S1: It's time for Midday Edition on KPBS for today's arts and Culture show , a practice that empowers communities to trace their lineage , plus a celebration of noir films and your weekend preview. I'm Jade Hindman with conversations that keep you informed , inspired , and engaged. In how memory work helps people learn about themselves and the world around them.
S2: It's the labor of looking back in order to understand your present and have more direction in how to move into your future.
S1: Then we'll talk about the ways noir movies are being celebrated in San Diego this month and your weekend preview. That's ahead on Midday Edition. Have you ever thought about the stories that make you who you are ? The practice of memory work empowers communities to trace their lineage , learning about themselves and the world around them. That's the focus of Natalia Ventura's work. She is the resident artist at the San Diego Maid Factory , a creative event space serving low income communities. Ventura sat down with Midday Edition producer Andrew Bracken to talk about what memory work means to her. Here's that conversation.
S3: So before we dig into your personal work , I want to talk about this idea of memory work. Can you can you define that for us ? Yeah.
S2: So the definition that I like to use is it's the labor of looking back in order to understand your present and have more direction and how to move into your future. So it's all about learning the stories of your family , of your community , where you come from , your lineage. And that's a process of sort of grasping onto the remnants that you have or the the things that have been passed on to you in this present moment to really understand the context of where you come from , searching for wisdom , searching for the roots of where you come from , basically to understand the context of where you are now and that wisdom helping you move forward into the future that you want to build.
S3:
S2: We have archivists , historians , people working in museums. For me , as an artist , that looks like using passed down family objects to dig into my family's stories , and I use these objects to create sculptures and other multimedia pieces that really tell the story of my internal experiences and my identity in this current context. And I also it's like a manipulation of materials that have been passed down to me. And with that , I can rebuild , rebuild what I've been given and use it to create something new and sort of bring to life my visions for the future that I dream of , for myself and for my community.
S3: And in this work you call the act of remembering a radical act.
S2: And so to dig into your own past in a way that really your understanding where your ancestors played a role in that , whether they were like on whichever side of history. I think that's a radical act , because what you're really doing is searching for truth and creating a different narrative than the one that is dominant , the one that we're taught. And it rewrites history in a way that is rooted in truth. And that's not something that we're really trained to do. And so that's why I consider it radical , because we we are rewriting history , and we're telling a story that is more authentic to us in a way that deconstructs norms and is taking a new direction for the future.
S3:
S2: And she's in like , late stage dementia. And it's like a unique experience to take care of someone who took care of you as a child. And I just feel such a strong connection to sort of the matriarchal lineage on my mom's side of the family , because my great grandmother passed away the day after I was born. Um , and I wanted to tell this story of the way that we take care of her and just the , like , matriarchal care and love that has been passed down through all the women in my family. And so I documented our process of how we take care of her. And I made sure to use a lot of objects that we have inherited from her side of the family. So we have these , like big portraits of my great grandfather and great grandmother. And I have shots in the documentary that where she's sitting below them and sort of showing this ancestral lineage imagery as being like a foundational part of where I am now and the love that I've been taught to give to my family.
S3: Well , and as you describe there , I mean , even your grandmother suffering from dementia , I mean , that plays a role into this project. I imagine just the importance of memory and capturing that across generations , you know ? Absolutely.
S2: Because it's often when our elders are at that age where they're forgetting things that we realize. There's so much I haven't learned from them. There's so many stories that I never heard. And it's usually in those , like late moments that we start to think about memory and passing on you know , our roots and it's it can be too late at that point sometimes. Um , so that's why I , I'm so passionate about this work and , like , empowering myself and others to begin to do memory work in their lives , um , with the elders that are still with us. But there's also like a process of tapping into , um , the elders that have passed on. And our ancestors and I really , like , operate in a way that's I believe that my ancestors are guiding me through life and are , like , present around me. Um , and I can communicate with them even if it's not like a tangible process.
S3:
S2: Um , where I do try to communicate with my ancestors , you know , even just out loud in conversation. Um , through meditation. Um , in those kind of quiet , solitary moments. And sometimes there's just synchronicities that can happen or messages that are received that I feel are sort of this like higher knowledge being passed on to me. And when I'm like working on a piece , there's often like a story that I want to tell. And I , I moved through that , like my process is very like , I , I feel like I receive the things that I need in order to create the final piece. And I often don't know what those things are. Um , but they become evident throughout the process. And sometimes it's really like a message that I can receive , like in a dream or a conversation that I have with someone where I really feel like something else was speaking through them and things like this.
