924\" target=\"_blank\" rel=\"noopener noreferrer\">March for Freedom & Justice\u003c/a> from Ferry Building to City Hall – Noon\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/sf-caravan-protest/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter Caravan Protest\u003c/a> – location TBD – 10am–1pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBRiLPwBw5h/\" target=\"_blank\" rel=\"noopener noreferrer\">“Kicking for Freedom”\u003c/a> three-mile skate through SF starting at Ferry Building – 1 to 3pm\u003c/p>\n\u003cp>\u003ca href=\"https://dothebay.com/events/2020/6/19/sf-qbar-juneteenth-reunion-black-queer-rally\" rel=\"noopener noreferrer\" target=\"_blank\">Rally Celebrating Black Queer Joy\u003c/a> at QBar in the Castro – 3pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBf_p41h-jd/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Rally\u003c/a> at City Hall – 1pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/sf-peaceful-yoga-protest/\" target=\"_blank\" rel=\"noopener noreferrer\">Yoga Protest at Dolores Park\u003c/a> – 4pm to 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/bay-swimmers-in-solidarity/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Swimmers in Solidarity Floating Protest\u003c/a> at Aquatic Park – 5:30pm\u003c/p>\n\u003cp>\u003cstrong>Antioch\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBe9AOJBkr5/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Peace Walk, Arts & Music\u003c/a> from City Hall to 6th & A St. – 11am to 3pm\u003c/p>\n\u003cp>\u003cstrong>Santa Rosa\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBWPC7tBVV_/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Festival \u003c/a>at Pioneer Park – Noon\u003c/p>\n\u003cp>\u003cstrong>Fremont\u003c/strong>\u003cbr>\n\u003ca href=\"https://sf.funcheap.com/juneteenth-march-for-justice-fremont/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth March for Justice\u003c/a> to City Hall – 1pm\u003c/p>\n\u003cp>\u003cstrong>Santa Clara\u003c/strong>\u003cbr>\n\u003ca href=\"https://sf.funcheap.com/march-for-freedom/\" target=\"_blank\" rel=\"noopener noreferrer\">March for Freedom Day\u003c/a> at Santa Clara University- 3pm to 5pm\u003c/p>\n\u003cp>\u003cstrong>Pittsburg\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBWVqluheJt/\" target=\"_blank\" rel=\"noopener noreferrer\">March for Justice\u003c/a> from Buchanan Park to Marina – 3pm\u003c/p>\n\u003cp>\u003cstrong>Livermore\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBcjmTdhXS1/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter Protest\u003c/a> at City Hall with speeches and march to Carnegie Park – 4pm\u003c/p>\n\u003cp>\u003cstrong>Palo Alto\u003c/strong>\u003cbr>\n\u003ca href=\"https://act.sixnineteen.com/event/action/86?source=map&akid=\" target=\"_blank\" rel=\"noopener noreferrer\">Defend Black Lives Protest\u003c/a> at King Plaza, City Hall – 5pm\u003c/p>\n\u003cp>\u003c/p>\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":814,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":37},"modified":1705020556,"excerpt":"A roundup of events both online and IRL to celebrate the day marking the end of slavery in the south.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"A roundup of events both online and IRL to celebrate the day marking the end of slavery in the south.","title":"How to Celebrate Juneteenth in the Bay Area—at Home or Outside | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How to Celebrate Juneteenth in the Bay Area—at Home or Outside","datePublished":"2020-06-18T06:00:09-07:00","dateModified":"2024-01-11T16:49:16-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"how-to-celebrate-juneteenth-in-the-bay-area-at-home-or-outside","status":"publish","templateType":"standard","featuredImageType":"standard","sticky":false,"path":"/arts/13882177/how-to-celebrate-juneteenth-in-the-bay-area-at-home-or-outside","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the country enters a third week of constant protests over the killing of George Floyd and Breonna Taylor and reckons with its racist structures, this year’s Juneteenth celebrations have seen increased interest.\u003c/p>\n\u003cp>An \u003ca href=\"https://www.kqed.org/news/11824859/juneteenth-2020-in-the-bay-area-what-to-know-where-to-go\" rel=\"noopener noreferrer\" target=\"_blank\">annual day observing the end of slavery in the south\u003c/a>, Juneteenth falls each year on June 19. This Friday’s celebrations get underway not only during a national uprising for racial justice, but during a global pandemic. Below, find ways to honor Juneteenth at home with streamed music and art, and view a select list of outdoor celebrations happening around the Bay Area.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11824859","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional reporting by Dacia Mitchell.\u003c/em>\u003c/p>\n\u003ch2>Select Online Juneteenth Events on June 19\u003c/h2>\n\u003cp>\u003cstrong>‘Polar Bears, Black Boys & Prairie Fringed Orchids’\u003c/strong>\u003cbr>\nThirty Bay Area theater companies come together for this streamed performance of Vincent Terrell Durham’s play, \u003cem>Polar Bears, Black Boys & Prairie Fringed Orchids\u003c/em>, a timely meditation on police killings of Black people and the Black Lives Matter movement. The play is presented as part of the PlayGround Zoom Fest and the Juneteenth Theatre Justice Project, a national movement spanning theaters across America. Starts at 7pm Pacific time; \u003ca href=\"https://playground-sf.org/juneteenth/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Marcus Shelby: Juneteenth and the Blues\u003c/strong>\u003cbr>\nCarrying on the tradition of figures like Charles Mingus and Archie Shepp, who infused jazz with politics, composer and bassist Marcus Shelby has presented jazz programs on Harriet Tubman, the Negro Leagues, the school-to-prison pipeline and more. In an hour-long Zoom presentation of live music, readings and poetry, Shelby delves into Juneteenth’s history and resonance today. Starts at 4pm Pacific time; \u003ca href=\"https://www.moadsf.org/event/talk-performance-juneteenth-and-the-blues-with-marcus-shelby/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13882181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-800x450.jpg\" alt=\"A still from 'Take This Hammer,' featuring James Baldwin.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Take This Hammer,’ featuring James Baldwin. