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"content": "\u003cp>This week’s streaming highlights note the arrival of summer with the choice of dipping a toe (into a big pool) or going for full immersion (in a mucky swamp). The former will leave you refreshed, by and large, while the latter—well, one shower may not be enough.\u003c/p>\n\u003cp>\u003cb>We Are One: A Global Film Festival\u003c/b>\u003cbr>\n\u003ca href=\"https://www.youtube.com/weareone\" rel=\"noopener noreferrer\" target=\"_blank\">YouTube\u003c/a>\u003cbr>\nFor all its strange delights, the chunk of the canceled \u003ca href=\"https://www.kqed.org/arts/13879450/now-playing-sample-a-free-sxsw-combo-platter-on-amazon-prime\" rel=\"noopener noreferrer\" target=\"_blank\">South by Southwest hoedown\u003c/a> that Amazon Prime streamed earlier this month demonstrated the limits of virtual film festivals. Without the shared experience of a live audience, a film loses a huge component of what makes it effective, and special. This goes for any movie, of course—I’m mulling a story on the purpose and practice of public spaces like theaters in the eventual post-COVID-19 world—but it’s especially true for a one-off festival screening.\u003c/p>\n\u003cp>With festivals grappling with and grasping for ways to be connected and relevant to their constituencies during shelter in place, they are pretty much limited to online viewing. On the plus side, with programming delivered directly to your domicile, physical proximity to a venue or festival isn’t an issue. \u003c/p>\n\u003cp>If you missed or skipped the SXSW online edition, take a flyer on \u003ca href=\"http://www.weareoneglobalfestival.com/\" rel=\"noopener noreferrer\" target=\"_blank\">We Are One\u003c/a> (May 29–June 7). Some 20 festivals worldwide contributed programs, from heavy hitters like Cannes, Berlin, Venice and Toronto to respected regional events like Tokyo, Locarno and Mumbai. The lineup includes 31 feature films (including eight documentaries), 72 shorts (including 15 docs) and 15 archived talks (including a master class with Tantoo Cardinal). \u003c/p>\n\u003cfigure id=\"attachment_13881127\" class=\"wp-caption aligncenter\" style=\"max-width: 1152px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/CrazyWorld.jpg\" alt=\"\" width=\"1152\" height=\"576\" class=\"size-full wp-image-13881127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CrazyWorld.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CrazyWorld-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CrazyWorld-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CrazyWorld-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CrazyWorld-1020x510.jpg 1020w\" sizes=\"(max-width: 1152px) 100vw, 1152px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Crazy World.’ \u003ccite>(Courtesy of Nabwana I.G.G.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The films on offer include \u003cem>\u003ca href=\"http://www.weareoneglobalfestival.com/events/crazy-world-2020\" rel=\"noopener noreferrer\" target=\"_blank\">Crazy World\u003c/a>\u003c/em>, a highlight of the Midnight Madness sidebar at last fall’s Toronto fest. Ugandan DIY maniac/maestro Nabwana I.G.G.’s latest jaw-dropping, no-budget action extravaganza is, um, something. (Check out his previous movies, \u003cem>\u003ca href=\"https://www.amazon.com/Bad-Black-Alan-Ssali-Hofmanis/dp/B07XJLY5TT\" rel=\"noopener noreferrer\" target=\"_blank\">Bad Black\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://www.amazon.com/Killed-Captain-Alex-Kakule-William/dp/B07Y2HP7KX/\" rel=\"noopener noreferrer\" target=\"_blank\">Who Killed Captain Alex?\u003c/a>\u003c/em>, on Amazon Prime.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At some distance on the culture spectrum lies the invigorating and beguiling dance film \u003cem>\u003ca href=\"https://youtu.be/JEiusObynrQ\" rel=\"noopener noreferrer\" target=\"_blank\">Love Chapter 2\u003c/a>\u003c/em>. Israeli dancer-cum-choreographer Sharon Eyal’s modern ballet, backed with an intense score, is one of the Jerusalem Film Festival’s contributions.\u003c/p>\n\u003cp>There’s no cost to watch anything on We Are One, though donations to \u003ca href=\"https://covid19responsefund.org/en/\" rel=\"noopener noreferrer\" target=\"_blank\">WHO’s COVID-19 Solidarity Response Fund\u003c/a> and local relief agencies are encouraged.\u003c/p>\n\u003cfigure id=\"attachment_13881082\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/FilthyRich_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13881082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRich_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRich_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRich_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRich_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRich_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Jeffrey Epstein: Filthy Rich.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Jeffrey Epstein: Filthy Rich\u003c/i>\u003c/b>\u003cbr>\n\u003ca href=\"https://www.netflix.com/title/80224905\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003cbr>\nWe’re inundated with a plethora of multi-episode nonfiction (i.e. limited series) on every cable network and streaming platform. As befits the infotainment age, most of them lean more toward sensationalism (and exploitation) than investigative journalism. Lisa Bryant’s deeply disturbing four-episode dive into Jeffrey Epstein’s long-running molestation pyramid scheme (as one journalist dubs it) is neither.\u003c/p>\n\u003cp>What it is, in purpose and execution, is a forum to give voice to approximately a dozen of the literally hundreds of women who were lured, abused and raped as vulnerable adolescents and teenagers by the now-deceased New York/Palm Beach predator Jeffrey Epstein. I suppose I should toss “alleged” into that sentence somewhere, since Epstein escaped this mortal coil before he could be tried and convicted in court. In the court of public opinion, however, which is where \u003cem>Jeffrey Epstein: Filthy Rich\u003c/em> rests its case, only a minority will give much weight to “alleged.”\u003c/p>\n\u003cp>One of those, no doubt, is the reptilian lawyer and Epstein pal Alan Dershowitz, who is the only figure on the perpetrator’s side of the aisle to offer a rebuttal to Bryant’s camera. It isn’t the filmmaker’s fault that she was unable to obtain interviews with Ghislaine Maxwell or the other women who (allegedly) charmingly procured underage girls for Epstein over a period of at least 20 years. But the documentary can’t accurately be described as an investigation in the absence of that testimony, or any other new information. (Nor is it sullied by the stuff of exploitation—hokey reenactments, cheap-shot filler and a thumping soundtrack.)\u003c/p>\n\u003cfigure id=\"attachment_13881130\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/FilthyRichStill_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13881130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRichStill_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRichStill_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRichStill_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRichStill_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRichStill_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Maria Farmer in ‘Filthy Rich.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It is, on one level, a necessary and welcome piece of historical journalism that collects in one place, via interviews with a chief of police, journalists and survivors’ attorneys, the chain of events that led to Epstein’s long-running evasion of justice. Florida law enforcement and newspaper reporters did ace work, only to be sabotaged by a U.S. attorney whose presumed corruption still needs to be plumbed. \u003c/p>\n\u003cp>Frankly, this is all beside the point. The raison d’être of this documentary are the numerous wounded and brave accounts by young women. Their detailed descriptions of the horrific manipulation and exploitation they suffered, at the hands of a demented individual and his various assistants and abettors, comprise a catalog of evidence that is too monumental to discount, let alone disbelieve.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At its core, \u003cem>Jeffrey Epstein: Filthy Rich\u003c/em> is a handsomely illustrated talking-head documentary. It isn’t drama, and it certainly isn’t art. In this case, that’s just right.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week’s streaming highlights note the arrival of summer with the choice of dipping a toe (into a big pool) or going for full immersion (in a mucky swamp). The former will leave you refreshed, by and large, while the latter—well, one shower may not be enough.\u003c/p>\n\u003cp>\u003cb>We Are One: A Global Film Festival\u003c/b>\u003cbr>\n\u003ca href=\"https://www.youtube.com/weareone\" rel=\"noopener noreferrer\" target=\"_blank\">YouTube\u003c/a>\u003cbr>\nFor all its strange delights, the chunk of the canceled \u003ca href=\"https://www.kqed.org/arts/13879450/now-playing-sample-a-free-sxsw-combo-platter-on-amazon-prime\" rel=\"noopener noreferrer\" target=\"_blank\">South by Southwest hoedown\u003c/a> that Amazon Prime streamed earlier this month demonstrated the limits of virtual film festivals. Without the shared experience of a live audience, a film loses a huge component of what makes it effective, and special. This goes for any movie, of course—I’m mulling a story on the purpose and practice of public spaces like theaters in the eventual post-COVID-19 world—but it’s especially true for a one-off festival screening.\u003c/p>\n\u003cp>With festivals grappling with and grasping for ways to be connected and relevant to their constituencies during shelter in place, they are pretty much limited to online viewing. On the plus side, with programming delivered directly to your domicile, physical proximity to a venue or festival isn’t an issue. \u003c/p>\n\u003cp>If you missed or skipped the SXSW online edition, take a flyer on \u003ca href=\"http://www.weareoneglobalfestival.com/\" rel=\"noopener noreferrer\" target=\"_blank\">We Are One\u003c/a> (May 29–June 7). Some 20 festivals worldwide contributed programs, from heavy hitters like Cannes, Berlin, Venice and Toronto to respected regional events like Tokyo, Locarno and Mumbai. The lineup includes 31 feature films (including eight documentaries), 72 shorts (including 15 docs) and 15 archived talks (including a master class with Tantoo Cardinal). \u003c/p>\n\u003cfigure id=\"attachment_13881127\" class=\"wp-caption aligncenter\" style=\"max-width: 1152px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/CrazyWorld.jpg\" alt=\"\" width=\"1152\" height=\"576\" class=\"size-full wp-image-13881127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CrazyWorld.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CrazyWorld-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CrazyWorld-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CrazyWorld-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CrazyWorld-1020x510.jpg 1020w\" sizes=\"(max-width: 1152px) 100vw, 1152px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Crazy World.’ \u003ccite>(Courtesy of Nabwana I.G.G.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The films on offer include \u003cem>\u003ca href=\"http://www.weareoneglobalfestival.com/events/crazy-world-2020\" rel=\"noopener noreferrer\" target=\"_blank\">Crazy World\u003c/a>\u003c/em>, a highlight of the Midnight Madness sidebar at last fall’s Toronto fest. Ugandan DIY maniac/maestro Nabwana I.G.G.’s latest jaw-dropping, no-budget action extravaganza is, um, something. (Check out his previous movies, \u003cem>\u003ca href=\"https://www.amazon.com/Bad-Black-Alan-Ssali-Hofmanis/dp/B07XJLY5TT\" rel=\"noopener noreferrer\" target=\"_blank\">Bad Black\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://www.amazon.com/Killed-Captain-Alex-Kakule-William/dp/B07Y2HP7KX/\" rel=\"noopener noreferrer\" target=\"_blank\">Who Killed Captain Alex?\u003c/a>\u003c/em>, on Amazon Prime.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At some distance on the culture spectrum lies the invigorating and beguiling dance film \u003cem>\u003ca href=\"https://youtu.be/JEiusObynrQ\" rel=\"noopener noreferrer\" target=\"_blank\">Love Chapter 2\u003c/a>\u003c/em>. Israeli dancer-cum-choreographer Sharon Eyal’s modern ballet, backed with an intense score, is one of the Jerusalem Film Festival’s contributions.\u003c/p>\n\u003cp>There’s no cost to watch anything on We Are One, though donations to \u003ca href=\"https://covid19responsefund.org/en/\" rel=\"noopener noreferrer\" target=\"_blank\">WHO’s COVID-19 Solidarity Response Fund\u003c/a> and local relief agencies are encouraged.\u003c/p>\n\u003cfigure id=\"attachment_13881082\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/FilthyRich_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13881082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRich_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRich_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRich_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRich_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRich_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Jeffrey Epstein: Filthy Rich.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Jeffrey Epstein: Filthy Rich\u003c/i>\u003c/b>\u003cbr>\n\u003ca href=\"https://www.netflix.com/title/80224905\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003cbr>\nWe’re inundated with a plethora of multi-episode nonfiction (i.e. limited series) on every cable network and streaming platform. As befits the infotainment age, most of them lean more toward sensationalism (and exploitation) than investigative journalism. Lisa Bryant’s deeply disturbing four-episode dive into Jeffrey Epstein’s long-running molestation pyramid scheme (as one journalist dubs it) is neither.\u003c/p>\n\u003cp>What it is, in purpose and execution, is a forum to give voice to approximately a dozen of the literally hundreds of women who were lured, abused and raped as vulnerable adolescents and teenagers by the now-deceased New York/Palm Beach predator Jeffrey Epstein. I suppose I should toss “alleged” into that sentence somewhere, since Epstein escaped this mortal coil before he could be tried and convicted in court. In the court of public opinion, however, which is where \u003cem>Jeffrey Epstein: Filthy Rich\u003c/em> rests its case, only a minority will give much weight to “alleged.”\u003c/p>\n\u003cp>One of those, no doubt, is the reptilian lawyer and Epstein pal Alan Dershowitz, who is the only figure on the perpetrator’s side of the aisle to offer a rebuttal to Bryant’s camera. It isn’t the filmmaker’s fault that she was unable to obtain interviews with Ghislaine Maxwell or the other women who (allegedly) charmingly procured underage girls for Epstein over a period of at least 20 years. But the documentary can’t accurately be described as an investigation in the absence of that testimony, or any other new information. (Nor is it sullied by the stuff of exploitation—hokey reenactments, cheap-shot filler and a thumping soundtrack.)\u003c/p>\n\u003cfigure id=\"attachment_13881130\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/FilthyRichStill_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13881130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRichStill_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRichStill_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRichStill_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRichStill_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/FilthyRichStill_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Maria Farmer in ‘Filthy Rich.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It is, on one level, a necessary and welcome piece of historical journalism that collects in one place, via interviews with a chief of police, journalists and survivors’ attorneys, the chain of events that led to Epstein’s long-running evasion of justice. Florida law enforcement and newspaper reporters did ace work, only to be sabotaged by a U.S. attorney whose presumed corruption still needs to be plumbed. \u003c/p>\n\u003cp>Frankly, this is all beside the point. The raison d’être of this documentary are the numerous wounded and brave accounts by young women. Their detailed descriptions of the horrific manipulation and exploitation they suffered, at the hands of a demented individual and his various assistants and abettors, comprise a catalog of evidence that is too monumental to discount, let alone disbelieve.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At its core, \u003cem>Jeffrey Epstein: Filthy Rich\u003c/em> is a handsomely illustrated talking-head documentary. It isn’t drama, and it certainly isn’t art. In this case, that’s just right.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "larry-kramer-playwright-and-aids-activist-dies-at-84",