S3: And I imagine doing this work can be , you know , emotionally draining.
S2: And I think that's why it's also considered a radical act. You know , in more indigenous communities or times before colonization or communities that have , you know , not been touched by colonization. Emotion is often what rules decision making in a community. And we completely don't operate that way anymore. And so even just the process of tapping into emotion , opening up to listening to stories or learning stories that maybe are really difficult to grapple with. There's so much grief sometimes that we suppress when it comes to thinking about our lineage and our ancestors. And so there is so much emotion that can come up through that process. But part of the memory work , I think , is also being in community with others and holding each other up through those emotional points. For example , like on my dad's side of the family , they're coming from Cuba , and there's so much political violence that they experienced that was never really addressed. And what happens then is that pain doesn't go away , it just gets suppressed and it gets passed on. And , you know , we talk about generational trauma and things like this. And it's the silence that allows that trauma to pass on. When I was like reaching my 20s , I realized that I completely , like , had lost connection with my Cuban identity. And growing up here in San Diego and being a border crosser , I was very in tune with like my identity as a Mexican woman and a border crosser. Um , and I pretty much would just tell people that I was Mexican and I would ignore the fact that I was Cuban because.
S3: It's much easier , probably for.
S2: You it was easier. And I like , after a certain age , like my grandparents got divorced and I , I lost like a space to experience my Cuban heritage. And that divorce is also like a result of the trauma. And , and I started to realize like that I had felt this disconnect. So then I started asking questions of my father and my grandparents about Cuba , like they never told me in my childhood , other than maybe the positive things like the food , the culture , the music. They never told me stories really , of like life in Cuba. And I started to ask questions about why we left and how we left. Like , what did my grandpa have to endure in order to , like , get asylum ? And and I start finding out all these stories that I never knew about my grandfather being a political prisoner and being in labor camps , and all this suffering that he experienced as a result of political violence. And it started to click for me that like , there's this silence and there's this generational trauma that has caused me to become disconnected from my culture.
S3: I mean , I think what you just shared , though , about , you know , about your grandfather's experience and this generational trauma , a lot of times , maybe our elders are hesitant to talk to us about , you know , the past , right ? Do you have any , I don't know , suggestions or tips for folks who may want to explore these conversations ? Because I think this is , you know , what you kind of tapped into. This is really elemental , important conversations.
S2: And sometimes you have to ask the questions multiple times to really get to the answer. And it's also about really listening so carefully , because these things are often communicated in metaphor and symbolism. And when I hear the story , when I hear my grandfather tell me a story , like I look at his body language and I , I look at the way that he tells the story , the progression , because it can jump from like , chronologically , like moments in time , like the way we remember things , you know ? Right. So you really have to start to develop this new language of like how to understand and piece apart the things that you are told. Like what B , what lies beyond the things that you've been told and it becomes kind of this language that's very metaphorical and like it becomes poetic because there is just symbolism. And it's not always like a flat out. This is what happened to me. So it's inherently like a poetic , creative thing. So making art out of it is just so natural to me , because it's actually how I'm able to tell the story more fully in a way that reflects my inner world and my inner consciousness around the story.
S3: I mean , you're right , because it does seem like it's always not necessarily about the exact details of a particular memory , but about the emotions behind it and what what that's come to mean for your grandfather in this case , right.
S2: Yeah , absolutely.
S3: So you're hosting a workshop at the San Diego Made Factory tonight. It's free and open to the public. What should people expect to learn about. Yes.
S2: Yes. So tonight we'll be having a panel discussion event with myself and three other creative artist memory workers here in San Diego. And we're going to be digging deeper into these questions. I'll be asking them about their own process , their own lineages , how they came to become memory workers , what called to them to do that type of work and how they're doing it in community , and how we can continue to do this work in community. Um , and sort of like just showing people what that process is like on an inner scale as well as like a communal scale , and how you can start to do memory work in your own life.
S3:
S2: It's it's how we combat erasure on a larger scale. It's how we can tell our own stories and build communities that are empowered within themselves , within their own story. And I truly think it can be. It's like a really important part of , of strengthening just an individual's sense of self in a way that can lead to a fuller life.
S1: That was artist Natalia Ventura speaking with Midday Edition producer Andrew Bracken. Coming up , if you don't know what film noir is , here's an easy test.