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Take This Hammer’\u003c/strong>\u003cbr>\nFilmed by KQED in 1963, \u003cem>Take This Hammer\u003c/em> follows James Baldwin around San Francisco as he speaks with young Black people and compasres the racial atmosphere in the so-called “progressive” city to the segregated south. The full director’s cut is available to stream; \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/216518\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>NAACP Black Family Reunion\u003cbr>\nThe NAACP hosts a two-hour special about lives lost and personal stories from the Black community. Participants can submit their story for potential inclusion in advance. Starts at 1pm Pacific time; \u003ca href=\"https://naacp.org/juneteenth/\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Music From Other Minds: Juneteenth\u003c/strong>\u003cbr>\nThe Other Minds radio show expands to two hours for a Juneteenth special with the music of Black American composers including Matana Roberts, Moor Mother, Ben LaMar Gay, LOAN (Tongo Eisen-Martin & Chris Peck) and more. Hosted by Liam Herb, the special starts at 10pm Pacific time; \u003ca href=\"https://www.otherminds.org/mfom/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Harlem of the West: The San Francisco Fillmore Jazz Era\u003c/strong>\u003cbr>\nElizabeth Pepin Silva and Lewis Watts, authors of the book \u003cem>Harlem of the West: The San Francisco Fillmore Jazz Era\u003c/em>, discuss the neighborhood’s robust history of Black culture, which urban renewal erased in the 1960s and 1970s. Starts at noon Pacific time; \u003ca href=\"https://bit.ly/HarlemWestJune2020\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Select Outdoor Juneteenth Events on June 19\u003c/h2>\n\u003cp>\u003cstrong>Oakland\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.juneteenthspt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth West Coast Port Shutdown\u003c/a> & Caravan to Frank Ogawa Plaza – 10am\u003c/p>\n\u003cp>Second Annual \u003ca href=\"https://www.instagram.com/p/CBWcTrTBwMc/\" target=\"_blank\" rel=\"noopener noreferrer\">Bike 4 Justice Rally\u003c/a> in West Oakland – 12:30pm to 4pm\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13882225","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBb2gBLhIYF/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth at the Lake\u003c/a> – Meet at Alameda County Courthouse & March around Lake Merritt – 1pm to Sunset\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/balck-youth-march-people-liberation/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Youth for the People’s Liberation\u003c/a> Protest at deFremery Park – 4pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBe819Oh0J6/\" target=\"_blank\" rel=\"noopener noreferrer\">California Nurses Assoc. Black Lives Matter Protest\u003c/a> – at Kaiser on Broadway – 4pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBVBduHhUUA/\" target=\"_blank\" rel=\"noopener noreferrer\">Lake Merritt Amphitheater Juneteenth Celebration\u003c/a> – 4pm to 7pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/justice-juneteenth-lakemerritt/\" target=\"_blank\" rel=\"noopener noreferrer\">Justice for Juneteenth \u003c/a>at Lake Merritt – 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://hueypnewtonfoundation.org/initiatives\" target=\"_blank\" rel=\"noopener noreferrer\">Rally for Huey P. Newton Monument\u003c/a> with Fredrika Newton at Alameda County Courthouse – 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/funcheap/photos/p.10156909708402504/10156909708402504/?type=3&av=327396872503&eav=AfZ5kPmE0-C1VtLOp9LqpPcbLt1c78rut53h4mwMK1lSdSC28es2LLLFvjaVap3CjuA&theater\" target=\"_blank\" rel=\"noopener noreferrer\">Park Blvd. Juneteenth Protest\u003c/a> at Park Blvd. between I-580 and CA13. – 5-6pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBWu88Yhtmu/\" target=\"_blank\" rel=\"noopener noreferrer\">‘Black Mass’ Juneteenth Spoken Word & Drum Circle\u003c/a> at Lake Merritt Amphitheater – 7pm\u003c/p>\n\u003cp>\u003cstrong>San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/events/566725343925258/?event_time_id=566725350591924\" target=\"_blank\" rel=\"noopener noreferrer\">March for Freedom & Justice\u003c/a> from Ferry Building to City Hall – Noon\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/sf-caravan-protest/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter Caravan Protest\u003c/a> – location TBD – 10am–1pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBRiLPwBw5h/\" target=\"_blank\" rel=\"noopener noreferrer\">“Kicking for Freedom”\u003c/a> three-mile skate through SF starting at Ferry Building – 1 to 3pm\u003c/p>\n\u003cp>\u003ca href=\"https://dothebay.com/events/2020/6/19/sf-qbar-juneteenth-reunion-black-queer-rally\" rel=\"noopener noreferrer\" target=\"_blank\">Rally Celebrating Black Queer Joy\u003c/a> at QBar in the Castro – 3pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBf_p41h-jd/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Rally\u003c/a> at City Hall – 1pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/sf-peaceful-yoga-protest/\" target=\"_blank\" rel=\"noopener noreferrer\">Yoga Protest at Dolores Park\u003c/a> – 4pm to 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/bay-swimmers-in-solidarity/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Swimmers in Solidarity Floating Protest\u003c/a> at Aquatic Park – 5:30pm\u003c/p>\n\u003cp>\u003cstrong>Antioch\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBe9AOJBkr5/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Peace Walk, Arts & Music\u003c/a> from City Hall to 6th & A St. – 11am to 3pm\u003c/p>\n\u003cp>\u003cstrong>Santa Rosa\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBWPC7tBVV_/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Festival \u003c/a>at Pioneer Park – Noon\u003c/p>\n\u003cp>\u003cstrong>Fremont\u003c/strong>\u003cbr>\n\u003ca href=\"https://sf.funcheap.com/juneteenth-march-for-justice-fremont/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth March for Justice\u003c/a> to City Hall – 1pm\u003c/p>\n\u003cp>\u003cstrong>Santa Clara\u003c/strong>\u003cbr>\n\u003ca href=\"https://sf.funcheap.com/march-for-freedom/\" target=\"_blank\" rel=\"noopener noreferrer\">March for Freedom Day\u003c/a> at Santa Clara University- 3pm to 5pm\u003c/p>\n\u003cp>\u003cstrong>Pittsburg\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBWVqluheJt/\" target=\"_blank\" rel=\"noopener noreferrer\">March for Justice\u003c/a> from Buchanan Park to Marina – 3pm\u003c/p>\n\u003cp>\u003cstrong>Livermore\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBcjmTdhXS1/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter Protest\u003c/a> at City Hall with speeches and march to Carnegie Park – 4pm\u003c/p>\n\u003cp>\u003cstrong>Palo Alto\u003c/strong>\u003cbr>\n\u003ca href=\"https://act.sixnineteen.com/event/action/86?source=map&akid=\" target=\"_blank\" rel=\"noopener noreferrer\">Defend Black Lives Protest\u003c/a> at King Plaza, City Hall – 5pm\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13882177/how-to-celebrate-juneteenth-in-the-bay-area-at-home-or-outside","authors":["185"],"categories":["arts_1","arts_835","arts_7862","arts_69","arts_967"],"tags":["arts_10278","arts_1806","arts_3087","arts_7465","arts_3584","arts_1692","arts_7723"],"featImg":"arts_13882180","label":"arts"},"arts_13874641":{"type":"posts","id":"arts_13874641","meta":{"index":"posts_1716263798","site":"arts","id":"13874641","score":null,"sort":[1581451211000]},"parent":0,"labelTerm":{"site":"arts","term":140},"blocks":[],"publishDate":1581451211,"format":"standard","title":"Man vs. Manifesto: Rotimi Agbabiaka Explains it All at Brava Theater Center","headTitle":"Man vs. Manifesto: Rotimi Agbabiaka Explains it All at Brava Theater Center | KQED","content":"\u003cp>To sell out or not to sell out? That is the question. Or is it?