"title": "Larry Kramer, Playwright and AIDS Activist, Dies at 84",
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"headTitle": "Larry Kramer, Playwright and AIDS Activist, Dies at 84 | KQED",
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"content": "\u003cp>Larry Kramer, the playwright whose angry voice and pen raised theatergoers’ consciousness about AIDS and roused thousands to militant protests in the early years of the epidemic, has died at 84.\u003c/p>\n\u003cp>Bill Goldstein, a writer who was working on a biography of Kramer, confirmed the news to The Associated Press. Kramer’s husband, David Webster, told \u003cem>The New York Times\u003c/em> that Kramer died Wednesday of pneumonia.\u003c/p>\n\u003cp>“We have lost a giant of a man who stood up for gay rights like a warrior. His anger was needed at a time when gay men’s deaths to AIDS were being ignored by the American government,” said Elton John in a statement.\u003c/p>\n\u003cp>Kramer, who wrote \u003cem>The Normal Heart\u003c/em> and founded the AIDS Coalition to Unleash Power, or ACT UP, lost his lover to acquired immune deficiency syndrome in 1984 and was himself infected with the virus. He also suffered from hepatitis B and received a liver transplant in 2001 because the virus had caused liver failure.\u003c/p>\n\u003cp>He was nominated for an Academy Award for his screenplay for \u003cem>Women in Love\u003c/em>, the 1969 adaptation of D.H. Lawrence’s novel. It starred Glenda Jackson, who won her first Oscar for her performance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He also wrote the 1972 screenplay \u003cem>Lost Horizon\u003c/em>, a novel, \u003cem>Faggots\u003c/em>, and the plays \u003cem>Sissies’ Scrapbook, The Furniture of Home, Just Say No\u003c/em> and \u003cem>The Destiny of Me\u003c/em>, which was a finalist for the Pulitzer Prize in 1993.\u003c/p>\n\u003cp>But for many years he was best known for his public fight to secure medical treatment, acceptance and civil rights for people with AIDS. He loudly told everyone that the gay community was grappling with a plague.\u003c/p>\n\u003cp>Tributes from the arts community flooded in Wednesday, with Lin-Manuel Miranda on Twitter saying “What an extraordinary writer, what a life.” Dan Savage wrote: “He ordered us to love ourselves and each other and to fight for our lives. He was a hero.”\u003c/p>\n\u003cp>In 1981, when AIDS had not yet acquired its name and only a few dozen people had been diagnosed with it, Kramer and a group of his friends in New York City founded Gay Men’s Health Crisis, one of the first groups in the country to address the epidemic.\u003c/p>\n\u003cp>He tried to rouse the gay community with speeches and articles such as “1,112 and Counting,” published in gay newspapers in 1983.\u003c/p>\n\u003cp>“Our continued existence as gay men upon the face of this earth is at stake,” he wrote. “Unless we fight for our lives, we shall die.”\u003c/p>\n\u003cp>The late journalist Randy Shilts, in his best selling account of the AIDS epidemic \u003cem>And the Band Played On\u003c/em>, called that article “inarguably one of the most influential works of advocacy journalism of the decade” and credited it with “crystallizing the epidemic into a political movement for the gay community.”\u003c/p>\n\u003cp>Kramer lived to see gay marriage a reality — and married himself in 2013 — but never rested. “I’m married,” he told The AP. “But that’s only part of where we are. AIDS is still decimating us and we still don’t have protection under the law.”\u003c/p>\n\u003cp>Kramer split with GMHC in 1983 after other board members decided to concentrate on providing support services to people with AIDS. It remains one of the largest AIDS-service groups in the country.\u003c/p>\n\u003cp>After leaving GMHC, Kramer wrote \u003cem>The Normal Heart\u003c/em>, in which a furious young writer — not unlike Kramer himself — battles politicians, society, the media and other gay leaders to bring attention to the crisis.\u003c/p>\n\u003cp>The play premiered at The Public Theater in April 1985. Associated Press drama critic Michael Kuchwara called it an “angry but compelling indictment of a society as well as a subculture for failing to respond adequately to the tragedy.”\u003c/p>\n\u003cp>A revival in 2011 was almost universally praised by critics and earned the best revival Tony. Two actors from it — Ellen Barkin and John Benjamin Hickey — also won Tonys. Joe Mantello played the main character of Ned Weeks, the alter ego of Kramer.\u003c/p>\n\u003cp>“I’m very moved that it moved so many people,” he said at the time. Kramer often stood outside the theater passing out fliers asking the world to take action against HIV/AIDS. “Please know that AIDS is a worldwide plague. Please know there is no cure,” it said.\u003c/p>\n\u003cp>The play was turned into a TV film for HBO in 2014 starring Mark Ruffalo, Jonathan Groff, Matt Bomer, Taylor Kitsch, Jim Parsons, Alfred Molina, Joe Mantello and Julia Roberts. It won the Emmy for best movie. Kramer stood onstage in heavy winter clothing as the statuette was presented to director Ryan Murphy.\u003c/p>\n\u003cp>The 1992 play \u003cem>The Destiny of Me\u003c/em> continues the story of Weeks from \u003cem>The Normal Heart\u003c/em>. Weeks, in the hospital for an experimental AIDS treatment, reflects on the past, particularly his relationship with his family. His parents and brother appear to act out what happened in the past, as does the young Ned, who confronts his older self.\u003c/p>\n\u003cp>In 1987, Kramer founded ACT UP, the group that became famous for staging civil disobedience at places like the Food and Drug Administration, the New York Stock Exchange and Burroughs-Wellcome Corp., the maker of the chief anti-AIDS drug, AZT.\u003c/p>\n\u003cp>ACT UP’s protests helped persuade the FDA to speed the approval of new drugs and Burroughs-Wellcome to lower its price for AZT. He also battled — and later reconciled — with Dr. Anthony Fauci, the longtime director of the National Institute of Allergy and Infectious Diseases, who has been leading the national response to the coronavirus pandemic.\u003c/p>\n\u003cp>Kramer soon relinquished a leadership role in ACT UP, and as support for AIDS research increased, he found some common ground with health officials whom ACT UP had bitterly criticized.\u003c/p>\n\u003cp>Kramer never softened the urgency of his demands. In 2011, he helped the American Foundation for Equal Rights mount their play \u003cem>8\u003c/em> on Broadway about the legal battle over same-sex marriage in California.\u003c/p>\n\u003cp>“The one nice thing that I seem to have acquired, accidentally, is this reputation of everyone afraid of my voice,” he told The AP in 2015. “So I get heard, whether it changes anything or not.”\u003c/p>\n\u003cp>One of his last projects was the massive two-volume \u003cem>The American People\u003c/em>, which chronicled the history of gay people in America and took decades to write.\u003c/p>\n\u003cp>“I just think it’s so important that we know our history — the history of how badly we’re treated and how hard we have to fight to get what we deserve, which is equality,” he told The AP.\u003c/p>\n\u003cp>At the 2013 Tonys, he was honored with the Isabelle Stevenson Award, given to a member of the theater community for philanthropic or civic efforts.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A few months later, Kramer married his longtime partner, architect David Webster, in the intensive care unit of NYU Langone Medical Center, where Kramer was recovering from surgery for a bowel obstruction.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Larry Kramer, the playwright whose angry voice and pen raised theatergoers’ consciousness about AIDS and roused thousands to militant protests in the early years of the epidemic, has died at 84.\u003c/p>\n\u003cp>Bill Goldstein, a writer who was working on a biography of Kramer, confirmed the news to The Associated Press. Kramer’s husband, David Webster, told \u003cem>The New York Times\u003c/em> that Kramer died Wednesday of pneumonia.\u003c/p>\n\u003cp>“We have lost a giant of a man who stood up for gay rights like a warrior. His anger was needed at a time when gay men’s deaths to AIDS were being ignored by the American government,” said Elton John in a statement.\u003c/p>\n\u003cp>Kramer, who wrote \u003cem>The Normal Heart\u003c/em> and founded the AIDS Coalition to Unleash Power, or ACT UP, lost his lover to acquired immune deficiency syndrome in 1984 and was himself infected with the virus. He also suffered from hepatitis B and received a liver transplant in 2001 because the virus had caused liver failure.\u003c/p>\n\u003cp>He was nominated for an Academy Award for his screenplay for \u003cem>Women in Love\u003c/em>, the 1969 adaptation of D.H. Lawrence’s novel. It starred Glenda Jackson, who won her first Oscar for her performance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He also wrote the 1972 screenplay \u003cem>Lost Horizon\u003c/em>, a novel, \u003cem>Faggots\u003c/em>, and the plays \u003cem>Sissies’ Scrapbook, The Furniture of Home, Just Say No\u003c/em> and \u003cem>The Destiny of Me\u003c/em>, which was a finalist for the Pulitzer Prize in 1993.\u003c/p>\n\u003cp>But for many years he was best known for his public fight to secure medical treatment, acceptance and civil rights for people with AIDS. He loudly told everyone that the gay community was grappling with a plague.\u003c/p>\n\u003cp>Tributes from the arts community flooded in Wednesday, with Lin-Manuel Miranda on Twitter saying “What an extraordinary writer, what a life.” Dan Savage wrote: “He ordered us to love ourselves and each other and to fight for our lives. He was a hero.”\u003c/p>\n\u003cp>In 1981, when AIDS had not yet acquired its name and only a few dozen people had been diagnosed with it, Kramer and a group of his friends in New York City founded Gay Men’s Health Crisis, one of the first groups in the country to address the epidemic.\u003c/p>\n\u003cp>He tried to rouse the gay community with speeches and articles such as “1,112 and Counting,” published in gay newspapers in 1983.\u003c/p>\n\u003cp>“Our continued existence as gay men upon the face of this earth is at stake,” he wrote. “Unless we fight for our lives, we shall die.”\u003c/p>\n\u003cp>The late journalist Randy Shilts, in his best selling account of the AIDS epidemic \u003cem>And the Band Played On\u003c/em>, called that article “inarguably one of the most influential works of advocacy journalism of the decade” and credited it with “crystallizing the epidemic into a political movement for the gay community.”\u003c/p>\n\u003cp>Kramer lived to see gay marriage a reality — and married himself in 2013 — but never rested. “I’m married,” he told The AP. “But that’s only part of where we are. AIDS is still decimating us and we still don’t have protection under the law.”\u003c/p>\n\u003cp>Kramer split with GMHC in 1983 after other board members decided to concentrate on providing support services to people with AIDS. It remains one of the largest AIDS-service groups in the country.\u003c/p>\n\u003cp>After leaving GMHC, Kramer wrote \u003cem>The Normal Heart\u003c/em>, in which a furious young writer — not unlike Kramer himself — battles politicians, society, the media and other gay leaders to bring attention to the crisis.\u003c/p>\n\u003cp>The play premiered at The Public Theater in April 1985. Associated Press drama critic Michael Kuchwara called it an “angry but compelling indictment of a society as well as a subculture for failing to respond adequately to the tragedy.”\u003c/p>\n\u003cp>A revival in 2011 was almost universally praised by critics and earned the best revival Tony. Two actors from it — Ellen Barkin and John Benjamin Hickey — also won Tonys. Joe Mantello played the main character of Ned Weeks, the alter ego of Kramer.\u003c/p>\n\u003cp>“I’m very moved that it moved so many people,” he said at the time. Kramer often stood outside the theater passing out fliers asking the world to take action against HIV/AIDS. “Please know that AIDS is a worldwide plague. Please know there is no cure,” it said.\u003c/p>\n\u003cp>The play was turned into a TV film for HBO in 2014 starring Mark Ruffalo, Jonathan Groff, Matt Bomer, Taylor Kitsch, Jim Parsons, Alfred Molina, Joe Mantello and Julia Roberts. It won the Emmy for best movie. Kramer stood onstage in heavy winter clothing as the statuette was presented to director Ryan Murphy.\u003c/p>\n\u003cp>The 1992 play \u003cem>The Destiny of Me\u003c/em> continues the story of Weeks from \u003cem>The Normal Heart\u003c/em>. Weeks, in the hospital for an experimental AIDS treatment, reflects on the past, particularly his relationship with his family. His parents and brother appear to act out what happened in the past, as does the young Ned, who confronts his older self.\u003c/p>\n\u003cp>In 1987, Kramer founded ACT UP, the group that became famous for staging civil disobedience at places like the Food and Drug Administration, the New York Stock Exchange and Burroughs-Wellcome Corp., the maker of the chief anti-AIDS drug, AZT.\u003c/p>\n\u003cp>ACT UP’s protests helped persuade the FDA to speed the approval of new drugs and Burroughs-Wellcome to lower its price for AZT. He also battled — and later reconciled — with Dr. Anthony Fauci, the longtime director of the National Institute of Allergy and Infectious Diseases, who has been leading the national response to the coronavirus pandemic.\u003c/p>\n\u003cp>Kramer soon relinquished a leadership role in ACT UP, and as support for AIDS research increased, he found some common ground with health officials whom ACT UP had bitterly criticized.\u003c/p>\n\u003cp>Kramer never softened the urgency of his demands. In 2011, he helped the American Foundation for Equal Rights mount their play \u003cem>8\u003c/em> on Broadway about the legal battle over same-sex marriage in California.\u003c/p>\n\u003cp>“The one nice thing that I seem to have acquired, accidentally, is this reputation of everyone afraid of my voice,” he told The AP in 2015. “So I get heard, whether it changes anything or not.”