S4: You can tell it's film noir when the main protagonist gets screwed over in the first five minutes , and it goes downhill from there.
S1: Hear more when KPBS Midday Edition returns. You're listening to KPBS Midday Edition. I'm Jade Hindman. You might have seen a war movie or two with its gritty detective characters in seedy settings , while lovers of the genre will actually be celebrating it all month. KPBS Cinema Junkie Beth Accomando is putting together a Friday night film series called November Nights. The films will be introduced by Alan Kay Rody of the Film Noir Foundation. She spoke with Brody about the foundation's work and why noir still resonates with audiences today.
S5: We wouldn't be celebrating film noir if the Foundation wasn't out there rescuing films , so give us a little background on the foundation and kind of its mission and the work it does.
S4: Well , the foundation started really around Eddie Muller's kitchen table. It started with the Noir City Festival , and it started with the Arthur Lyons Festival. There were a few film noir festivals back in the late 90s , and those were the days where you had people there like Turin Bay and Evelyn Keyes. You still had people that were in these movies in the 1940s who were still around and vital , and it was great to have them as guests. But at any rate , we found that we couldn't get prints. And this was still in the days where we were. Everything was 35 millimeter prints , and we couldn't get prints to show at these festivals , they weren't available. So we started the 500 onesie. Eddie began it as the president , and I was one of the original directors or board members , and we initially funded a couple 35 millimeter prints. I believe the first two pictures were Nobody Lives Forever with John Garfield and The Window. You know , we had to wrap our mind around , you know , here we are , a grassroots nonprofit funding Warner Brothers to make prints so we could pay them every time we showed a print that we funded. But it was either that or nothing at that point. And we have funded about 15 different prints. And then we got into the restoration business with Cry Danger , The Prowler. Try and get me , uh , other restorations. And we have restored 15 full restorations. And by doing this , we've formed some long term partnerships with the UCLA Film and Television Archive. Who's been our main engine of restoration ? And also Flicker Alley , because we've found by restoring films that we can clear the rights to. We can then put them out on Blu ray. So we've been able to make these films available. Plus we've been able to produce our own special features and documentaries , of which you both played a major part in for El Vampiro Negro. So it's been a win win for film preservation , for keeping as the motto of the foundation restoring , rescuing America's noir heritage. Film noir into my mind is not a genre , it's a style. It's a look. It's it's it's kind of like beauty. It's in the eye of the beholder. It's a style that was a commingling Of hard boiled riders , émigré directors , post-World War Two , neorealism , whatever and everyone's got. Many people have their own take on what is film noir and what isn't , and so on and so forth , and the difference between a crime film and a bad guy. And I always liked the late Arthur Lyon said. You can tell it's film noir when the main protagonist gets screwed over in the first five minutes and it goes downhill from there.
S5: What is it about noir , though , that gives it this kind of longevity ? It is something that people today watch , and it doesn't feel as dated as some other films , and it really does. I mean , I show noir a lot here in San Diego and it really connects with people.
S4: One could argue not for the better , depending on one's age or point of view. But as humans , as people were pretty much the same. And the thing about noir , it deals with human beings caught in situations and how they react to different situations and the things that drive people. I mean , one indicator of film noir has always been where you have two essentially legitimate people , or a protagonist that know that they're doing the wrong thing , but for whatever reasons , they do it anyway. And what are the reasons that these things happen ? Greed , lust , larceny , trying to maintain someone's reputation , all of those things. So I think the basic premise of so many of these stories where the line between good and bad evil , a code of conduct that may not necessarily be out of the California Penal Code , for instance , but the people can identify with. And I think that's what makes film noir kind of timeless , because it's about human beings in bad situations , either through their own creation or by happenstance and how they have to deal with that. And I think that really hasn't changed that much. And I think that's what people identify with.
S5: Well , another aspect of noir that I think keeps it contemporary is the female characters. They tend to be a lot stronger and a lot sassier and just kind of operating in a male world better than in a lot of other films. And we are in the middle of this November night series that I'm running at Cinema Under the Stars , and that you are introducing and our next film has a very strong female character of and Sheridan in Woman on the run.
S6: Where's your husband , Mrs. Johnson ? I don't know. Did he see the killer ? I don't know.