\u003c/p>\n\u003cp>Did Shakespeare consider himself a hack? Or was he too busy keeping the Lord Chamberlain’s Men afloat with the quality (and quantity) of his playscripts? Did he encounter the strange impulse in his audiences to lionize and then tear down what he had the audacity to be paid for? Did he suffer from that obtuse inclination to feel guilty once he achieved a modicum of financial stability?\u003c/p>\n\u003cp>What does it actually mean to “sell out”—and is that even a relevant concern in a city where market-rate rents far exceed most artists’ capacity to pay them no matter what salary they command?\u003c/p>\n\u003cfigure id=\"attachment_13874645\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874645\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka3_credit_RobbieSweeny-800x499.jpg\" alt=\"\" width=\"800\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka3_credit_RobbieSweeny-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka3_credit_RobbieSweeny-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka3_credit_RobbieSweeny-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka3_credit_RobbieSweeny-1020x636.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka3_credit_RobbieSweeny-1920x1198.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka3_credit_RobbieSweeny.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rotimi Agbabiaka in Manifesto at Brava Theater Center. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s an age-old dilemma, and as such, one cannot expect it to be solved in a scant hour, the approximate length of Rotimi Agbabiaka’s newest solo show, \u003cem>Manifesto\u003c/em>. While the struggle to reconcile the artistic conscience with the hierarchy of needs is real, in Agbabiaka’s hands it somehow becomes \u003cem>fun\u003c/em>. Like a juicy gossip sesh with your “gay best friend,” \u003cem>Manifesto\u003c/em> lets us listen in on Agbabiaka’s questioning internal monologue—along with all of the voices he carries with him, from fame mongers to talk-show hosts, James Baldwin to Beyoncé.\u003c/p>\n\u003cp>With all the \u003cem>bonhomie\u003c/em> of a television personality, Agbabiaka bounds onto the stage to an Afrobeat soundtrack, to bask in audience applause. Serving Nigerian-cool realness, his energy crackles and dominates the room, but in a friendly way. “Wow,” he observes, laughing delightedly. “You have \u003cem>no idea what you’re in for.”\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What follows is a series of humorous sketches, gently directed by Edris Cooper-Anifowoshe, skewering the theater “industry” and Agbabiaka’s role in it. He tells us right away that we don’t need “permission” to create. Don’t need to wait by the phone for that “call.” That the call comes in the very next stage moment is the punchline, and we’re whisked off to New York City where he beats out Laverne Cox for a coveted off-Broadway role (last Spring, Agbabiaka was a featured player in Playwrights Horizons’ \u003cem>If Pretty Hurts Ugly Must Be a Muhfucka\u003c/em>). This minor success sets off a rampage of soul-searching for which there are no definitive answers.\u003c/p>\n\u003cfigure id=\"attachment_13874644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874644\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka4_credit_RobbieSweeny-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka4_credit_RobbieSweeny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka4_credit_RobbieSweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka4_credit_RobbieSweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka4_credit_RobbieSweeny.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rotimi Agbabiaka in Manifesto at Brava Theater Center. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Does his accomplishment turn him into one of the aggressively soulless wannabes who jockey for position on that beloved game show, \u003cem>Show Biz Circle Jerk\u003c/em>? How about the fact that he’s considering leaning into his African heritage as a selling point, despite having grown up in Texas?\u003c/p>\n\u003cp>“If you need a Nigerian, I’m your guy,” he tells his fellow contestants. “I’m taking this shit all the way to Hollywood!” On a more quixotic note, he tries to explain to his dryly unimpressed (and hilariously deadpan) father how his vision of theater is one of revolutionary ideas, even as he admits that he won’t do theater in Nigeria since there’s no money in it.\u003c/p>\n\u003cp>“That’s all we want, isn’t it?” expounds game-show Rotimi. “I want that Jay-Z-Beyoncé price! Cause ain’t \u003cem>that\u003c/em> the revolution?”\u003c/p>\n\u003cp>In Agbabiaka’s animated hands, each character is lovingly lampooned, including himself and his contradictory ambitions. With his sheer physical presence, a chair, and the dramatic ambers and aquas of Jenny B./Shady Lady’s lighting design, Agbabiaka fills the room with a wealth of insider buzz and infectious laughter. The \u003cem>New York Times\u003c/em> has called him “whimsical,” he makes a point of mentioning. He is a delight.\u003c/p>\n\u003cfigure id=\"attachment_13874647\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874647\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka_credit_RobbieSweeny-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka_credit_RobbieSweeny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka_credit_RobbieSweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka_credit_RobbieSweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka_credit_RobbieSweeny.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">God, the Nigerian Drag Queen, takes the stage in Rotimi Agbabiaka’s Manifesto. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But for a show called\u003cem> Manifesto\u003c/em>, written by a performer known for his affiliations with artistically idealistic organizations such as the San Francisco Mime Troupe, there’s actually very little in the way of politicized content. Even a cameo appearance from God—a pep-talking, Nigerian Drag Queen—and an additional world-weary word of inspiration from James Baldwin glosses over the crux of the dilemma we started with. What is a fair price tag for the life artistic?\u003c/p>\n\u003cp>It’s not at all clear what Agbabiaka’s course of action for the future will be, as he considers the crossroads of conscience and commerce, or how he truly feels about putting the question to the test. For all of his playful vignettes poking fun at the addled agents, vapid influencers, and tone-deaf producers that crowd the industry, there’s no real moment of reckoning: not for them, not for Agbabiaka, and not for us.\u003c/p>\n\u003cp>Only the final monologue, a pithy poem entitled “The Revolution Will Not Be Tweeted,” hints at Agbabiaka’s deeper political inclinations. It’s a brilliant, headline-parsing chant, taking to task our obsessions with celebrity, and wryly noting that “the revolution” will not “give you an endorsement deal.” A postscript, if you will, to this love/hate letter to the actor’s life, with an undercurrent of warning. Which side are you on, Agbabiaka asks his audience with a winning smile. As to determining what side he’s on, the mic drop will have to suffice as a signifier.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Manifesto’ plays through Saturday, Feb. 15, at Brava Theater Center in San Francisco. \u003ca href=\"https://brava.secure.force.com/ticket/#/events/a0S2M00000HJ5K6UAL\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":971,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":17},"modified":1705021312,"excerpt":"A luminary of the Bay Area stage asks the question: To sell out or not to sell out? ","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"A luminary of the Bay Area stage asks the question: To sell out or not to sell out? ","title":"Man vs. Manifesto: Rotimi Agbabiaka Explains it All at Brava Theater Center | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Man vs. Manifesto: Rotimi Agbabiaka Explains it All at Brava Theater Center","datePublished":"2020-02-11T12:00:11-08:00","dateModified":"2024-01-11T17:01:52-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"man-vs-manifesto-rotimi-agbabiaka-explains-it-all-at-brava-theater-center","status":"publish","templateType":"standard","venueName":"Brava Theater Center","featuredImageType":"standard","sticky":false,"startTime":1580976000,"endTime":1581840000,"startTimeString":"Feb. 6-15, 2020","venueAddress":"2781 24th St., San Francisco","eventLink":"https://brava.secure.force.com/ticket/#/events/a0S2M00000HJ5K6UAL","path":"/arts/13874641/man-vs-manifesto-rotimi-agbabiaka-explains-it-all-at-brava-theater-center","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>To sell out or not to sell out? That is the question. Or is it?\u003c/p>\n\u003cp>Did Shakespeare consider himself a hack? Or was he too busy keeping the Lord Chamberlain’s Men afloat with the quality (and quantity) of his playscripts? Did he encounter the strange impulse in his audiences to lionize and then tear down what he had the audacity to be paid for? Did he suffer from that obtuse inclination to feel guilty once he achieved a modicum of financial stability?\u003c/p>\n\u003cp>What does it actually mean to “sell out”—and is that even a relevant concern in a city where market-rate rents far exceed most artists’ capacity to pay them no matter what salary they command?\u003c/p>\n\u003cfigure id=\"attachment_13874645\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874645\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka3_credit_RobbieSweeny-800x499.jpg\" alt=\"\" width=\"800\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka3_credit_RobbieSweeny-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka3_credit_RobbieSweeny-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka3_credit_RobbieSweeny-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka3_credit_RobbieSweeny-1020x636.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka3_credit_RobbieSweeny-1920x1198.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka3_credit_RobbieSweeny.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rotimi Agbabiaka in Manifesto at Brava Theater Center. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s an age-old dilemma, and as such, one cannot expect it to be solved in a scant hour, the approximate length of Rotimi Agbabiaka’s newest solo show, \u003cem>Manifesto\u003c/em>. While the struggle to reconcile the artistic conscience with the hierarchy of needs is real, in Agbabiaka’s hands it somehow becomes \u003cem>fun\u003c/em>. Like a juicy gossip sesh with your “gay best friend,” \u003cem>Manifesto\u003c/em> lets us listen in on Agbabiaka’s questioning internal monologue—along with all of the voices he carries with him, from fame mongers to talk-show hosts, James Baldwin to Beyoncé.\u003c/p>\n\u003cp>With all the \u003cem>bonhomie\u003c/em> of a television personality, Agbabiaka bounds onto the stage to an Afrobeat soundtrack, to bask in audience applause. Serving Nigerian-cool realness, his energy crackles and dominates the room, but in a friendly way. “Wow,” he observes, laughing delightedly. “You have \u003cem>no idea what you’re in for.”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What follows is a series of humorous sketches, gently directed by Edris Cooper-Anifowoshe, skewering the theater “industry” and Agbabiaka’s role in it. He tells us right away that we don’t need “permission” to create. Don’t need to wait by the phone for that “call.” That the call comes in the very next stage moment is the punchline, and we’re whisked off to New York City where he beats out Laverne Cox for a coveted off-Broadway role (last Spring, Agbabiaka was a featured player in Playwrights Horizons’ \u003cem>If Pretty Hurts Ugly Must Be a Muhfucka\u003c/em>). This minor success sets off a rampage of soul-searching for which there are no definitive answers.\u003c/p>\n\u003cfigure id=\"attachment_13874644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874644\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka4_credit_RobbieSweeny-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka4_credit_RobbieSweeny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka4_credit_RobbieSweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka4_credit_RobbieSweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka4_credit_RobbieSweeny.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rotimi Agbabiaka in Manifesto at Brava Theater Center. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Does his accomplishment turn him into one of the aggressively soulless wannabes who jockey for position on that beloved game show, \u003cem>Show Biz Circle Jerk\u003c/em>? How about the fact that he’s considering leaning into his African heritage as a selling point, despite having grown up in Texas?\u003c/p>\n\u003cp>“If you need a Nigerian, I’m your guy,” he tells his fellow contestants. “I’m taking this shit all the way to Hollywood!” On a more quixotic note, he tries to explain to his dryly unimpressed (and hilariously deadpan) father how his vision of theater is one of revolutionary ideas, even as he admits that he won’t do theater in Nigeria since there’s no money in it.\u003c/p>\n\u003cp>“That’s all we want, isn’t it?” expounds game-show Rotimi. “I want that Jay-Z-Beyoncé price! Cause ain’t \u003cem>that\u003c/em> the revolution?”\u003c/p>\n\u003cp>In Agbabiaka’s animated hands, each character is lovingly lampooned, including himself and his contradictory ambitions. With his sheer physical presence, a chair, and the dramatic ambers and aquas of Jenny B./Shady Lady’s lighting design, Agbabiaka fills the room with a wealth of insider buzz and infectious laughter. The \u003cem>New York Times\u003c/em> has called him “whimsical,” he makes a point of mentioning. He is a delight.\u003c/p>\n\u003cfigure id=\"attachment_13874647\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874647\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka_credit_RobbieSweeny-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka_credit_RobbieSweeny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka_credit_RobbieSweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka_credit_RobbieSweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka_credit_RobbieSweeny.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">God, the Nigerian Drag Queen, takes the stage in Rotimi Agbabiaka’s Manifesto. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But for a show called\u003cem> Manifesto\u003c/em>, written by a performer known for his affiliations with artistically idealistic organizations such as the San Francisco Mime Troupe, there’s actually very little in the way of politicized content. Even a cameo appearance from God—a pep-talking, Nigerian Drag Queen—and an additional world-weary word of inspiration from James Baldwin glosses over the crux of the dilemma we started with. What is a fair price tag for the life artistic?\u003c/p>\n\u003cp>It’s not at all clear what Agbabiaka’s course of action for the future will be, as he considers the crossroads of conscience and commerce, or how he truly feels about putting the question to the test. For all of his playful vignettes poking fun at the addled agents, vapid influencers, and tone-deaf producers that crowd the industry, there’s no real moment of reckoning: not for them, not for Agbabiaka, and not for us.\u003c/p>\n\u003cp>Only the final monologue, a pithy poem entitled “The Revolution Will Not Be Tweeted,” hints at Agbabiaka’s deeper political inclinations. It’s a brilliant, headline-parsing chant, taking to task our obsessions with celebrity, and wryly noting that “the revolution” will not “give you an endorsement deal.” A postscript, if you will, to this love/hate letter to the actor’s life, with an undercurrent of warning. Which side are you on, Agbabiaka asks his audience with a winning smile. As to determining what side he’s on, the mic drop will have to suffice as a signifier.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Manifesto’ plays through Saturday, Feb. 15, at Brava Theater Center in San Francisco. \u003ca href=\"https://brava.secure.force.com/ticket/#/events/a0S2M00000HJ5K6UAL\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13874641/man-vs-manifesto-rotimi-agbabiaka-explains-it-all-at-brava-theater-center","authors":["11497"],"programs":["arts_140"],"categories":["arts_967"],"tags":["arts_1118","arts_3087","arts_769","arts_1072"],"featImg":"arts_13874646","label":"arts_140"},"arts_13844783":{"type":"posts","id":"arts_13844783","meta":{"index":"posts_1716263798","site":"arts","id":"13844783","score":null,"sort":[1542744055000]},"parent":0,"labelTerm":{"site":"arts","term":5020},"blocks":[],"publishDate":1542744055,"format":"standard","title":"Barry Jenkins Enjoys Doing Laundry, Talks 'Beale Street'","headTitle":"Barry Jenkins Enjoys Doing Laundry, Talks ‘Beale Street’ | KQED","content":"\u003cp>In October, shortly before my Fairmont Hotel interview with Barry Jenkins, the filmmaker \u003ca href=\"https://twitter.com/barryjenkins/status/1051552969672470528\" rel=\"noopener\" target=\"_blank\">tweeted a photograph\u003c/a> of one clean, pink button down shirt captioned, “A very efficient SF laundry day at the coin op on Bush, real chill laundromat.” \u003c/p>\n\u003cp>It wasn’t the kind of messaging you’d expect to see from the Academy Award-winner (for best screenplay) and director of \u003cem>Moonlight\u003c/em>. The truth is, despite a social media feed that includes trips to film festivals around the world, Jenkins is down to earth. \u003c/p>\n\u003cp>He was in San Francisco to screen his latest film \u003cem>If Beale Street Could Talk\u003c/em>, a love story set in New York City during the 1970s adapted from a James Baldwin novel. I started the interview with the most important—and pressing—question.\u003c/p>\n\u003cp>\u003cstrong>Did anyone recognize you in the laundromat?\u003c/strong>\u003c/p>\n\u003cp>No, no, no. I’m not recognized many places, certainly not laundromats. Unless it’s LA or I’m walking a red carpet. I actually enjoy doing laundry. It’s 90 minutes and you know that you’re making progress, that things are soiled and now they’re cleaned. And it’s always this magnetic, hypnotic sound in laundromats. I just love it.\u003c/p>\n\u003cfigure id=\"attachment_13844787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md.jpg\" alt=\"L to R: Teyonah Parris as Ernestine, KiKi Layne as Tish, and Regina King as Sharon star in Barry Jenkins’ 'If Beale Street Could Talk.'\" width=\"800\" height=\"534\" class=\"size-full wp-image-13844787\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Teyonah Parris as Ernestine, KiKi Layne as Tish, and Regina King as Sharon star in Barry Jenkins’ ‘If Beale Street Could Talk.’ \u003ccite>(Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I was almost late to the movie, stuck on a train, texting my friend and running down the street to get there on time. It was such a contrast to the world inside the movie. You slow down the pace of modern life in \u003cem>If Beale Street Could Talk\u003c/em> from the very first frame.