\u003c/p>\n\u003cp>One of his last projects was the massive two-volume \u003cem>The American People\u003c/em>, which chronicled the history of gay people in America and took decades to write.\u003c/p>\n\u003cp>“I just think it’s so important that we know our history — the history of how badly we’re treated and how hard we have to fight to get what we deserve, which is equality,” he told The AP.\u003c/p>\n\u003cp>At the 2013 Tonys, he was honored with the Isabelle Stevenson Award, given to a member of the theater community for philanthropic or civic efforts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Actress Lori Loughlin and her husband Mossimo Giannulli, a fashion designer, have agreed to plead guilty in connection to the college admissions bribery scandal that federal investigators dubbed Operation Varsity Blues.\u003c/p>\n\u003cp>The U.S. Attorney’s Office of the District of Massachusetts made the \u003ca href=\"https://www.justice.gov/usao-ma/pr/california-couple-college-admissions-case-agrees-plead-guilty\">announcement Thursday\u003c/a>, saying Loughlin will plead guilty to one count of conspiracy to commit wire and mail fraud. \u003c/p>\n\u003cp>Her husband will plead guilty to one count of conspiracy to commit wire and mail fraud and honest services wire and mail fraud. \u003c/p>\n\u003cp>According to the recommendations of the plea agreement, Loughlin is facing two months in prison and a $150,000 fine. Her husband is facing five months in prison and a $250,000 fine. Ultimately, a federal judge will determine their sentences.\u003c/p>\n\u003cp>Both are scheduled to enter guilty pleas on Friday at 11:30 a.m. ET, \u003ca href=\"https://twitter.com/DMAnews1/status/1263459286065217536\">federal authorities said\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Under the plea agreements filed today, these defendants will serve prison terms reflecting their respective roles in a conspiracy to corrupt the college admissions process and which are consistent with prior sentences in this case,” Andrew Lelling, the U.S. Attorney for the District of Massachusetts, said in a statement. \u003c/p>\n\u003cp>“We will continue to pursue accountability for undermining the integrity of college admissions,” he added. \u003c/p>\n\u003cp>The couple originally \u003ca href=\"https://www.npr.org/2019/04/15/713524599/lori-loughlin-mossimo-giannulli-plead-not-guilty-in-college-cheating-scandal\">pleaded not guilty\u003c/a> in federal court in Boston in April 2019. \u003c/p>\n\u003cp>The couple was accused of paying a $500,000 bribe to secure their daughters’ admission to the University of Southern California as recruits for the university’s crew team. Neither of them had even practiced the sport.\u003c/p>\n\u003cp>Loughlin is best known for playing the role of Aunt Becky on the long-running sitcom \u003cem>Full House\u003c/em>. Giannulli’s Mossimo brand was a core clothing label at Target \u003ca href=\"https://www.latimes.com/business/la-fi-target-merona-mossimo-20170821-story.html\">until 2017\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Federal prosecutors say the couple joins 22 other parents who pleaded guilty in the college admissions scandal. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lori+Loughlin%2C+Mossimo+Giannulli+To+Plead+Guilty+In+College+Admissions+Scandal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actress Lori Loughlin and her husband Mossimo Giannulli, a fashion designer, have agreed to plead guilty in connection to the college admissions bribery scandal that federal investigators dubbed Operation Varsity Blues.\u003c/p>\n\u003cp>The U.S. Attorney’s Office of the District of Massachusetts made the \u003ca href=\"https://www.justice.gov/usao-ma/pr/california-couple-college-admissions-case-agrees-plead-guilty\">announcement Thursday\u003c/a>, saying Loughlin will plead guilty to one count of conspiracy to commit wire and mail fraud. \u003c/p>\n\u003cp>Her husband will plead guilty to one count of conspiracy to commit wire and mail fraud and honest services wire and mail fraud. \u003c/p>\n\u003cp>According to the recommendations of the plea agreement, Loughlin is facing two months in prison and a $150,000 fine. Her husband is facing five months in prison and a $250,000 fine. Ultimately, a federal judge will determine their sentences.\u003c/p>\n\u003cp>Both are scheduled to enter guilty pleas on Friday at 11:30 a.m. ET, \u003ca href=\"https://twitter.com/DMAnews1/status/1263459286065217536\">federal authorities said\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "Now Playing! 9 Streaming Films To Sate Your Wanderlust | KQED",
"content": "\u003cp>One of the great allures of the movies is the thrill of seeing faraway places, and entering lives that are to some degree unlike ours. It’s a selling point that hearkens to the early days of film, and the ultra-brief travelogues of distant locales that the Lumière brothers commissioned as the hook to hawk their groundbreaking moving-image cameras. (Same as it ever was: sell the hardware via the software.)\u003c/p>\n\u003cp>The impatience to venture further afield is natural, even palpable, after some two months of confinement and streaming of long-form television. Here are some foreign streams to dip your toes in, along with a few closer to home.\u003c/p>\n\u003cp>https://youtu.be/aFoeAg0bORk\u003c/p>\n\u003cp>\u003cb>New French Shorts 2020\u003c/b>\u003cbr>\n\u003ca href=\"https://kinonow.com/new-french-shorts-lark-theater\" rel=\"noopener noreferrer\" target=\"_blank\">Lark\u003c/a> (now), \u003ca href=\"https://www.roxie.com/new-french-shorts-2020/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a> (May 22)\u003cbr>\nGenerally and simplistically speaking, U.S. filmmakers view short films as reel items to audition for feature films and episodic TV while Europeans see them as a distinct art form. (Much in the same way that short stories differ from novels.) This accomplished collection of short fiction opens with Foued Mansour’s \u003cem>Ahmed’s Song\u003c/em>, a no-fat, no-frills tale of an accidental mentor—a solitary, graying employee of a public bath whose family lives in an unnamed Arab country—and the wayward, would-be rapper assigned to work off his probation. Straightforward yet soulful, with a satisfying open ending.\u003c/p>\n\u003cp>https://youtu.be/UuyznqAILAM\u003c/p>\n\u003cp>\u003cb>\u003cem>Sátántangó\u003c/em>, 1994\u003c/b>\u003cbr>\n\u003ca href=\"https://bampfa.org/event/satantango\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA from Home\u003c/a>\u003cbr>\nAt the other end of the spectrum, Béla Tarr’s slow-cinema magnum opus runs (or should I say walks) over seven hours. A grimly unsmiling yet (occasionally) darkly funny rendering of rural Hungarian malaise and ritual, \u003cem>Sátántangó\u003c/em> imagines a society—and a species—in dismal decline and primitive rebirth. To quote from Jason Sanders’ meaty program note, “Tarr’s mesmerizing recreation of an entire world, complete with all of this world’s poetry, despair, horror, and humor … makes it not so much a film as a place to visit, or stay.” Pack a lunch.\u003c/p>\n\u003cfigure id=\"attachment_13880650\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/03_SYS_2560x1440-0x576-c-default.jpg\" alt=\"\" width=\"1024\" height=\"576\" class=\"size-full wp-image-13880650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/03_SYS_2560x1440-0x576-c-default.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/03_SYS_2560x1440-0x576-c-default-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/03_SYS_2560x1440-0x576-c-default-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/03_SYS_2560x1440-0x576-c-default-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/03_SYS_2560x1440-0x576-c-default-1020x574.jpg 1020w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Helena Zengel in ‘System Crasher.’ \u003ccite>(Courtesy kineo Films and Weydemann Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>System Crasher\u003c/em>, 2019\u003c/b>\u003cbr>\n\u003ca href=\"https://www.netflix.com/watch/81071573?\">Netflix\u003c/a>\u003cbr>\nNora Fengscheidt’s debut feature was the runaway winner at the recent German film awards with eight Lolas, including best feature, director and screenplay. Eleven-year-old Helena Zengel took home the best actress trophy for her ferocious portrayal of a screwed-up child (Benni) who charms social workers (and viewers) with the illusion that they’re making progress. Alas, Benni destroys more than illusions. (Fengscheidt’s forthcoming project, starring Sandra Bullock as a parolee adjusting to society, focuses on another of society’s outsiders.)\u003c/p>\n\u003cfigure id=\"attachment_13880651\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/A_Secret_Love_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13880651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/A_Secret_Love_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/A_Secret_Love_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/A_Secret_Love_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/A_Secret_Love_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/A_Secret_Love_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Terry Donahue and Pat Henschel in ‘A Secret Love.’ \u003ccite>(Courtesy Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>A Secret Love\u003c/em>, 2020\u003c/b>\u003cbr>\n\u003ca href=\"https://www.netflix.com/watch/80209024?\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003cbr>\nCanadians Terry Donahue and Pat Henschel met in the late 1940s, a period that coincided with Donahue’s stellar career with the All-American Girls Professional Baseball League. Horsehide junkies will savor that chapter of Chris Bolan’s bracing documentary and wish it was longer. But he has more history to cover—the impossibility of coming out as a lesbian for most of the 20th century, most crucially—as well as the present-day, universal struggles of a no-nonsense Midwestern couple in their 80s. All in all, an incredible, moving love story.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://vimeo.com/252400055\u003c/p>\n\u003cp>\u003cb>\u003ci>Dykes, Camera, Action!\u003c/i>, 2018\u003c/b>\u003cbr>\n\u003ca href=\"https://www.roxie.com/dykes-camera-action/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a>\u003cbr>\nCaroline Berler’s talking-heads doc, featuring everyone from Barbara Hammer to Su Friedrich to B. Ruby Rich, is an oral history of the formative years of queer cinema in New York and elsewhere as recounted by the pioneers themselves. Your ticket includes a pre-recorded panel discussion moderated by local filmmaker and maven Jenni Olson.\u003c/p>\n\u003cfigure id=\"attachment_13880653\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/CIRCUSOFBOOKS_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13880653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CIRCUSOFBOOKS_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CIRCUSOFBOOKS_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CIRCUSOFBOOKS_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CIRCUSOFBOOKS_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CIRCUSOFBOOKS_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Circus of Books.’ \u003ccite>(Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Circus of Books\u003c/em>, 2019\u003c/b>\u003cbr>\n\u003ca href=\"https://www.netflix.com/watch/81011569?\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003cbr>\nThe queer grapevine has no doubt already spread the word about both \u003ci>A Secret Love\u003c/i> and Rachel Mason’s personal doc about the culturally important L.A. purveyor (and producer!) of hardcore gay pornography. The filmmaker’s parents got into the business through happenstance and ended up running it for three decades, keeping the scandalous secret from practically everyone, including their kids and Karen’s synagogue friends. \u003cem>Circus of Books\u003c/em> is never less than entertaining (Jeff Stryker and Larry Flynt make generous appearances) but it needs a jolt of high-stakes drama. The big-deal events—a Poppy Bush-era FBI bust, the AIDS pandemic and one of the Mason kids coming out—are in the past.\u003c/p>\n\u003cp>https://vimeo.com/374058151\u003c/p>\n\u003cp>\u003cb>\u003ci>5 Blocks\u003c/i>, 2019\u003c/b>\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/roxie-virtual-cinema-5-blocks-tickets-104338677794?\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a>\u003cbr>\nI’ve touted Dan Goldes’ years-in-the-making doc about the development of Mid-Market in this space on a previous occasion or two. If you haven’t caught up with it yet, it’s streaming via the Roxie’s virtual cinema for a few more days. \u003cem>5 Blocks\u003c/em> is a valuable asset at a time when we’re talking about how to make appropriate use of public spaces—and imagining what they will look like in six months or a year. \u003c/p>\n\u003cfigure id=\"attachment_13880655\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Tale-of-Tales4-1.jpg\" alt=\"\" width=\"500\" height=\"333\" class=\"size-full wp-image-13880655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Tale-of-Tales4-1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Tale-of-Tales4-1-160x107.jpg 160w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Still from Yuri Norstein’s ‘Tale of Tales,’ 1979. \u003ccite>(Courtesy of Kino Klassika)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Tale of Tales\u003c/em>, 1979\u003c/b>\u003cbr>\n\u003ca href=\"https://www.kinoklassikafoundation.org/project/taleoftales/\">Kino Klassika Foundation\u003c/a>\u003cbr>\nI promised you journeys abroad, and here are a couple far off the beaten path. The Kino Klassika Foundation spotlights a wide range of Russian cinema, with a few different titles every week. Yuri Norstein’s half-hour masterpiece of animation, streaming May 19-26, contemplates the immediate and lasting effects of war on the civilian population and the overall society.\u003c/p>\n\u003cfigure id=\"attachment_13880656\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Stark-Fear.jpg\" alt=\"\" width=\"1200\" height=\"630\" class=\"size-full wp-image-13880656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stark-Fear.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stark-Fear-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stark-Fear-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stark-Fear-768x403.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stark-Fear-1020x536.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Beverly Garland and Skip Homeier in ‘Stark Fear.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"https://www.bynwr.com\">BYNWR.com\u003c/a>\u003c/b>\u003cbr>\nDanish director Nicholas Winding Refn (\u003cem>Pusher\u003c/em>, \u003cem>Drive\u003c/em>, \u003cem>The Neon Demon\u003c/em>) is not my cup of bitters, but there’s no question he’s a fellow cinephile. He bills his website as “an unadulterated cultural expressway of the arts.” (Ah, but what’s a little redundancy among friends?) Poke around the various volumes of strange stuff lurking behind the portal, the hours will disappear and your nightmares will be the better for it. Or go straight to the current offering, \u003cem>\u003ca href=\"https://www.bynwr.com/articles/stark-fear-1962\" rel=\"noopener noreferrer\" target=\"_blank\">Stark Fear\u003c/a>\u003c/em> (1962), an obscure Oklahoma noir starring Beverly Garland that marks the lone directorial effort of one Ned Hockman. Good luck finding your way back.\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Let local streaming offerings transport you to other worlds and times. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the great allures of the movies is the thrill of seeing faraway places, and entering lives that are to some degree unlike ours. It’s a selling point that hearkens to the early days of film, and the ultra-brief travelogues of distant locales that the Lumière brothers commissioned as the hook to hawk their groundbreaking moving-image cameras. (Same as it ever was: sell the hardware via the software.)\u003c/p>\n\u003cp>The impatience to venture further afield is natural, even palpable, after some two months of confinement and streaming of long-form television. Here are some foreign streams to dip your toes in, along with a few closer to home.\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/aFoeAg0bORk'\n title='//www.youtube.com/embed/aFoeAg0bORk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>New French Shorts 2020\u003c/b>\u003cbr>\n\u003ca href=\"https://kinonow.com/new-french-shorts-lark-theater\" rel=\"noopener noreferrer\" target=\"_blank\">Lark\u003c/a> (now), \u003ca href=\"https://www.roxie.com/new-french-shorts-2020/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a> (May 22)\u003cbr>\nGenerally and simplistically speaking, U.S. filmmakers view short films as reel items to audition for feature films and episodic TV while Europeans see them as a distinct art form. (Much in the same way that short stories differ from novels.) This accomplished collection of short fiction opens with Foued Mansour’s \u003cem>Ahmed’s Song\u003c/em>, a no-fat, no-frills tale of an accidental mentor—a solitary, graying employee of a public bath whose family lives in an unnamed Arab country—and the wayward, would-be rapper assigned to work off his probation. Straightforward yet soulful, with a satisfying open ending.\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/UuyznqAILAM'\n title='//www.youtube.com/embed/UuyznqAILAM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003cem>Sátántangó\u003c/em>, 1994\u003c/b>\u003cbr>\n\u003ca href=\"https://bampfa.org/event/satantango\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA from Home\u003c/a>\u003cbr>\nAt the other end of the spectrum, Béla Tarr’s slow-cinema magnum opus runs (or should I say walks) over seven hours. A grimly unsmiling yet (occasionally) darkly funny rendering of rural Hungarian malaise and ritual, \u003cem>Sátántangó\u003c/em> imagines a society—and a species—in dismal decline and primitive rebirth. To quote from Jason Sanders’ meaty program note, “Tarr’s mesmerizing recreation of an entire world, complete with all of this world’s poetry, despair, horror, and humor … makes it not so much a film as a place to visit, or stay.” Pack a lunch.\u003c/p>\n\u003cfigure id=\"attachment_13880650\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/03_SYS_2560x1440-0x576-c-default.jpg\" alt=\"\" width=\"1024\" height=\"576\" class=\"size-full wp-image-13880650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/03_SYS_2560x1440-0x576-c-default.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/03_SYS_2560x1440-0x576-c-default-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/03_SYS_2560x1440-0x576-c-default-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/03_SYS_2560x1440-0x576-c-default-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/03_SYS_2560x1440-0x576-c-default-1020x574.jpg 1020w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Helena Zengel in ‘System Crasher.’ \u003ccite>(Courtesy kineo Films and Weydemann Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>System Crasher\u003c/em>, 2019\u003c/b>\u003cbr>\n\u003ca href=\"https://www.netflix.com/watch/81071573?\">Netflix\u003c/a>\u003cbr>\nNora Fengscheidt’s debut feature was the runaway winner at the recent German film awards with eight Lolas, including best feature, director and screenplay. Eleven-year-old Helena Zengel took home the best actress trophy for her ferocious portrayal of a screwed-up child (Benni) who charms social workers (and viewers) with the illusion that they’re making progress. Alas, Benni destroys more than illusions. (Fengscheidt’s forthcoming project, starring Sandra Bullock as a parolee adjusting to society, focuses on another of society’s outsiders.)\u003c/p>\n\u003cfigure id=\"attachment_13880651\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/A_Secret_Love_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13880651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/A_Secret_Love_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/A_Secret_Love_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/A_Secret_Love_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/A_Secret_Love_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/A_Secret_Love_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Terry Donahue and Pat Henschel in ‘A Secret Love.’ \u003ccite>(Courtesy Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>A Secret Love\u003c/em>, 2020\u003c/b>\u003cbr>\n\u003ca href=\"https://www.netflix.com/watch/80209024?\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003cbr>\nCanadians Terry Donahue and Pat Henschel met in the late 1940s, a period that coincided with Donahue’s stellar career with the All-American Girls Professional Baseball League. Horsehide junkies will savor that chapter of Chris Bolan’s bracing documentary and wish it was longer. But he has more history to cover—the impossibility of coming out as a lesbian for most of the 20th century, most crucially—as well as the present-day, universal struggles of a no-nonsense Midwestern couple in their 80s. All in all, an incredible, moving love story.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>Dykes, Camera, Action!\u003c/i>, 2018\u003c/b>\u003cbr>\n\u003ca href=\"https://www.roxie.com/dykes-camera-action/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a>\u003cbr>\nCaroline Berler’s talking-heads doc, featuring everyone from Barbara Hammer to Su Friedrich to B. Ruby Rich, is an oral history of the formative years of queer cinema in New York and elsewhere as recounted by the pioneers themselves. Your ticket includes a pre-recorded panel discussion moderated by local filmmaker and maven Jenni Olson.\u003c/p>\n\u003cfigure id=\"attachment_13880653\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/CIRCUSOFBOOKS_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13880653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CIRCUSOFBOOKS_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CIRCUSOFBOOKS_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CIRCUSOFBOOKS_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CIRCUSOFBOOKS_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/CIRCUSOFBOOKS_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Circus of Books.’ \u003ccite>(Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Circus of Books\u003c/em>, 2019\u003c/b>\u003cbr>\n\u003ca href=\"https://www.netflix.com/watch/81011569?\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003cbr>\nThe queer grapevine has no doubt already spread the word about both \u003ci>A Secret Love\u003c/i> and Rachel Mason’s personal doc about the culturally important L.A. purveyor (and producer!) of hardcore gay pornography. The filmmaker’s parents got into the business through happenstance and ended up running it for three decades, keeping the scandalous secret from practically everyone, including their kids and Karen’s synagogue friends. \u003cem>Circus of Books\u003c/em> is never less than entertaining (Jeff Stryker and Larry Flynt make generous appearances) but it needs a jolt of high-stakes drama. The big-deal events—a Poppy Bush-era FBI bust, the AIDS pandemic and one of the Mason kids coming out—are in the past.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>5 Blocks\u003c/i>, 2019\u003c/b>\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/roxie-virtual-cinema-5-blocks-tickets-104338677794?\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a>\u003cbr>\nI’ve touted Dan Goldes’ years-in-the-making doc about the development of Mid-Market in this space on a previous occasion or two. If you haven’t caught up with it yet, it’s streaming via the Roxie’s virtual cinema for a few more days. \u003cem>5 Blocks\u003c/em> is a valuable asset at a time when we’re talking about how to make appropriate use of public spaces—and imagining what they will look like in six months or a year. \u003c/p>\n\u003cfigure id=\"attachment_13880655\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Tale-of-Tales4-1.jpg\" alt=\"\" width=\"500\" height=\"333\" class=\"size-full wp-image-13880655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Tale-of-Tales4-1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Tale-of-Tales4-1-160x107.jpg 160w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Still from Yuri Norstein’s ‘Tale of Tales,’ 1979. \u003ccite>(Courtesy of Kino Klassika)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Tale of Tales\u003c/em>, 1979\u003c/b>\u003cbr>\n\u003ca href=\"https://www.kinoklassikafoundation.org/project/taleoftales/\">Kino Klassika Foundation\u003c/a>\u003cbr>\nI promised you journeys abroad, and here are a couple far off the beaten path. The Kino Klassika Foundation spotlights a wide range of Russian cinema, with a few different titles every week. Yuri Norstein’s half-hour masterpiece of animation, streaming May 19-26, contemplates the immediate and lasting effects of war on the civilian population and the overall society.\u003c/p>\n\u003cfigure id=\"attachment_13880656\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Stark-Fear.jpg\" alt=\"\" width=\"1200\" height=\"630\" class=\"size-full wp-image-13880656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stark-Fear.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stark-Fear-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stark-Fear-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stark-Fear-768x403.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stark-Fear-1020x536.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Beverly Garland and Skip Homeier in ‘Stark Fear.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"https://www.bynwr.com\">BYNWR.com\u003c/a>\u003c/b>\u003cbr>\nDanish director Nicholas Winding Refn (\u003cem>Pusher\u003c/em>, \u003cem>Drive\u003c/em>, \u003cem>The Neon Demon\u003c/em>) is not my cup of bitters, but there’s no question he’s a fellow cinephile. He bills his website as “an unadulterated cultural expressway of the arts.” (Ah, but what’s a little redundancy among friends?) Poke around the various volumes of strange stuff lurking behind the portal, the hours will disappear and your nightmares will be the better for it. Or go straight to the current offering, \u003cem>\u003ca href=\"https://www.bynwr.com/articles/stark-fear-1962\" rel=\"noopener noreferrer\" target=\"_blank\">Stark Fear\u003c/a>\u003c/em> (1962), an obscure Oklahoma noir starring Beverly Garland that marks the lone directorial effort of one Ned Hockman. Good luck finding your way back.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Lockdown Movie Musts: 1960s Domestic Comedies (a.k.a. Horror Films)",
"headTitle": "Lockdown Movie Musts: 1960s Domestic Comedies (a.k.a. Horror Films) | KQED",
"content": "\u003cp>Welcome to week eight of \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">Lockdown Movie Musts\u003c/a>! Featuring weird subgenres of yore that’ll make you go, “Hey! Look at that! Women used to be stuck inside \u003cem>permanently\u003c/em>!”\u003c/p>\n\u003cp>This week, we’re exploring domestic bliss, 1960s-style. We’ve got a marriage movie (1963’s \u003ca href=\"https://www.imdb.com/title/tt0057581/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Thrill of it All\u003c/em>\u003c/a>), a divorce movie (1967’s \u003ca href=\"https://www.imdb.com/title/tt0061581/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Divorce, American Style\u003c/em>\u003c/a>) and a movie about people who have absolutely no idea how to use contraception (\u003cem>\u003ca href=\"https://www.imdb.com/title/tt0063829/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">Yours, Mine and Ours\u003c/a>\u003c/em>).\u003c/p>\n\u003cp>Let’s start with \u003cem>Divorce, American Style\u003c/em>. A caper that exists solely to spread the message that unhappily married people should stay that way, on the grounds that it’s normal to hate your spouse.\u003c/p>\n\u003cp>Allow me to elaborate.\u003c/p>\n\u003cp>Barbara (Debbie Reynolds) and Richard Harmon (Dick Van Dyke) are a couple that have drifted apart. Barbara blames this on Richard’s inability to share his feelings. I would attribute it to his tendency to smash plates and yell about being “a house boy” every time he’s asked to move a plate to the kitchen. (\u003cem>Jesus, 1960s men!\u003c/em>)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sick of bickering, the two decide to divorce. Before the decree absolute comes through, they both start serious relationships with the first humans of the opposite sex they happen to stumble across. (Not so smart, these two.) Most of the film is filled with gross exaggerations about how much men suffer because of alimony payments, and how complicated it is to date divorcees, what with all their previous spouses and children.\u003c/p>\n\u003cp>Naturally, the two eventually get back together. (\u003cem>Groan\u003c/em>.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VYvZpikpljg\u003c/p>\n\u003cp>Here’s what the reconciliation sounds like:\u003c/p>\n\u003cp>\u003cstrong>Richard:\u003c/strong> “The problem is, marriage is work and nobody wants to work.”\u003cbr>\n\u003cstrong>Barbara\u003c/strong>: “The real problem is that line between the sexes. Women are crossing it so much today, it’s being erased… Why resent being the supplier when that’s why you’re in demand in the first place?”\u003c/p>\n\u003cp>The \u003cem>romance\u003c/em>, amirite?!\u003c/p>\n\u003cp>\u003cem>Divorce, American Style\u003c/em>, however, is a dreamscape compared to Doris Day and James Garner hellride, \u003cem>The Thrill of it All\u003c/em>. This is a movie that straight-faced answers the question: “What would happen if \u003ca href=\"https://en.wikipedia.org/wiki/Phyllis_Schlafly\" target=\"_blank\" rel=\"noopener noreferrer\">Phyllis Schlafly\u003c/a> was married to \u003ca href=\"https://en.wikipedia.org/wiki/Norman_Bates\" target=\"_blank\" rel=\"noopener noreferrer\">Norman Bates\u003c/a> but we wanted to make that seem like a \u003cem>good\u003c/em> thing?”\u003c/p>\n\u003cp>Prepare to momentarily stop breathing as I tell you the plot to this “romantic” “comedy.”\u003c/p>\n\u003cp>Beverly Boyer (Doris Day) is the happy housewife of an obstetrician named Gerald (James Garner). Beverly is perfectly presented at all times, to the point that she wears coral lipstick and false eyelashes to bed. Beverly and Gerald have somehow managed to conceive two children despite sleeping in twin beds with a table wedged between them. One day, Beverly accidentally lands herself a job as a spokesperson for Happy Soap (by talking about her bratty kids at a dinner party, naturally). Her husband subsequently spends weeks throwing tantrums, withholding affection, gaslighting and eventually pretending to have an affair until she gives up her job to come back to the kitchen.\u003c/p>\n\u003cp>What a great guy.\u003c/p>\n\u003cp>The happy ending of \u003cem>The Thrill of It All\u003c/em> is a woman giving up a part-time job that pays about half a million dollars a year in 2020 money. Because she’s married to a psychotic man-baby. And, according to this, she apparently likes it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=40KqQt6j5_c&t=4s\u003c/p>\n\u003cp>Did I mention this is supposed to be a romantic comedy?