S5:
S4: Well , the noir quality and this is that you have a woman who's separated from her husband but still loves them. Kind of , sort of. And she's basically living on her own with a dog. And I should mention that the dog plays a key supporting role , but she's on her own. She came from humble circumstances. Her character did , and she's not ready to take any crap from policemen or people , but she's trying to find out where's her husband because he's involved in a murder.
S7: I'm helping.
S6:
S7: Go ahead.
S6: Ask where does he generally go when he's not at home ? I haven't.
S7: The faintest. Idea.
S6: Idea. Has he any relatives in this area ? No. We're his friends.
S7: I don't know his friends. The dog is our only mutual friend.
S6: Do you always go to sleep when he walks the dog ? No.
S7: Sometimes he goes to sleep and I walk the dog.
S4: But it's a it's just a slam bang. Great movie. And. And Sheridan carries the movie. Not just because she's a movie star , but because her character is so authentic and so real.
S5: And one of the other films we're showing , which proves how kind of international noir is , is El Vampiro Negro , which again has very strong female characters. This is a remake of Fritz Lang's M.
UU: It is. Spectacular production de Argentina sono film es una obra de.
S8: Maxima tension in de las retinas y Los corazones desde el Argentina para el mundo.
S5: Again , this gives us women in very strong roles and with like , really well-developed , complex characters. Yeah.
S4: Yeah. And and I always thought that the stereotypical description of women in these film noir movies as , quote , the femme fatale , as if she's a female black widow spider waiting for the male to mate with her so she can eat him afterwards. You know , it's so misplaced because I think to your point earlier , these are women in a real male dominated world. Let's face it , this is the 40s and 50s. And for El Vampiro Negro , the female character in that she's looked down upon as kind of what they used to call a baby girl or a nightclub girl , which is one step above being a prostitute. And she's a single mom , so she's a single mom left with a kid and she's doing what she has to do to take care of her kid and to take care of herself. And to my mind , she's really the heroine of this movie. And then you have a police inspector whose wife is in a wheelchair , and he's devoted to his wife , and she seems to be a very saintly , wonderful woman. But he's frustrated because he cannot have a full , you know , relationship with his wife to , to put it delicately. And so he has a sense of duty , but he also has those human instincts that I talked about earlier , also driving him. And then you have the character that is playing the what I would call the Peter lorry part , and this is someone else who is a tormented soul because he's he's compelled to do what he does. But he he loathes himself , and he loathes that he's being compelled to do this. And so what you have is a great film. The third version , the unknown in America , a third version of em that is absolutely a compelling and terrific film.
S5: Well , another interesting thing that has come out more recently about this film for me was I worked on this Stripper Energy podcast about our lay girls theater and Korda Pierce Morgan , and in El Vampiro Negro , she is a cabaret singer and dancer. And there are moments when the cops come to interview her , and the way those scenes play out feel very similar to what kata discussed about , like these nude interrogations that the cops would , you know , do. And , and this power dynamic that was going on. And in El Vampiro Negro , that scene is one of the best in it , where she gets interrogated and she tries to kind of like flip the script on the cop and try to make him feel embarrassed for , you know , coming and interviewing her in her dressing.
S4: Room that she doesn't she doesn't. Even though she's terrified and intimidated , she doesn't let him run her over , so to speak. And by the way , your , uh , documentary series on L.A. girls not only was terrific and showed a time , and it showed a time in San Diego of real abuse by by certain members of law enforcement , uh , and the vice squad of the San Diego , San Diego Police Department. It was it was very insightful. And I think your comparison between that particular scene in El Vampiro Negro and what the cabaret dancers at LA girls back in the early and mid 70s were subjected to. It's it's there's a lot of parallels there.
S5: The last film in the series that we're doing is rather unique , because repeat performance has kind of I don't know if I'd call it a supernatural element , but it does have a quality that you don't often find in a classic film noir.
S4: That's true. In fact , a repeat performance has been compared to a extended episode either of Twilight Zone or Alfred Hitchcock Presents.
S9: People do live things over. Haven't you ever entered a strange room with him and felt that you'd been there before ? You knew it was impossible , yet everything in the room look familiar ? Hasn't it ever happened to you ? William. William.
UU: William.
S6: William is gone. He was there just a moment ago. But in that moment , time stopped for Sheila. Time ran backwards. She made a wish. A tragic one at a magic time. When the new year was beginning. And now that wish is coming true. She's going to live the old year all over again.