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the last film [\u003cem>Moonlight\u003c/em>], I think the audience should know what they’re in for when they come to these movies that we make. Honestly, the way we ingest images is often at a very rapid clip. Now, you go to the \u003cem>New York Times\u003c/em> or ESPN, and you gotta watch a 15 second spot. Spots used to be 60 seconds. Now we’re telling the same story in less time. We’re used to very rapidly ingesting all these nuggets of information, but there’s no emotion around the nugget. In cinema, especially if you’re going to give me two hours, why does that two hours need to flow at this same pace of this hectic, unnatural experience of everyday life now with all these gadgets that we have? To me, it’s just about what is the tone and feeling of the thing? We’re going to create the space for the tone and the feeling to rebuild themselves.\u003c/p>\n\u003cp>\u003cstrong>Justin Simien recently interviewed you for his podcast \u003ca href=\"https://www.kcrw.com/news-culture/shows/dont-at-me/the-auteur-barry-jenkins\" target=\"_blank\" rel=\"noopener\">Don’t @ Me\u003c/a>. He asked you to choose one favorite film. You came up with three but he held you to your top choice, Wong Kar-wai’s \u003ca href=\"https://bampfa.org/event/mood-love-1\" target=\"_blank\" rel=\"noopener\">\u003cem>In the Mood for Love\u003c/em>\u003c/a>. What were your other two?\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Silent Light\u003c/em> (2007) by Carlos Reygadas, for sure. It’s a story set in this Mennonite community in Mexico, which is very strange. It’s about this idea of the human heart having the capacity to love more than one person despite everything the religion tells him is feasible or possible. The third would’ve been \u003cem>\u003ca href=\"https://www.killerofsheep.com/\" target=\"_blank\" rel=\"noopener\">Killer of Sheep\u003c/a>\u003c/em> (1978) by Charles Burnett.\u003c/p>\n\u003cfigure id=\"attachment_13844788\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md.jpg\" alt=\"Stephan James stars as Fonny in Barry Jenkins’ 'If Beale Street Could Talk.'\" width=\"800\" height=\"400\" class=\"size-full wp-image-13844788\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-520x260.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephan James stars as Fonny in Barry Jenkins’ ‘If Beale Street Could Talk.’ \u003ccite>(Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In \u003ci>Beale Street\u003c/i>, Stephan James plays Fonny Hunt, the male lead who’s arrested for a crime he didn’t commit. James does a remarkable job of showing how Fonny begins to change once he’s incarcerated. What led you to cast him?\u003c/strong>\u003c/p>\n\u003cp>He played Jesse Owens in \u003cem>Race\u003c/em>. He was in the film \u003cem>Selma\u003c/em>, just really wise beyond his years. And the biggest thing with his performance [in \u003cem>Beale Street\u003c/em>] is through glass. There’s literally this barrier between him and Tish [his girlfriend, played by KiKi Layne] and between him and the audience. You need to feel what he’s going through in order to track this de-evolution, this deterioration of his person. Stephan and I talked about what that was like and how it was different than what Chiron [the main character] undergoes in \u003cem>Moonlight\u003c/em>. I’d say the analog for him in \u003cem>Moonlight\u003c/em> is in the third chapter where you’re starting to see the life come back into Chiron’s eyes as he spends this fictive, long day into night with his childhood crush.\u003c/p>\n\u003cp>In \u003cem>Beale Street\u003c/em>, you’re seeing Stephan take the opposite journey, where at the beginning, there’s all this hope and vitality. Fonny and Tish are both naïve in the beginning, where they think, he’ll be in prison a week and then we’ll go home and have our baby. But as the reality sets in, you start to see him drift away from his own dream. It’s a lovely and very nuanced performance.\u003c/p>\n\u003cp>\u003cstrong>In \u003cem>Beale Street\u003c/em> as in \u003cem>Moonlight\u003c/em>, how do you get such sensitive performances from your male actors?\u003c/strong>\u003c/p>\n\u003cp>Part of it is casting. The other part is creating a working environment that feels like a space where the men won’t be judged for revealing this part of themselves. Because I’m sure we all have that within us. It’s just the world teaches us that we’re not allowed to show it, and we’re not allowed to “indulge it,” air quotes. Because it feels like an indulgence to allow ourselves to be vulnerable as men. But the scenario that these characters in these last two films find themselves in are almost hyper-vulnerable. Like hyper-masculinity is a word, this is hyper-vulnerability.\u003c/p>\n\u003cfigure id=\"attachment_13844789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844789\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephan James as Fonny and Brian Tyree Henry as Daniel star in Barry Jenkins’ ‘If Beale Street Could Talk’ (Annapurna Pictures) \u003ccite>(Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But to go back to your question about pacing, the scene of the peak male vulnerability in this film is when Fonny’s [and his] friend, Daniel, played by Brian Tyree Henry, have this random encounter in the street. And then there’s this 15-minute sequence where you slowly start to see this exterior posture start to erode and the reality of this is full of nerve endings, a damaged man rebuilding himself.\u003c/p>\n\u003cp>\u003cstrong>Regina King plays Tish’s mother Sharon. Before she says a word to her daughter in their first scene together, you can tell that Sharon has Tish’s back.\u003c/strong>\u003c/p>\n\u003cp>What I love about that is that’s a scene where they could say everything, but because of the power of their faces—and I’ve watched this movie with so many audiences—and the women in the audience, they know what KiKi is going to say before she says it because they can read it on Regina’s face. To me, when you talk about technique, that is, in my films, I want to say everything in as few words as possible. When you work with somebody like Regina King, the words are fine, but it’s all there on the face.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>This interview is part of the KQED Film Hub Newsletter. \u003ca href=\"http://eepurl.com/dqfPBv\" rel=\"noopener\" target=\"_blank\">Click here to subscribe now\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>‘If Beale Street Could Talk’ opens in San Francisco on Tuesday, December 25.