\u003c/p>\n\u003cp>Here’s a “hilarious” snippet of an argument that breaks out when Beverly wants to work:\u003c/p>\n\u003cp>\u003cstrong>Gerald:\u003c/strong> “You have your outside interests and hobbies! You have the PTA and you make your own ketchup! You’ve always said being a doctor’s wife was career enough!”\u003cbr>\n\u003cstrong>Beverly \u003c/strong>\u003cem>(rushing over to reassure him)\u003c/em>\u003cstrong>:\u003c/strong> “You know that I would never consciously go out looking for a job, don’t you? But to have something like this just land in my lap. Honey, honey… It’s only once a week and I won’t let anything interfere with my wifely duties, I promise.”\u003c/p>\n\u003cp>\u003cem>… I just … \u003c/em>\u003c/p>\n\u003cp>In a similar argument later, Beverly shouts “What happened to my rights as a woman?” And Gerald retorts, “They grew and grew until they suffocated my rights as a man!”\u003c/p>\n\u003cp>\u003cem>… cannot with these people …\u003c/em>\u003c/p>\n\u003cp>The following are some other examples of what passes for “romance” and “comedy” in \u003cem>The Thrill of it All\u003c/em>.\u003c/p>\n\u003cp>When Gerald complains that Beverly is at the studio too much, she brings the TV cameras to film at their house—so he loses his mind over that too. When she leaves the children with a nanny to go to a work party, he wakes the nanny up, scares her to the point of her quitting, then blames Beverly. When her employers generously build Beverly a swimming pool in the back yard, Gerald fills it with Happy Soap and destroys half the neighborhood. When Beverly is asked for her autograph at a restaurant, Gerald grabs her arm and drags her out the door.\u003c/p>\n\u003cp>\u003cem>Anyone else feeling hot under the collar from all this sexy, sexy content yet?!\u003c/em>\u003c/p>\n\u003cp>For good measure, there’s also some Marilyn Monroe bullying, a hearty dose of pitting women against each other, and three separate scenes that include the line, “I guess there’s nothing more fulfilling in life than having a baby.”\u003c/p>\n\u003cp>So, yes. \u003cem>The Thrill of It All\u003c/em> is a horror movie.\u003c/p>\n\u003cp>Which brings us to our third pick, 1968’s \u003ca href=\"https://www.imdb.com/title/tt0063829/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Yours, Mine and Ours\u003c/em>\u003c/a>. I expected to hate this comedy for making light of rampant child production—newlyweds Helen and Frank have 18 children between them. But (\u003cem>gasp\u003c/em>) it’s actually funny! Despite being \u003ca href=\"https://www.goodreads.com/book/show/795370.Who_Gets_the_Drumstick_\" target=\"_blank\" rel=\"noopener noreferrer\">based on a true story\u003c/a>! (But try not to think about that part…)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Hq9Q-0e9mBM\u003c/p>\n\u003cp>Sure, there’s a fat-shaming incident, some draft board normalization (like anybody needed that in ’68) and a scene in which someone says, “The navy, like a woman, has a way of changing its mind.” But all the bad stuff is crammed into the last 30 minutes. The first 90 are a quite a delight. That’s largely thanks to the charm, charisma and comedy chops of both Lucille Ball and Henry Fonda—but honestly, even the kids are good in this thing.\u003c/p>\n\u003cp>But in the end, all three of these movies will, in all likelihood, leave you feeling better about your own domestic situation, even during the additional stresses of sheltering in place. But \u003cem>Yours, Mine and Ours\u003c/em> is the only one that comes with wonderful footage of 1960s San Francisco and Alameda. I’d advise you to start there.\u003c/p>\n\u003cp>Until next week, stay safe and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">see here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to week eight of \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">Lockdown Movie Musts\u003c/a>! Featuring weird subgenres of yore that’ll make you go, “Hey! Look at that! Women used to be stuck inside \u003cem>permanently\u003c/em>!”\u003c/p>\n\u003cp>This week, we’re exploring domestic bliss, 1960s-style. We’ve got a marriage movie (1963’s \u003ca href=\"https://www.imdb.com/title/tt0057581/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Thrill of it All\u003c/em>\u003c/a>), a divorce movie (1967’s \u003ca href=\"https://www.imdb.com/title/tt0061581/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Divorce, American Style\u003c/em>\u003c/a>) and a movie about people who have absolutely no idea how to use contraception (\u003cem>\u003ca href=\"https://www.imdb.com/title/tt0063829/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">Yours, Mine and Ours\u003c/a>\u003c/em>).\u003c/p>\n\u003cp>Let’s start with \u003cem>Divorce, American Style\u003c/em>. A caper that exists solely to spread the message that unhappily married people should stay that way, on the grounds that it’s normal to hate your spouse.\u003c/p>\n\u003cp>Allow me to elaborate.\u003c/p>\n\u003cp>Barbara (Debbie Reynolds) and Richard Harmon (Dick Van Dyke) are a couple that have drifted apart. Barbara blames this on Richard’s inability to share his feelings. I would attribute it to his tendency to smash plates and yell about being “a house boy” every time he’s asked to move a plate to the kitchen. (\u003cem>Jesus, 1960s men!\u003c/em>)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sick of bickering, the two decide to divorce. Before the decree absolute comes through, they both start serious relationships with the first humans of the opposite sex they happen to stumble across. (Not so smart, these two.) Most of the film is filled with gross exaggerations about how much men suffer because of alimony payments, and how complicated it is to date divorcees, what with all their previous spouses and children.\u003c/p>\n\u003cp>Naturally, the two eventually get back together. (\u003cem>Groan\u003c/em>.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VYvZpikpljg'\n title='//www.youtube.com/embed/VYvZpikpljg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here’s what the reconciliation sounds like:\u003c/p>\n\u003cp>\u003cstrong>Richard:\u003c/strong> “The problem is, marriage is work and nobody wants to work.”\u003cbr>\n\u003cstrong>Barbara\u003c/strong>: “The real problem is that line between the sexes. Women are crossing it so much today, it’s being erased… Why resent being the supplier when that’s why you’re in demand in the first place?”\u003c/p>\n\u003cp>The \u003cem>romance\u003c/em>, amirite?!\u003c/p>\n\u003cp>\u003cem>Divorce, American Style\u003c/em>, however, is a dreamscape compared to Doris Day and James Garner hellride, \u003cem>The Thrill of it All\u003c/em>. This is a movie that straight-faced answers the question: “What would happen if \u003ca href=\"https://en.wikipedia.org/wiki/Phyllis_Schlafly\" target=\"_blank\" rel=\"noopener noreferrer\">Phyllis Schlafly\u003c/a> was married to \u003ca href=\"https://en.wikipedia.org/wiki/Norman_Bates\" target=\"_blank\" rel=\"noopener noreferrer\">Norman Bates\u003c/a> but we wanted to make that seem like a \u003cem>good\u003c/em> thing?”\u003c/p>\n\u003cp>Prepare to momentarily stop breathing as I tell you the plot to this “romantic” “comedy.”\u003c/p>\n\u003cp>Beverly Boyer (Doris Day) is the happy housewife of an obstetrician named Gerald (James Garner). Beverly is perfectly presented at all times, to the point that she wears coral lipstick and false eyelashes to bed. Beverly and Gerald have somehow managed to conceive two children despite sleeping in twin beds with a table wedged between them. One day, Beverly accidentally lands herself a job as a spokesperson for Happy Soap (by talking about her bratty kids at a dinner party, naturally). Her husband subsequently spends weeks throwing tantrums, withholding affection, gaslighting and eventually pretending to have an affair until she gives up her job to come back to the kitchen.\u003c/p>\n\u003cp>What a great guy.\u003c/p>\n\u003cp>The happy ending of \u003cem>The Thrill of It All\u003c/em> is a woman giving up a part-time job that pays about half a million dollars a year in 2020 money. Because she’s married to a psychotic man-baby. And, according to this, she apparently likes it.\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/40KqQt6j5_c'\n title='//www.youtube.com/embed/40KqQt6j5_c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Did I mention this is supposed to be a romantic comedy?\u003c/p>\n\u003cp>Here’s a “hilarious” snippet of an argument that breaks out when Beverly wants to work:\u003c/p>\n\u003cp>\u003cstrong>Gerald:\u003c/strong> “You have your outside interests and hobbies! You have the PTA and you make your own ketchup! You’ve always said being a doctor’s wife was career enough!”\u003cbr>\n\u003cstrong>Beverly \u003c/strong>\u003cem>(rushing over to reassure him)\u003c/em>\u003cstrong>:\u003c/strong> “You know that I would never consciously go out looking for a job, don’t you? But to have something like this just land in my lap. Honey, honey… It’s only once a week and I won’t let anything interfere with my wifely duties, I promise.”\u003c/p>\n\u003cp>\u003cem>… I just … \u003c/em>\u003c/p>\n\u003cp>In a similar argument later, Beverly shouts “What happened to my rights as a woman?” And Gerald retorts, “They grew and grew until they suffocated my rights as a man!”\u003c/p>\n\u003cp>\u003cem>… cannot with these people …\u003c/em>\u003c/p>\n\u003cp>The following are some other examples of what passes for “romance” and “comedy” in \u003cem>The Thrill of it All\u003c/em>.\u003c/p>\n\u003cp>When Gerald complains that Beverly is at the studio too much, she brings the TV cameras to film at their house—so he loses his mind over that too. When she leaves the children with a nanny to go to a work party, he wakes the nanny up, scares her to the point of her quitting, then blames Beverly. When her employers generously build Beverly a swimming pool in the back yard, Gerald fills it with Happy Soap and destroys half the neighborhood. When Beverly is asked for her autograph at a restaurant, Gerald grabs her arm and drags her out the door.\u003c/p>\n\u003cp>\u003cem>Anyone else feeling hot under the collar from all this sexy, sexy content yet?!\u003c/em>\u003c/p>\n\u003cp>For good measure, there’s also some Marilyn Monroe bullying, a hearty dose of pitting women against each other, and three separate scenes that include the line, “I guess there’s nothing more fulfilling in life than having a baby.”\u003c/p>\n\u003cp>So, yes. \u003cem>The Thrill of It All\u003c/em> is a horror movie.\u003c/p>\n\u003cp>Which brings us to our third pick, 1968’s \u003ca href=\"https://www.imdb.com/title/tt0063829/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Yours, Mine and Ours\u003c/em>\u003c/a>. I expected to hate this comedy for making light of rampant child production—newlyweds Helen and Frank have 18 children between them. But (\u003cem>gasp\u003c/em>) it’s actually funny! Despite being \u003ca href=\"https://www.goodreads.com/book/show/795370.Who_Gets_the_Drumstick_\" target=\"_blank\" rel=\"noopener noreferrer\">based on a true story\u003c/a>! (But try not to think about that part…)\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/Hq9Q-0e9mBM'\n title='//www.youtube.com/embed/Hq9Q-0e9mBM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sure, there’s a fat-shaming incident, some draft board normalization (like anybody needed that in ’68) and a scene in which someone says, “The navy, like a woman, has a way of changing its mind.” But all the bad stuff is crammed into the last 30 minutes. The first 90 are a quite a delight. That’s largely thanks to the charm, charisma and comedy chops of both Lucille Ball and Henry Fonda—but honestly, even the kids are good in this thing.\u003c/p>\n\u003cp>But in the end, all three of these movies will, in all likelihood, leave you feeling better about your own domestic situation, even during the additional stresses of sheltering in place. But \u003cem>Yours, Mine and Ours\u003c/em> is the only one that comes with wonderful footage of 1960s San Francisco and Alameda. I’d advise you to start there.\u003c/p>\n\u003cp>Until next week, stay safe and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">see here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "its-still-raining-game-in-northern-california",
"title": "It's Still Raining Game in Northern California",
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"headTitle": "It’s Still Raining Game in Northern California | KQED",
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"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\">I\u003c/span>f there’s one thing I’ve learned in the past two months, it’s that a worldwide pandemic can’t stifle the artists of Northern California. Which makes sense—it’s one of the most innovative places on the planet. Creativity is in our cellular membranes and the culture pulses through our veins. Plus, the rent is too damn high to quit.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Let’s start with the well-known names. This past weekend, Oakland’s own \u003cstrong>Kehlani\u003c/strong> hit No. 1 on the Apple Music charts with her latest album, \u003cem>It Was Good Until It Wasn’t\u003c/em>. As the project took off, Kehlani made videos in quarantine and took to Twitter sharing intimate details of her experience to promote the album. It was something she had to do—otherwise, citing the coronavirus, \u003ca href=\"https://pitchfork.com/thepitch/kehlani-it-was-good-until-it-wasnt-album-cover-interview/?mbid=social_facebook&utm_source=facebook&utm_social-type=owned&utm_brand=p4k&utm_medium=social&utm_source=twitter&utm_brand=p4k&mbid=social_twitter&utm_medium=social&utm_social-type=owned\" target=\"_blank\" rel=\"noopener noreferrer\">her label would’ve postponed the release of her album\u003c/a>.\u003c/p>\n\u003cp>Just a few days before that, Sacramento’s \u003cstrong>Mozzy\u003c/strong> dropped \u003cem>Beyond Bulletproof.\u003c/em> He’d recently broadcasted a series of \u003ca href=\"https://www.youtube.com/watch?v=ZAVuUtxc5fg&feature=emb_title\">public therapy sessions\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13880011/mozzys-new-album-processes-trauma-incarceration-by-documenting-his-healing\">initially dropped the album through JPay\u003c/a>—a service for incarcerated folks—a week before the album’s general release. On top of that, he did an interview with Rap Radar’s \u003ca href=\"https://www.instagram.com/tv/B_xsftpHAQn/?utm_source=ig_web_copy_link\">Elliott Wilson\u003c/a>. Active on the internet, in the streets and behind bars.\u003c/p>\n\u003cp>The Bay’s even getting active in television. Check the soundtrack for this season of \u003cem>Insecure\u003c/em>, which features previously released music from \u003ca href=\"https://twitter.com/LilSnickerfoot/status/1252642870319702016?s=20\">\u003cstrong>Michael Sneed\u003c/strong>\u003c/a> in one episode and \u003ca href=\"https://twitter.com/kamaiyah/status/1259701062908252160?s=20\">\u003cstrong>Kamaiyah\u003c/strong>\u003c/a> in another. And, of course, the Bay’s own \u003ca href=\"https://www.instagram.com/p/B_x8IAsJaGc/\">\u003cstrong>Nijla Mu’min\u003c/strong>\u003c/a> directed \u003cem>Insecure\u003c/em>‘s fourth episode from this season.