S4: And it's basically the most of the film is a flashback from from one year to another. I don't think we're giving anything away , but this was another film that we restored , and we funded the restoration by UCLA in conjunction with David Packer's Humanities Institute. We really needed a new print of this film. And in addition to Joan Leslie , you have Lewis Hayward and you have Richard Bossert in his film debut , and it's really a compelling film. It's the best. It's really a holiday film for film noir. It's a good film noir to show around Christmas. And this was this was the initial production of Eagle Lion Films , which on the Blu ray disc for repeat performance , there's a documentary about the history of Eagle Lion , and this was there. They were going to try to make major films , and this was their first effort. What Eagle Lion was forced to do was to sign , you know , Lewis Heyward and Joan Leslie were were were terrific actors and they were movie stars , but they were second tier stars. They were not , you know , Ava Gardner and Clark Gable and so on and so forth , and Ida Lupino and stars like that. But it's it's a very , very entertaining , interesting film. And I think , I think your audience is really going to appreciate it.
S5: All right. Well , I want to thank you very much for helping us make a more festive November here in San Diego with all these films. And thanks for all your work with the Noir Foundation.
S4: Well , Beth , I thank you for all your work with San Diego Film Geeks and KPBS and all the support you've given the Film Noir Foundation and my endeavors over the years. And , um , this is like , akin to Claude Rains and Humphrey Bogart walking off the soundstage arm in arm at the end of Casablanca. So thank you very much for having me , Louis.
S6: I think this is the beginning of a beautiful friendship.
S1: That was Allen K Brody of the Film Noir Foundation , speaking with KPBS Cinema Junkie Beth Accomando. November Nights runs through the next three Fridays at 8 p.m. at Cinema Under the Stars in Mission Hills. Still to come , we'll tell you all about the cultural events and art exhibits you can find this weekend , including an adorable play about trash pandas.
S10: It's about a group of three raccoons who are kind of mischievous , and they're tasked with taking care of a campsite , and so they start to play around and create things out of the objects in the trash.
S1: KPBS Midday Edition returns after the break. You're listening to KPBS Midday Edition. I'm Jade Hindman. This weekend in the arts , we have a wide range of ways to get your culture fix , even including an option for preschoolers. Joining me with all the details is KPBS arts reporter Julia Dixon Evans. Julia , welcome.
S10: Hey , Jade. Thanks for having me , as always.
S1: It's a pleasure. So first up , we have two very different plays , and a single cast is actually tackling them both in moxie theatres are dear dead little women.
S10: Right ? It sounds like it might be one of those zombie versions , like of classic literature , but it's actually not. It's two other ways faithful productions of two plays. One of them is the Broadway musical version of Louisa may Alcott's Little Women , and the other is Alexis Shears , Our Dear Dead Drug Lord , which is a comedy thriller kind of a ghost story about a group of high school girls. And the unique thing here is that moxie is producing these in rep. So a single cast is taking on both productions , alternating nights on the same stage. So not only does the cast have to switch gears each night and play totally different roles , but the stagehands and the tech team , they also have to swap out the whole set , and you can get two show passes to get the full experience , and it kind of would be nice to follow this group of four actors taking on each of the leads of each play. Like , I can imagine that someone's performance is one of the little women would influence how I see them doing this character in our dear dead drug lord. So that's totally fascinating to me. And it'll be on stage at moxie , which is in Rolando until December 8th.
S1: All right. Well , next we have some classical music from the San Diego Symphony.
S10: It's often just called the New World Symphony. And this is such an impressive piece of music and was actually composed while he was living in the United States. And it's inspired by African American spirituals. And they're also playing a piece of music by contemporary composer Thomas Adams. It's a violin concerto called Concentric Paths , and this is a really mesmerizing piece of music , a lot of artistry , showing off what the violin can do. And they'll do a foxtrot inspired piece by American composer John Adams. This is all this weekend at Jacobs Music Center Saturday night and Sunday afternoon.
S1: All right , well , next up , some literature. There's a group reading at the Book Catapult on Saturday night.