\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1276,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":22},"modified":1705026994,"excerpt":"The Academy Award-winner and director of 'Moonlight' shares his stance on slowing down time—both in his films and everyday life. ","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"The Academy Award-winner and director of 'Moonlight' shares his stance on slowing down time—both in his films and everyday life. ","title":"Barry Jenkins Enjoys Doing Laundry, Talks 'Beale Street' | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Barry Jenkins Enjoys Doing Laundry, Talks 'Beale Street'","datePublished":"2018-11-20T12:00:55-08:00","dateModified":"2024-01-11T18:36:34-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"barry-jenkins-enjoys-doing-laundry-talks-beale-street","status":"publish","sticky":false,"path":"/arts/13844783/barry-jenkins-enjoys-doing-laundry-talks-beale-street","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In October, shortly before my Fairmont Hotel interview with Barry Jenkins, the filmmaker \u003ca href=\"https://twitter.com/barryjenkins/status/1051552969672470528\" rel=\"noopener\" target=\"_blank\">tweeted a photograph\u003c/a> of one clean, pink button down shirt captioned, “A very efficient SF laundry day at the coin op on Bush, real chill laundromat.” \u003c/p>\n\u003cp>It wasn’t the kind of messaging you’d expect to see from the Academy Award-winner (for best screenplay) and director of \u003cem>Moonlight\u003c/em>. The truth is, despite a social media feed that includes trips to film festivals around the world, Jenkins is down to earth. \u003c/p>\n\u003cp>He was in San Francisco to screen his latest film \u003cem>If Beale Street Could Talk\u003c/em>, a love story set in New York City during the 1970s adapted from a James Baldwin novel. I started the interview with the most important—and pressing—question.\u003c/p>\n\u003cp>\u003cstrong>Did anyone recognize you in the laundromat?\u003c/strong>\u003c/p>\n\u003cp>No, no, no. I’m not recognized many places, certainly not laundromats. Unless it’s LA or I’m walking a red carpet. I actually enjoy doing laundry. It’s 90 minutes and you know that you’re making progress, that things are soiled and now they’re cleaned. And it’s always this magnetic, hypnotic sound in laundromats. I just love it.\u003c/p>\n\u003cfigure id=\"attachment_13844787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md.jpg\" alt=\"L to R: Teyonah Parris as Ernestine, KiKi Layne as Tish, and Regina King as Sharon star in Barry Jenkins’ 'If Beale Street Could Talk.'\" width=\"800\" height=\"534\" class=\"size-full wp-image-13844787\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Teyonah Parris as Ernestine, KiKi Layne as Tish, and Regina King as Sharon star in Barry Jenkins’ ‘If Beale Street Could Talk.’ \u003ccite>(Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I was almost late to the movie, stuck on a train, texting my friend and running down the street to get there on time. It was such a contrast to the world inside the movie. You slow down the pace of modern life in \u003cem>If Beale Street Could Talk\u003c/em> from the very first frame.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the last film [\u003cem>Moonlight\u003c/em>], I think the audience should know what they’re in for when they come to these movies that we make. Honestly, the way we ingest images is often at a very rapid clip. Now, you go to the \u003cem>New York Times\u003c/em> or ESPN, and you gotta watch a 15 second spot. Spots used to be 60 seconds. Now we’re telling the same story in less time. We’re used to very rapidly ingesting all these nuggets of information, but there’s no emotion around the nugget. In cinema, especially if you’re going to give me two hours, why does that two hours need to flow at this same pace of this hectic, unnatural experience of everyday life now with all these gadgets that we have? To me, it’s just about what is the tone and feeling of the thing? We’re going to create the space for the tone and the feeling to rebuild themselves.\u003c/p>\n\u003cp>\u003cstrong>Justin Simien recently interviewed you for his podcast \u003ca href=\"https://www.kcrw.com/news-culture/shows/dont-at-me/the-auteur-barry-jenkins\" target=\"_blank\" rel=\"noopener\">Don’t @ Me\u003c/a>. He asked you to choose one favorite film. You came up with three but he held you to your top choice, Wong Kar-wai’s \u003ca href=\"https://bampfa.org/event/mood-love-1\" target=\"_blank\" rel=\"noopener\">\u003cem>In the Mood for Love\u003c/em>\u003c/a>. What were your other two?\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Silent Light\u003c/em> (2007) by Carlos Reygadas, for sure. It’s a story set in this Mennonite community in Mexico, which is very strange. It’s about this idea of the human heart having the capacity to love more than one person despite everything the religion tells him is feasible or possible. The third would’ve been \u003cem>\u003ca href=\"https://www.killerofsheep.com/\" target=\"_blank\" rel=\"noopener\">Killer of Sheep\u003c/a>\u003c/em> (1978) by Charles Burnett.\u003c/p>\n\u003cfigure id=\"attachment_13844788\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md.jpg\" alt=\"Stephan James stars as Fonny in Barry Jenkins’ 'If Beale Street Could Talk.'\" width=\"800\" height=\"400\" class=\"size-full wp-image-13844788\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-520x260.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephan James stars as Fonny in Barry Jenkins’ ‘If Beale Street Could Talk.’ \u003ccite>(Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In \u003ci>Beale Street\u003c/i>, Stephan James plays Fonny Hunt, the male lead who’s arrested for a crime he didn’t commit. James does a remarkable job of showing how Fonny begins to change once he’s incarcerated. What led you to cast him?\u003c/strong>\u003c/p>\n\u003cp>He played Jesse Owens in \u003cem>Race\u003c/em>. He was in the film \u003cem>Selma\u003c/em>, just really wise beyond his years. And the biggest thing with his performance [in \u003cem>Beale Street\u003c/em>] is through glass. There’s literally this barrier between him and Tish [his girlfriend, played by KiKi Layne] and between him and the audience. You need to feel what he’s going through in order to track this de-evolution, this deterioration of his person. Stephan and I talked about what that was like and how it was different than what Chiron [the main character] undergoes in \u003cem>Moonlight\u003c/em>. I’d say the analog for him in \u003cem>Moonlight\u003c/em> is in the third chapter where you’re starting to see the life come back into Chiron’s eyes as he spends this fictive, long day into night with his childhood crush.\u003c/p>\n\u003cp>In \u003cem>Beale Street\u003c/em>, you’re seeing Stephan take the opposite journey, where at the beginning, there’s all this hope and vitality. Fonny and Tish are both naïve in the beginning, where they think, he’ll be in prison a week and then we’ll go home and have our baby. But as the reality sets in, you start to see him drift away from his own dream. It’s a lovely and very nuanced performance.