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pReD5WRO3vI\u003c/p>\n\u003cp>As for getting active in Hollywood, check Netflix’s \u003ca href=\"https://variety.com/2020/film/reviews/all-day-and-a-night-review-ashton-sanders-1234593865/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>All Day and A Night\u003c/em>\u003c/a>. The story of an aspiring rapper from Oakland, the film has star power from Oakland’s \u003cstrong>Yahya Abdul-Mateen II\u003c/strong> and a bunch of cameos from Northern California folks, including members of the dance crew \u003cstrong>Turf Fiendz\u003c/strong> and Oakland’s \u003cstrong>Rolanda D. Bell\u003c/strong>. The film was written by San Francisco’s \u003cstrong>Joe Robert Cole\u003c/strong>, was filmed in Oakland and Alameda, and \u003ca href=\"https://www.youtube.com/playlist?list=PL09XmXSlwDoreuB74JlQD-a4KfsTVvxie\">its soundtrack\u003c/a> features \u003cstrong>Tia Nomore, SOBxRBE, Paris,\u003c/strong> the \u003cstrong>Conscious Daughters, P-Lo, Mac Dre\u003c/strong> and more.\u003c/p>\n\u003cp>And then there’s \u003cstrong>Kool John\u003c/strong>, who’s also featured on the aforementioned soundtrack. The Richmond artist was recently shot six times during a robbery, recovered, and \u003ca href=\"https://twitter.com/K00LJ0HN/status/1257490570995331073?s=20\">hopped on Twitter to remix a Tupac quote to fit to his situation\u003c/a>.\u003c/p>\n\u003cp>Further evidence that despite catastrophic circumstances, we don’t know how to stop.\u003c/p>\n\u003cfigure id=\"attachment_13880487\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880487\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-800x800.jpg\" alt=\"Nappy Nina's 30 Bag album cover\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs.jpg 2048w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nappy Nina’s ’30 Bag’ album cover. \u003ccite>(Nappy Nina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\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\">F\u003c/span>or artists in the Northern California, being creative is damn near synonymous with breathing. Even when we leave our region, we carry it with us. Ask Oakland’s own \u003cstrong>Nappy Nina\u003c/strong>, who’s currently living in New York and bringing heat to all the \u003ca href=\"https://twitter.com/Nappy_Nina/status/1259252529814265860?s=20\">MENcees\u003c/a> out there. Nappy Nina’s latest project \u003cem>\u003ca href=\"https://nappynina.lnk.to/30Bag\">30 Bag\u003c/a>\u003c/em>, full of quality vibes and strategic wordplay, dropped on her 30th birthday.\u003c/p>\n\u003cfigure id=\"attachment_13880374\" class=\"wp-caption alignright\" style=\"max-width: 238px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13880374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw.jpg\" alt=\"Drew Banga by Stoni\" width=\"238\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw.jpg 621w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw-160x232.jpg 160w\" sizes=\"(max-width: 238px) 100vw, 238px\">\u003cfigcaption class=\"wp-caption-text\">Drew Banga by Stoni. \u003ccite>(Stoni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Need that more twang in your tunes? On Texas rapper \u003cstrong>Siddiq\u003c/strong>’s latest album, \u003ca href=\"https://li.sten.to/SlideMusic\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Slide Music\u003c/em>\u003c/a>, his southern delivery pairs well with the production of Oakland’s \u003cstrong>1-O.A.K.\u003c/strong>, Alameda’s \u003cstrong>Trackademicks\u003c/strong> and the rest of the HNRL crew—\u003ca href=\"https://www.npr.org/sections/allsongs/2020/05/11/853575718/heat-check-shook-up-shook-down-shook-out\" target=\"_blank\" rel=\"noopener noreferrer\">even NPR thinks so\u003c/a>. The track that caught my ear is “Wantanabe,” produced by Oakland’s \u003cstrong>Drew Banga\u003c/strong>.\u003c/p>\n\u003cp>I’ve \u003ca href=\"https://www.kqed.org/arts/13859615/rightnowish-rap-producer-drew-banga-on-music-and-fatherhood\">talked to Banga\u003c/a> on a few occasions, I can assure you he’s a really bright guy. But I’m thoroughly convinced the term “take a break” isn’t in his lexicon.\u003c/p>\n\u003cp>Banga just released a song and dance, “\u003ca href=\"https://twitter.com/DrewwwBanga/status/1258847454583091201?s=20\">G-Step\u003c/a>,” with San Francisco’s \u003cstrong>Jordan “Stunnaman02” Gomes\u003c/strong>. Banga then turned around and announced he’s got an upcoming project with Oakland lyricist \u003cstrong>Stoni\u003c/strong> called \u003cem>Ferrari Fawcet\u003c/em>, set to drop in July. Evidently, Stoni isn’t familiar with slowing down either, as she’s been occupying her time by \u003ca href=\"https://twitter.com/CallHerStoni/status/1251240115227123714?s=20\">drawing folks\u003c/a> on commission—she’s done over 20 pieces.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pReD5WRO3vI\u003c/p>\n\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\">O\u003c/span>ne of the silver linings of this downtime is the ability to get familiar with artists I should’ve been listening to. For example, San Francisco’s \u003cstrong>Troy LLF\u003c/strong>, who just released \u003ca href=\"https://soundcloud.com/troyllf\">\u003cem>Til Death Do Us Part II\u003c/em>. \u003c/a>Troy LLF’s mature lyrical approach is a great counterbalance to the party music our region’s often associated with.\u003c/p>\n\u003cp>Another artist who’s newly on my radar is Oakland’s \u003cstrong>Mahawam\u003c/strong>. I couldn’t help but notice Mahawam’s recent video for, “\u003ca href=\"https://www.youtube.com/watch?v=pReD5WRO3vI\">HOPING NO ONE NOTICE\u003c/a>.” And if you like that trippy-hop vibe, I’d suggest checking out the work of \u003cstrong>MH the Verb\u003c/strong>, who calls Oakland home now but is originally from New York by way of Philly. The new 420-friendly video for his song “\u003ca href=\"https://www.instagram.com/tv/B_NbXTSFLPN/?utm_source=ig_web_copy_link\">Birthstones\u003c/a>” is a great introduction to his lyrical space odyssey of an album, \u003cem>\u003ca href=\"https://ffm.to/spaceninja\">Afronaut\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Need more vibes? Check out \u003ca href=\"https://www.ashiakarana.com/\">\u003cstrong>Ashia Karana\u003c/strong>\u003c/a>—she grew up between New Jersey and Atlanta, but came to the Bay to study sound healing. The people she met influenced her so much that the cover art for her new project, \u003cem>Trust\u003c/em>, is done by Bay Area singer, songwriter and graphic designer \u003ca href=\"https://www.instagram.com/stoneycreation/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Stoney\u003c/strong>\u003c/a>. (No relation to the aforementioned Stoni.) I listened to Ashia’s project twice last weekend, and ended up on the floor of my apartment holding a staring contest with the ceiling. I won.\u003c/p>\n\u003cp>https://youtu.be/e1U-t277yXE\u003c/p>\n\u003cp>Another mention along those vibe lines: Oakland’s \u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Jada Imani\u003c/strong>\u003c/a> dropped a new atmospheric single while sheltering in place, called “\u003ca href=\"https://jadaimani.bandcamp.com/track/i-think-that-i-am\" target=\"_blank\" rel=\"noopener noreferrer\">I Think That I Am\u003c/a>.”\u003c/p>\n\u003cp>Need more of that romantic R&B feel in your life? The new single from Union City’s \u003ca href=\"https://twitter.com/larrenwong\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>LarrenWong\u003c/strong>\u003c/a>, “\u003ca href=\"https://twitter.com/larrenwong/status/1253575585583861760?s=20\">Out My Way\u003c/a>,” almost made me text an ex. But then the pure vocals from Oakland’s \u003cstrong>Dom Jones\u003c/strong>, on her latest single “\u003ca href=\"https://distrokid.com/hyperfollow/domjones/crazytown\" target=\"_blank\" rel=\"noopener noreferrer\">Crazy Town\u003c/a>,” reminded me to put my phone down.\u003c/p>\n\u003cp>Soon after that, I was told to remain focused on my craft by an elder statesman, Vallejo’s \u003cstrong>E-40\u003c/strong>. He just dropped \u003cem>\u003ca href=\"https://twitter.com/E40/status/1259646488428212224?s=20\">The Curb Commentator\u003c/a>\u003c/em>, the first of a four-part EP series scheduled to drop throughout the year.\u003c/p>\n\u003cp>I repeat: E-40’s releasing a \u003cem>four-part project\u003c/em> this year, and he’s 52 years old. What’s your excuse?\u003c/p>\n\u003cfigure id=\"attachment_13880470\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880470\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b.jpg\" alt=\"Cruise USA, Larry June and Cardo's latest project\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cruise USA, Larry June and Cardo’s latest project. \u003ccite>(Larry June)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\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\">S\u003c/span>omeone with a similar consistency and penchant for putting real-spill over dope beats is San Francisco’s \u003cstrong>Larry June\u003c/strong>. I honestly didn’t know he even dropped a project last week until I started writing this article. I checked his Twitter, just because dude drops a new project every time the fog comes in over the Golden Gate, and sure enough, his latest project \u003cem>\u003ca href=\"https://twitter.com/LarryJuneTFM/status/1258943562248421378?s=20\">Cruise USA\u003c/a>\u003c/em> is on all platforms.\u003c/p>\n\u003cp>A good example of an “I’m not letting COVID stop my artistic flow,” is Allen “\u003ca href=\"https://www.instagram.com/LooveMoore2020/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Loove Moore\u003c/strong>\u003c/a>” Moore. He’s from West Oakland—specifically, Acorn–and he’s a musician, multimedia maker and a self-proclaimed introvert who’s found solace in creating a safe place for others to be themselves. That space was a weekly talent showcase called “\u003ca href=\"https://www.instagram.com/LooveAtTheLake/\" target=\"_blank\" rel=\"noopener noreferrer\">Loove at the Lake\u003c/a>.” Last year, in its first year of operation, it was featured in the \u003ca href=\"https://projects.sfchronicle.com/2019/visuals/lake-merritt-backyard/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>But now that people aren’t (supposed to be) gathering en masse, he’s spending his time shooting and editing videos for the music he’s continually making. How’s he staying inspired?\u003c/p>\n\u003cp>“I march to my own understanding of life,” Loove Moore told me during a phone call, sitting outside of a studio working on a podcast. “I feel like self-expression is needed, so I don’t explode.”\u003c/p>\n\u003cp>He says it’s not just the resilient mentality that comes with being raised in West Oakland, but “the spirit” from the black church that has pushed his artistic endeavors. And now, he creates something new, constantly. When asked what the key to it all is, he simply says: “I just participate in life, bro.”\u003c/p>\n\u003cp>And it’s as simple as that for some of us. Creating is just how we participate in life.\u003c/p>\n\u003cfigure id=\"attachment_13880517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880517\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/LoveMoore-800x533.jpg\" alt=\"LoveMoore.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Loove Moore. \u003ccite>(Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\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\">H\u003c/span>ats off to the artists from this region who haven’t stopped creating. To those who’ve been sitting on work and finally dropped it, as well as those who’ve used this time in isolation to get creative.\u003c/p>\n\u003cp>I’m looking forward to the work of Class of 2020 high school graduate (and future NYU student) \u003ca href=\"https://www.instagram.com/official.jwalt/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>J.Walt\u003c/strong>\u003c/a>, who’s dropping a project called \u003cem>Yours Truly\u003c/em> this weekend.\u003c/p>\n\u003cp>Keeping an eye as well on East Bay lyricist \u003ca href=\"https://www.instagram.com/tv/CAIso0bggWP/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Ruby Ibarra\u003c/strong>\u003c/a>, who just dropped a new video this week and is guaranteed to be working on more.\u003c/p>\n\u003cp>Berkeley’s \u003cstrong>Caleborate\u003c/strong> also dropped a five-track project called “\u003ca href=\"http://ffm.to/sparksinthestudio\" target=\"_blank\" rel=\"noopener noreferrer\">Sparks In The Studio\u003c/a>,” just this week. I’ve yet to listen to it, but given what I know of the guy’s work, it’ll be worthwhile.\u003c/p>\n\u003cp>Fellow Berkeleyite \u003ca href=\"https://twitter.com/RexxLifeRaj/status/1260401866661232640?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Rexx Life Raj\u003c/strong>\u003c/a> announced a new video coming Friday. I’ll watch that in tandem with \u003ca href=\"https://twitter.com/kamaiyah/status/1260646823082905600?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah’s latest song\u003c/a>, as she’s just announced that she’s dropping new music every Friday, starting this week.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As a consumer and fan, I want to thank y’all for your art. It’s needed all the time, and especially right now.\u003c/p>\n\n",
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"excerpt": "A worldwide pandemic can’t stifle musicians, filmmakers, rappers and artists in the Bay Area.",
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"title": "It's Still Raining Game in Northern California | KQED",
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"headline": "It's Still Raining Game in Northern California",