S10: It's a reading series that's been going on. This is their seventh installment , and I love this event because it's kind of a celebration of small presses , and the sort of inventive work that doesn't necessarily always get published by the big five publishing houses. They're kind of following that trend cycle of what sells. And so this is really nice to see the creative things that writers can come up with. And the readers this weekend are Jack gems , who is the author of the book Empty Theater. And one of my favorite literary horror reads called The Grip of It. And she's also a professor of literature at UC San Diego. Also reading is D.T. Robbins , who wrote Birds Aren't Real. Lexie Kent Manning , author of The Burden of Joy , and then Manuel Paul Lopez , who is a poet and author of nerve ! Curriculum , among other collections. He's also edited a bunch of anthologies from City Works Press and teaches at San Diego City College. So this is a free event. It's a really great chance to have a bunch of good writers read a short excerpt or a standalone story or some poems. It's Saturday night at seven at the Book Catapult in South Park.
S1: All right. Sounds like a lot of fun. Okay , this next one sounds fun as well. The Vitamin String Quartet is known as the crossover ensemble that arranged some of the pop songs for the Netflix show Bridgerton.
S10: This is their arrangement of Ariana Grande's Thank U , next that was featured in the show.
S1: Very classy. Very classy. Well , City Ballet is wrapping up their two week run of Dracula this Saturday in Escondido. Tell us about this ballet.
S10: Yeah , this is by the company choreographer , Jeff Gonzalez. It's his adaptation of Bram Stoker's Dracula into a ballet using music by Franz List. And there's a twist. It portrays Dracula as a woman , the Countess Dracula , and follows the women that she prays upon and to round out the evening. They're also going to perform some Balanchine work and choreography by Anabel Lopez Ochoa. This is 8:00 Saturday night at California Center for the Arts , Escondido.
S1:
S10: But she uses ancient methods like egg tempera. And also that day is an open studio for Michelle Mountjoy. She is in doing her artist residency in the cooler room there , and she'll be showing off some of what she's been working on , like textile installation stuff. Um , and this is all in the middle of the day. You don't have to stay up late. It's 10 a.m. to 3 p.m. on Saturday , and it's free , and both artists will be there to say hello.
S1: That's my kind of timing there. Uh , in Oceanside , the annual Valley Arts Festival takes place on Saturday.
S10: And this is the fourth year that they've done this event. It's free , it's family friendly. They have live music , storytelling , drumming and dancing. And this year they're introducing some dancing demonstrations you can participate in. There's a community mural that you can add to and then a bunch of activities like rock painting. There's a model of a traditional home structure and Native American artists gift market and plenty more. And it's all at Heritage Park in Oceanside from 11 to 4 on Saturday.
S1: And there's something for the kids that sounds a little silly. A play called Trash Pandemonium.
S10: This is a collaboration between San Diego Junior Theater and then local theater company Blindspot Collective. Blindspot does a lot of like , boundary pushing , emerging theater works. Um , they have collaborated on the Washed Ashore project. That was when the that giant puppet Little Amal came to San Diego. They've done Without Walls Productions as well , and this is a project , though that's specifically geared towards little kids like preschool through second grade. And of course all ages are welcome. The runtime is only 35 minutes again for that little kid age attention span. And it's about a group of three raccoons who are kind of mischievous and they're tasked with taking care of a campsite. And so they start to play around and create things out of the objects and the trash that's left behind. So it touches on themes of creativity and also taking care of of the planet. And it's on stage this weekend at Casa del Prado Theater , Balboa Park. There's three morning shows Saturday at 1130 and then Sunday morning at ten and 1130.
S1: Before we go , let's take a look at our live music choices this weekend.
S10: The last music that they had released was in 2021. It was their full length , cure for love , which was a really great album. It was in-your-face and powerful , and this is their new single. It's called Duke Ellington Bridge.
UU: That this is sniper R , it's gonna love.
S10: And they're playing Whistle Stop tonight with local punk band witness. And on Sunday , Northern Californian Basie Vibe , their neo soul R&B act whose Filipino Native American will be playing at Soda Bar with locals Dave Love and Rohan Messina and Basie Vibe , just put out a new single called Mercy Me last week.
S11: Mercy , mercy mercy mercy.
UU: Mercy , mercy , baby , mercy me a Olympians gone with the day.
S1: All right. Sounds like a show. And you can find details on these and sign up for Julia's weekly arts newsletter at KPBS Saugus Arts. I've been speaking with KPBS arts reporter Julia Dixon Evans. Julia , thanks.
S10: Thank you. Jade.
UU: I'm so cold on me. Oh , archangels about heaven and creatures on me.
S11: Oh , glory.
S1: That's our show for today. I'm your host , Jade Hindman. Thanks for tuning in to Midday Edition. Be sure to have a great day on purpose. Everyone.