\u003c/p>\n\u003cp>\u003cstrong>In \u003cem>Beale Street\u003c/em> as in \u003cem>Moonlight\u003c/em>, how do you get such sensitive performances from your male actors?\u003c/strong>\u003c/p>\n\u003cp>Part of it is casting. The other part is creating a working environment that feels like a space where the men won’t be judged for revealing this part of themselves. Because I’m sure we all have that within us. It’s just the world teaches us that we’re not allowed to show it, and we’re not allowed to “indulge it,” air quotes. Because it feels like an indulgence to allow ourselves to be vulnerable as men. But the scenario that these characters in these last two films find themselves in are almost hyper-vulnerable. Like hyper-masculinity is a word, this is hyper-vulnerability.\u003c/p>\n\u003cfigure id=\"attachment_13844789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844789\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephan James as Fonny and Brian Tyree Henry as Daniel star in Barry Jenkins’ ‘If Beale Street Could Talk’ (Annapurna Pictures) \u003ccite>(Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But to go back to your question about pacing, the scene of the peak male vulnerability in this film is when Fonny’s [and his] friend, Daniel, played by Brian Tyree Henry, have this random encounter in the street. And then there’s this 15-minute sequence where you slowly start to see this exterior posture start to erode and the reality of this is full of nerve endings, a damaged man rebuilding himself.\u003c/p>\n\u003cp>\u003cstrong>Regina King plays Tish’s mother Sharon. Before she says a word to her daughter in their first scene together, you can tell that Sharon has Tish’s back.\u003c/strong>\u003c/p>\n\u003cp>What I love about that is that’s a scene where they could say everything, but because of the power of their faces—and I’ve watched this movie with so many audiences—and the women in the audience, they know what KiKi is going to say before she says it because they can read it on Regina’s face. To me, when you talk about technique, that is, in my films, I want to say everything in as few words as possible. When you work with somebody like Regina King, the words are fine, but it’s all there on the face.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>This interview is part of the KQED Film Hub Newsletter. \u003ca href=\"http://eepurl.com/dqfPBv\" rel=\"noopener\" target=\"_blank\">Click here to subscribe now\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>‘If Beale Street Could Talk’ opens in San Francisco on Tuesday, December 25.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13844783/barry-jenkins-enjoys-doing-laundry-talks-beale-street","authors":["42"],"series":["arts_5020"],"categories":["arts_74"],"tags":["arts_977","arts_3087","arts_3465","arts_596","arts_989"],"featImg":"arts_13845265","label":"arts_5020"},"arts_13819955":{"type":"posts","id":"arts_13819955","meta":{"index":"posts_1716263798","site":"arts","id":"13819955","score":null,"sort":[1516846630000]},"parent":0,"labelTerm":{"site":"arts","term":140},"blocks":[],"publishDate":1516846630,"format":"standard","title":"Stew Develops a Show Based on the Ideas of James Baldwin","headTitle":"Stew Develops a Show Based on the Ideas of James Baldwin | KQED","content":"\u003cp>Stew (born Mark Stewart) is one of the quirkiest and most compelling singer-songwriters around. He scored with the breakout musical memoir \u003cem>Passing Strange, \u003c/em>which had its world premiere at Berkeley Rep in 2006. That show’s humor and mix of rock ‘n’ roll, soul and confessional folk remains a vivid memory, and went on to win a Tony in New York. Stew’s latest work, with his band The Negro Problem, is \u003cem>Notes of a Native Song\u003c/em>, a tribute to the work and thinking of writer James Baldwin. It’s a special blend of truth-telling art and activism that’s right in line with Baldwin’s legacy. It runs Feb. 2 and 3 in Bing Hall at Stanford University; \u003ca href=\"http://www.stanfordlivetickets.org/single/eventDetail.aspx?p=8072\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j9QPk9YQ05E\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":141,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":3},"modified":1705028699,"excerpt":"Stew makes a musical tribute to the life and ideas of the radical black essayist and novelist.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Stew makes a musical tribute to the life and ideas of the radical black essayist and novelist.","title":"Stew Develops a Show Based on the Ideas of James Baldwin | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Stew Develops a Show Based on the Ideas of James Baldwin","datePublished":"2018-01-24T18:17:10-08:00","dateModified":"2024-01-11T19:04:59-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"stew-develops-a-show-based-on-the-ideas-of-james-baldwin","status":"publish","sticky":false,"path":"/arts/13819955/stew-develops-a-show-based-on-the-ideas-of-james-baldwin","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stew (born Mark Stewart) is one of the quirkiest and most compelling singer-songwriters around. He scored with the breakout musical memoir \u003cem>Passing Strange, \u003c/em>which had its world premiere at Berkeley Rep in 2006. That show’s humor and mix of rock ‘n’ roll, soul and confessional folk remains a vivid memory, and went on to win a Tony in New York. Stew’s latest work, with his band The Negro Problem, is \u003cem>Notes of a Native Song\u003c/em>, a tribute to the work and thinking of writer James Baldwin. It’s a special blend of truth-telling art and activism that’s right in line with Baldwin’s legacy. It runs Feb. 2 and 3 in Bing Hall at Stanford University; \u003ca href=\"http://www.stanfordlivetickets.org/single/eventDetail.aspx?p=8072\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>.\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/j9QPk9YQ05E'\n title='//www.youtube.com/embed/j9QPk9YQ05E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13819955/stew-develops-a-show-based-on-the-ideas-of-james-baldwin","authors":["32"],"programs":["arts_140"],"categories":["arts_835","arts_69","arts_967"],"tags":["arts_2308","arts_1006","arts_3087","arts_596","arts_2309"],"featImg":"arts_13819967","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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You ask the questions. You decide what Bay Curious investigates. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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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. 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