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"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\">I\u003c/span>f there’s one thing I’ve learned in the past two months, it’s that a worldwide pandemic can’t stifle the artists of Northern California. Which makes sense—it’s one of the most innovative places on the planet. Creativity is in our cellular membranes and the culture pulses through our veins. Plus, the rent is too damn high to quit.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Let’s start with the well-known names. This past weekend, Oakland’s own \u003cstrong>Kehlani\u003c/strong> hit No. 1 on the Apple Music charts with her latest album, \u003cem>It Was Good Until It Wasn’t\u003c/em>. As the project took off, Kehlani made videos in quarantine and took to Twitter sharing intimate details of her experience to promote the album. It was something she had to do—otherwise, citing the coronavirus, \u003ca href=\"https://pitchfork.com/thepitch/kehlani-it-was-good-until-it-wasnt-album-cover-interview/?mbid=social_facebook&utm_source=facebook&utm_social-type=owned&utm_brand=p4k&utm_medium=social&utm_source=twitter&utm_brand=p4k&mbid=social_twitter&utm_medium=social&utm_social-type=owned\" target=\"_blank\" rel=\"noopener noreferrer\">her label would’ve postponed the release of her album\u003c/a>.\u003c/p>\n\u003cp>Just a few days before that, Sacramento’s \u003cstrong>Mozzy\u003c/strong> dropped \u003cem>Beyond Bulletproof.\u003c/em> He’d recently broadcasted a series of \u003ca href=\"https://www.youtube.com/watch?v=ZAVuUtxc5fg&feature=emb_title\">public therapy sessions\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13880011/mozzys-new-album-processes-trauma-incarceration-by-documenting-his-healing\">initially dropped the album through JPay\u003c/a>—a service for incarcerated folks—a week before the album’s general release. On top of that, he did an interview with Rap Radar’s \u003ca href=\"https://www.instagram.com/tv/B_xsftpHAQn/?utm_source=ig_web_copy_link\">Elliott Wilson\u003c/a>. Active on the internet, in the streets and behind bars.\u003c/p>\n\u003cp>The Bay’s even getting active in television. Check the soundtrack for this season of \u003cem>Insecure\u003c/em>, which features previously released music from \u003ca href=\"https://twitter.com/LilSnickerfoot/status/1252642870319702016?s=20\">\u003cstrong>Michael Sneed\u003c/strong>\u003c/a> in one episode and \u003ca href=\"https://twitter.com/kamaiyah/status/1259701062908252160?s=20\">\u003cstrong>Kamaiyah\u003c/strong>\u003c/a> in another. And, of course, the Bay’s own \u003ca href=\"https://www.instagram.com/p/B_x8IAsJaGc/\">\u003cstrong>Nijla Mu’min\u003c/strong>\u003c/a> directed \u003cem>Insecure\u003c/em>‘s fourth episode from this season.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pReD5WRO3vI'\n title='//www.youtube.com/embed/pReD5WRO3vI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As for getting active in Hollywood, check Netflix’s \u003ca href=\"https://variety.com/2020/film/reviews/all-day-and-a-night-review-ashton-sanders-1234593865/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>All Day and A Night\u003c/em>\u003c/a>. The story of an aspiring rapper from Oakland, the film has star power from Oakland’s \u003cstrong>Yahya Abdul-Mateen II\u003c/strong> and a bunch of cameos from Northern California folks, including members of the dance crew \u003cstrong>Turf Fiendz\u003c/strong> and Oakland’s \u003cstrong>Rolanda D. Bell\u003c/strong>. The film was written by San Francisco’s \u003cstrong>Joe Robert Cole\u003c/strong>, was filmed in Oakland and Alameda, and \u003ca href=\"https://www.youtube.com/playlist?list=PL09XmXSlwDoreuB74JlQD-a4KfsTVvxie\">its soundtrack\u003c/a> features \u003cstrong>Tia Nomore, SOBxRBE, Paris,\u003c/strong> the \u003cstrong>Conscious Daughters, P-Lo, Mac Dre\u003c/strong> and more.\u003c/p>\n\u003cp>And then there’s \u003cstrong>Kool John\u003c/strong>, who’s also featured on the aforementioned soundtrack. The Richmond artist was recently shot six times during a robbery, recovered, and \u003ca href=\"https://twitter.com/K00LJ0HN/status/1257490570995331073?s=20\">hopped on Twitter to remix a Tupac quote to fit to his situation\u003c/a>.\u003c/p>\n\u003cp>Further evidence that despite catastrophic circumstances, we don’t know how to stop.\u003c/p>\n\u003cfigure id=\"attachment_13880487\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880487\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-800x800.jpg\" alt=\"Nappy Nina's 30 Bag album cover\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs.jpg 2048w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nappy Nina’s ’30 Bag’ album cover. \u003ccite>(Nappy Nina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\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\">F\u003c/span>or artists in the Northern California, being creative is damn near synonymous with breathing. Even when we leave our region, we carry it with us. Ask Oakland’s own \u003cstrong>Nappy Nina\u003c/strong>, who’s currently living in New York and bringing heat to all the \u003ca href=\"https://twitter.com/Nappy_Nina/status/1259252529814265860?s=20\">MENcees\u003c/a> out there. Nappy Nina’s latest project \u003cem>\u003ca href=\"https://nappynina.lnk.to/30Bag\">30 Bag\u003c/a>\u003c/em>, full of quality vibes and strategic wordplay, dropped on her 30th birthday.\u003c/p>\n\u003cfigure id=\"attachment_13880374\" class=\"wp-caption alignright\" style=\"max-width: 238px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13880374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw.jpg\" alt=\"Drew Banga by Stoni\" width=\"238\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw.jpg 621w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw-160x232.jpg 160w\" sizes=\"(max-width: 238px) 100vw, 238px\">\u003cfigcaption class=\"wp-caption-text\">Drew Banga by Stoni. \u003ccite>(Stoni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Need that more twang in your tunes? On Texas rapper \u003cstrong>Siddiq\u003c/strong>’s latest album, \u003ca href=\"https://li.sten.to/SlideMusic\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Slide Music\u003c/em>\u003c/a>, his southern delivery pairs well with the production of Oakland’s \u003cstrong>1-O.A.K.\u003c/strong>, Alameda’s \u003cstrong>Trackademicks\u003c/strong> and the rest of the HNRL crew—\u003ca href=\"https://www.npr.org/sections/allsongs/2020/05/11/853575718/heat-check-shook-up-shook-down-shook-out\" target=\"_blank\" rel=\"noopener noreferrer\">even NPR thinks so\u003c/a>. The track that caught my ear is “Wantanabe,” produced by Oakland’s \u003cstrong>Drew Banga\u003c/strong>.\u003c/p>\n\u003cp>I’ve \u003ca href=\"https://www.kqed.org/arts/13859615/rightnowish-rap-producer-drew-banga-on-music-and-fatherhood\">talked to Banga\u003c/a> on a few occasions, I can assure you he’s a really bright guy. But I’m thoroughly convinced the term “take a break” isn’t in his lexicon.\u003c/p>\n\u003cp>Banga just released a song and dance, “\u003ca href=\"https://twitter.com/DrewwwBanga/status/1258847454583091201?s=20\">G-Step\u003c/a>,” with San Francisco’s \u003cstrong>Jordan “Stunnaman02” Gomes\u003c/strong>. Banga then turned around and announced he’s got an upcoming project with Oakland lyricist \u003cstrong>Stoni\u003c/strong> called \u003cem>Ferrari Fawcet\u003c/em>, set to drop in July. Evidently, Stoni isn’t familiar with slowing down either, as she’s been occupying her time by \u003ca href=\"https://twitter.com/CallHerStoni/status/1251240115227123714?s=20\">drawing folks\u003c/a> on commission—she’s done over 20 pieces.\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/pReD5WRO3vI'\n title='//www.youtube.com/embed/pReD5WRO3vI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\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\">O\u003c/span>ne of the silver linings of this downtime is the ability to get familiar with artists I should’ve been listening to. For example, San Francisco’s \u003cstrong>Troy LLF\u003c/strong>, who just released \u003ca href=\"https://soundcloud.com/troyllf\">\u003cem>Til Death Do Us Part II\u003c/em>. \u003c/a>Troy LLF’s mature lyrical approach is a great counterbalance to the party music our region’s often associated with.\u003c/p>\n\u003cp>Another artist who’s newly on my radar is Oakland’s \u003cstrong>Mahawam\u003c/strong>. I couldn’t help but notice Mahawam’s recent video for, “\u003ca href=\"https://www.youtube.com/watch?v=pReD5WRO3vI\">HOPING NO ONE NOTICE\u003c/a>.” And if you like that trippy-hop vibe, I’d suggest checking out the work of \u003cstrong>MH the Verb\u003c/strong>, who calls Oakland home now but is originally from New York by way of Philly. The new 420-friendly video for his song “\u003ca href=\"https://www.instagram.com/tv/B_NbXTSFLPN/?utm_source=ig_web_copy_link\">Birthstones\u003c/a>” is a great introduction to his lyrical space odyssey of an album, \u003cem>\u003ca href=\"https://ffm.to/spaceninja\">Afronaut\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Need more vibes? Check out \u003ca href=\"https://www.ashiakarana.com/\">\u003cstrong>Ashia Karana\u003c/strong>\u003c/a>—she grew up between New Jersey and Atlanta, but came to the Bay to study sound healing. The people she met influenced her so much that the cover art for her new project, \u003cem>Trust\u003c/em>, is done by Bay Area singer, songwriter and graphic designer \u003ca href=\"https://www.instagram.com/stoneycreation/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Stoney\u003c/strong>\u003c/a>. (No relation to the aforementioned Stoni.) I listened to Ashia’s project twice last weekend, and ended up on the floor of my apartment holding a staring contest with the ceiling. I won.\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/e1U-t277yXE'\n title='//www.youtube.com/embed/e1U-t277yXE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Another mention along those vibe lines: Oakland’s \u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Jada Imani\u003c/strong>\u003c/a> dropped a new atmospheric single while sheltering in place, called “\u003ca href=\"https://jadaimani.bandcamp.com/track/i-think-that-i-am\" target=\"_blank\" rel=\"noopener noreferrer\">I Think That I Am\u003c/a>.”\u003c/p>\n\u003cp>Need more of that romantic R&B feel in your life? The new single from Union City’s \u003ca href=\"https://twitter.com/larrenwong\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>LarrenWong\u003c/strong>\u003c/a>, “\u003ca href=\"https://twitter.com/larrenwong/status/1253575585583861760?s=20\">Out My Way\u003c/a>,” almost made me text an ex. But then the pure vocals from Oakland’s \u003cstrong>Dom Jones\u003c/strong>, on her latest single “\u003ca href=\"https://distrokid.com/hyperfollow/domjones/crazytown\" target=\"_blank\" rel=\"noopener noreferrer\">Crazy Town\u003c/a>,” reminded me to put my phone down.\u003c/p>\n\u003cp>Soon after that, I was told to remain focused on my craft by an elder statesman, Vallejo’s \u003cstrong>E-40\u003c/strong>. He just dropped \u003cem>\u003ca href=\"https://twitter.com/E40/status/1259646488428212224?s=20\">The Curb Commentator\u003c/a>\u003c/em>, the first of a four-part EP series scheduled to drop throughout the year.\u003c/p>\n\u003cp>I repeat: E-40’s releasing a \u003cem>four-part project\u003c/em> this year, and he’s 52 years old. What’s your excuse?\u003c/p>\n\u003cfigure id=\"attachment_13880470\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880470\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b.jpg\" alt=\"Cruise USA, Larry June and Cardo's latest project\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cruise USA, Larry June and Cardo’s latest project. \u003ccite>(Larry June)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\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\">S\u003c/span>omeone with a similar consistency and penchant for putting real-spill over dope beats is San Francisco’s \u003cstrong>Larry June\u003c/strong>. I honestly didn’t know he even dropped a project last week until I started writing this article. I checked his Twitter, just because dude drops a new project every time the fog comes in over the Golden Gate, and sure enough, his latest project \u003cem>\u003ca href=\"https://twitter.com/LarryJuneTFM/status/1258943562248421378?s=20\">Cruise USA\u003c/a>\u003c/em> is on all platforms.\u003c/p>\n\u003cp>A good example of an “I’m not letting COVID stop my artistic flow,” is Allen “\u003ca href=\"https://www.instagram.com/LooveMoore2020/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Loove Moore\u003c/strong>\u003c/a>” Moore. He’s from West Oakland—specifically, Acorn–and he’s a musician, multimedia maker and a self-proclaimed introvert who’s found solace in creating a safe place for others to be themselves. That space was a weekly talent showcase called “\u003ca href=\"https://www.instagram.com/LooveAtTheLake/\" target=\"_blank\" rel=\"noopener noreferrer\">Loove at the Lake\u003c/a>.” Last year, in its first year of operation, it was featured in the \u003ca href=\"https://projects.sfchronicle.com/2019/visuals/lake-merritt-backyard/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>But now that people aren’t (supposed to be) gathering en masse, he’s spending his time shooting and editing videos for the music he’s continually making. How’s he staying inspired?\u003c/p>\n\u003cp>“I march to my own understanding of life,” Loove Moore told me during a phone call, sitting outside of a studio working on a podcast. “I feel like self-expression is needed, so I don’t explode.”\u003c/p>\n\u003cp>He says it’s not just the resilient mentality that comes with being raised in West Oakland, but “the spirit” from the black church that has pushed his artistic endeavors. And now, he creates something new, constantly. When asked what the key to it all is, he simply says: “I just participate in life, bro.”\u003c/p>\n\u003cp>And it’s as simple as that for some of us. Creating is just how we participate in life.\u003c/p>\n\u003cfigure id=\"attachment_13880517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880517\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/LoveMoore-800x533.jpg\" alt=\"LoveMoore.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Loove Moore. \u003ccite>(Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\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\">H\u003c/span>ats off to the artists from this region who haven’t stopped creating. To those who’ve been sitting on work and finally dropped it, as well as those who’ve used this time in isolation to get creative.\u003c/p>\n\u003cp>I’m looking forward to the work of Class of 2020 high school graduate (and future NYU student) \u003ca href=\"https://www.instagram.com/official.jwalt/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>J.Walt\u003c/strong>\u003c/a>, who’s dropping a project called \u003cem>Yours Truly\u003c/em> this weekend.\u003c/p>\n\u003cp>Keeping an eye as well on East Bay lyricist \u003ca href=\"https://www.instagram.com/tv/CAIso0bggWP/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Ruby Ibarra\u003c/strong>\u003c/a>, who just dropped a new video this week and is guaranteed to be working on more.\u003c/p>\n\u003cp>Berkeley’s \u003cstrong>Caleborate\u003c/strong> also dropped a five-track project called “\u003ca href=\"http://ffm.to/sparksinthestudio\" target=\"_blank\" rel=\"noopener noreferrer\">Sparks In The Studio\u003c/a>,” just this week. I’ve yet to listen to it, but given what I know of the guy’s work, it’ll be worthwhile.\u003c/p>\n\u003cp>Fellow Berkeleyite \u003ca href=\"https://twitter.com/RexxLifeRaj/status/1260401866661232640?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Rexx Life Raj\u003c/strong>\u003c/a> announced a new video coming Friday. I’ll watch that in tandem with \u003ca href=\"https://twitter.com/kamaiyah/status/1260646823082905600?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah’s latest song\u003c/a>, as she’s just announced that she’s dropping new music every Friday, starting this week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a consumer and fan, I want to thank y’all for your art. It’s needed all the time, and especially right now.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Spaceship Earth’ Excavates the Experimental Underpinnings of Biosphere 2",
"headTitle": "‘Spaceship Earth’ Excavates the Experimental Underpinnings of Biosphere 2 | KQED",
"content": "\u003cp>You won’t hear the word “utopia” in \u003cem>Spaceship Earth\u003c/em>, Matt Wolf’s fascinating documentary about the Biosphere 2 experiment that sprang up in the Arizona desert in the late 1980s. That may seem like an odd omission for a film about a communal group of ’60s iconoclasts who bonded through theater, adventure, physical labor and nature.\u003c/p>\n\u003cp>Except that we are told, in a variety of ways and settings, that this particular collection of outsiders, dropouts, savants, scientists and artists valued pragmatism more than idealism. To pick a key example, their definition of sustainability put financial viability on par with environmental success.\u003c/p>\n\u003cp>If you’re getting a sense that \u003cem>Spaceship Earth\u003c/em> has more to say to the start-up generation, puffed-up libertarians and early-career techies than to Summer of Love survivors, you’re right. To put it another way, the ’60s gave birth to more 21st century ideas than outdoor music festivals and legal cannabis.\u003c/p>\n\u003cp>\u003cem>Spaceship Earth\u003c/em> is now streaming via the \u003ca href=\"https://neonrated.vhx.tv/checkout/roxie-theater-presents-spaceship-earth/purchase\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Virtual Cinema\u003c/a>, \u003ca href=\"https://neonrated.vhx.tv/checkout/rialto-cinemas-presents-spaceship-earth/purchase\" target=\"_blank\" rel=\"noopener noreferrer\">Rialto Theaters\u003c/a> and \u003ca href=\"https://bampfa.org/event/spaceship-earth\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For those who weren’t old enough to follow the news in the ’80s, Biosphere 2 was intended as a prototype for a space colony. Eight men and women were sealed inside an enormous, high-tech terrarium—encompassing wilderness, desert and marine areas–with the aim of surviving two full years on the crops they grew, the animals they tended and the oxygen the environment produced. Their job included the collection of massive amounts of data.\u003c/p>\n\u003cp>Following a quick montage about Biosphere 2 to begin the film, \u003cem>Spaceship Earth\u003c/em> doesn’t return to its high-profile central event for some 50 minutes. We’re taken back to the group’s beginnings in San Francisco in the mid-’60s, where so many footloose, creative souls crossed synapses and embarked on life paths rather than career paths.\u003c/p>\n\u003cfigure id=\"attachment_13880167\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200.jpg\" alt=\"\" width=\"1200\" height=\"837\" class=\"size-full wp-image-13880167\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-1020x711.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">John Allen \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>John Allen, a.k.a. Johnny Dolphin, an Oklahoman with hands-on, real-world experience and a Harvard MBA, was the catalyst, ringleader and magnet for an array of talented younger people. They formed the Theater of All Possibilities, sans drugs, and imbued everything they did thereafter with elements of spontaneity and improvisation.\u003c/p>\n\u003cp>One of those first collaborators, Marie Harding, taught herself 16mm filmmaking and steadily documented the next two and a half decades. This remarkable archive provides the wealth of candid images that editor David Teague pairs with contemporary interviews to tell a dynamic, nigh-irresistible story.\u003c/p>\n\u003cp>The merry band decamped to New Mexico in 1969 to start an expansive ranch named Synerga. (They called themselves synergists.) Their influences included R. Buckminster Fuller, and their constructions included one of his oversize geodesic domes.\u003c/p>\n\u003cp>“The magic of the entire enterprise was to always increase the challenge,” recounts one of the half-dozen people from those early days who narrate the film. In that spirit, once the ranch was humming along Allen led the group back to the Bay Area to build an ocean-going ship on the Oakland waterfront.\u003c/p>\n\u003cp>The Heraclitus, as it was christened, sailed around the world throughout the ’70s. (Owen Pallett’s score soars symphonically when the ship takes to San Francisco Bay, and at other high points in the troupe’s journey.) Allen enlisted Fort Worth billionaire and quasi-enlightened environmentalist Ed Bass to invest a chunk of his fossil-fuel fortune in various long-term sustainable ventures—a Kathmandu hotel, a London art gallery, a swath of land in the Australian outback—that the group members built and maintained.\u003c/p>\n\u003cp>The most prominent offspring of this marriage of collaborative expedition, personal exploration and long-term capitalism was Biosphere 2. (Intuitively, Biosphere 1 is Earth.)\u003c/p>\n\u003cfigure id=\"attachment_13880168\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200.jpg\" alt=\"\" width=\"1200\" height=\"807\" class=\"size-full wp-image-13880168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-1020x686.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Biospherian Linda Leigh and tourists. \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the great (and disturbing) things about historical documentaries, particularly those that delve into the recent past, is they reveal how inaccurately we remember—and how little we actually knew at the time—about events that are fixed in our memories. I vaguely recollect the media coverage as a great big smirk about eight people cohabiting (as if Biosphere 2 was MTV’s \u003ci>Real World\u003c/i>) with a hand wave toward the environmental problems (on Earth and, in the near future, in space) that the project was grappling with.\u003c/p>\n\u003cp>Because the documentary devotes its first hour to providing the insider perspective on Allen and company’s various endeavors, we perceive the mainstream media perspective—which arrives just before Biosphere 2’s launch in the form of a tsunami of television segments—as shallow, superficial and sensationalist. Our sympathies aside, the TV coverage is not appreciably different from today’s infotainment recipe.\u003c/p>\n\u003cp>As much time as the film devotes to life inside Biosphere 2, I would have happily spent another 20 minutes under the dome. The chosen eight made a once-in-a-lifetime commitment and sacrifice, at least before the International Space Station began launching in stages later in the 1990s, and there’s lots of vicarious pleasure to be had watching them. And yes, I say that in the midst of a pandemic that has compelled us to seal ourselves in our homes with our families.\u003c/p>\n\u003cfigure id=\"attachment_13880165\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200.jpg\" alt=\"\" width=\"1200\" height=\"1044\" class=\"size-full wp-image-13880165\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-800x696.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-768x668.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-1020x887.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Exteriors of Biosphere 2. \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Spaceship Earth\u003c/em> suggests that the media-generated pressure and expectations on Allen and CEO Margaret Augustine led the duo to be overly secretive in their handling of missteps. It’s never made clear, however, what demands their major investor, Bass, may have had as the months ticked by.\u003c/p>\n\u003cp>Shortly after the eight residents emerged from their two-year shelter in place, Bass booted the top management and brought in a smart, ruthless investment banker. This jarring late-game appearance by Steve Bannon, one of the many disreputable thugs who’s circulated through the White House in the past three years, gives the film a regrettable and irrelevant political association that contributes to the film’s inability to stick the ending.\u003c/p>\n\u003cp>We’re left with a sense of failure and finality centered around Biosphere 2 that is both emotionally and thematically unsatisfying. Allen and his compatriots committed themselves to the possibilities available through mass, unselfish collaboration and viable leaps into the unknown. \u003cem>Spaceship Earth\u003c/em> is a film about the impulse to create openings, for oneself and one’s cohorts, and to embrace whatever risks and rewards result.\u003c/p>\n\u003cp>In an increasingly buttoned-down world, having the guts to seize that kind of freedom is rare and astonishing. And inspiring.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You won’t hear the word “utopia” in \u003cem>Spaceship Earth\u003c/em>, Matt Wolf’s fascinating documentary about the Biosphere 2 experiment that sprang up in the Arizona desert in the late 1980s. That may seem like an odd omission for a film about a communal group of ’60s iconoclasts who bonded through theater, adventure, physical labor and nature.\u003c/p>\n\u003cp>Except that we are told, in a variety of ways and settings, that this particular collection of outsiders, dropouts, savants, scientists and artists valued pragmatism more than idealism. To pick a key example, their definition of sustainability put financial viability on par with environmental success.\u003c/p>\n\u003cp>If you’re getting a sense that \u003cem>Spaceship Earth\u003c/em> has more to say to the start-up generation, puffed-up libertarians and early-career techies than to Summer of Love survivors, you’re right. To put it another way, the ’60s gave birth to more 21st century ideas than outdoor music festivals and legal cannabis.\u003c/p>\n\u003cp>\u003cem>Spaceship Earth\u003c/em> is now streaming via the \u003ca href=\"https://neonrated.vhx.tv/checkout/roxie-theater-presents-spaceship-earth/purchase\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Virtual Cinema\u003c/a>, \u003ca href=\"https://neonrated.vhx.tv/checkout/rialto-cinemas-presents-spaceship-earth/purchase\" target=\"_blank\" rel=\"noopener noreferrer\">Rialto Theaters\u003c/a> and \u003ca href=\"https://bampfa.org/event/spaceship-earth\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For those who weren’t old enough to follow the news in the ’80s, Biosphere 2 was intended as a prototype for a space colony. Eight men and women were sealed inside an enormous, high-tech terrarium—encompassing wilderness, desert and marine areas–with the aim of surviving two full years on the crops they grew, the animals they tended and the oxygen the environment produced. Their job included the collection of massive amounts of data.\u003c/p>\n\u003cp>Following a quick montage about Biosphere 2 to begin the film, \u003cem>Spaceship Earth\u003c/em> doesn’t return to its high-profile central event for some 50 minutes. We’re taken back to the group’s beginnings in San Francisco in the mid-’60s, where so many footloose, creative souls crossed synapses and embarked on life paths rather than career paths.\u003c/p>\n\u003cfigure id=\"attachment_13880167\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200.jpg\" alt=\"\" width=\"1200\" height=\"837\" class=\"size-full wp-image-13880167\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-1020x711.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">John Allen \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>John Allen, a.k.a. Johnny Dolphin, an Oklahoman with hands-on, real-world experience and a Harvard MBA, was the catalyst, ringleader and magnet for an array of talented younger people. They formed the Theater of All Possibilities, sans drugs, and imbued everything they did thereafter with elements of spontaneity and improvisation.\u003c/p>\n\u003cp>One of those first collaborators, Marie Harding, taught herself 16mm filmmaking and steadily documented the next two and a half decades. This remarkable archive provides the wealth of candid images that editor David Teague pairs with contemporary interviews to tell a dynamic, nigh-irresistible story.\u003c/p>\n\u003cp>The merry band decamped to New Mexico in 1969 to start an expansive ranch named Synerga. (They called themselves synergists.) Their influences included R. Buckminster Fuller, and their constructions included one of his oversize geodesic domes.\u003c/p>\n\u003cp>“The magic of the entire enterprise was to always increase the challenge,” recounts one of the half-dozen people from those early days who narrate the film. In that spirit, once the ranch was humming along Allen led the group back to the Bay Area to build an ocean-going ship on the Oakland waterfront.\u003c/p>\n\u003cp>The Heraclitus, as it was christened, sailed around the world throughout the ’70s. (Owen Pallett’s score soars symphonically when the ship takes to San Francisco Bay, and at other high points in the troupe’s journey.) Allen enlisted Fort Worth billionaire and quasi-enlightened environmentalist Ed Bass to invest a chunk of his fossil-fuel fortune in various long-term sustainable ventures—a Kathmandu hotel, a London art gallery, a swath of land in the Australian outback—that the group members built and maintained.\u003c/p>\n\u003cp>The most prominent offspring of this marriage of collaborative expedition, personal exploration and long-term capitalism was Biosphere 2. (Intuitively, Biosphere 1 is Earth.)\u003c/p>\n\u003cfigure id=\"attachment_13880168\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200.jpg\" alt=\"\" width=\"1200\" height=\"807\" class=\"size-full wp-image-13880168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-1020x686.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Biospherian Linda Leigh and tourists. \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the great (and disturbing) things about historical documentaries, particularly those that delve into the recent past, is they reveal how inaccurately we remember—and how little we actually knew at the time—about events that are fixed in our memories. I vaguely recollect the media coverage as a great big smirk about eight people cohabiting (as if Biosphere 2 was MTV’s \u003ci>Real World\u003c/i>) with a hand wave toward the environmental problems (on Earth and, in the near future, in space) that the project was grappling with.\u003c/p>\n\u003cp>Because the documentary devotes its first hour to providing the insider perspective on Allen and company’s various endeavors, we perceive the mainstream media perspective—which arrives just before Biosphere 2’s launch in the form of a tsunami of television segments—as shallow, superficial and sensationalist. Our sympathies aside, the TV coverage is not appreciably different from today’s infotainment recipe.\u003c/p>\n\u003cp>As much time as the film devotes to life inside Biosphere 2, I would have happily spent another 20 minutes under the dome. The chosen eight made a once-in-a-lifetime commitment and sacrifice, at least before the International Space Station began launching in stages later in the 1990s, and there’s lots of vicarious pleasure to be had watching them. And yes, I say that in the midst of a pandemic that has compelled us to seal ourselves in our homes with our families.\u003c/p>\n\u003cfigure id=\"attachment_13880165\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200.jpg\" alt=\"\" width=\"1200\" height=\"1044\" class=\"size-full wp-image-13880165\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-800x696.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-768x668.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-1020x887.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Exteriors of Biosphere 2. \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Spaceship Earth\u003c/em> suggests that the media-generated pressure and expectations on Allen and CEO Margaret Augustine led the duo to be overly secretive in their handling of missteps. It’s never made clear, however, what demands their major investor, Bass, may have had as the months ticked by.\u003c/p>\n\u003cp>Shortly after the eight residents emerged from their two-year shelter in place, Bass booted the top management and brought in a smart, ruthless investment banker. This jarring late-game appearance by Steve Bannon, one of the many disreputable thugs who’s circulated through the White House in the past three years, gives the film a regrettable and irrelevant political association that contributes to the film’s inability to stick the ending.\u003c/p>\n\u003cp>We’re left with a sense of failure and finality centered around Biosphere 2 that is both emotionally and thematically unsatisfying. Allen and his compatriots committed themselves to the possibilities available through mass, unselfish collaboration and viable leaps into the unknown. \u003cem>Spaceship Earth\u003c/em> is a film about the impulse to create openings, for oneself and one’s cohorts, and to embrace whatever risks and rewards result.\u003c/p>\n\u003cp>In an increasingly buttoned-down world, having the guts to seize that kind of freedom is rare and astonishing. And inspiring.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Lockdown Movie Musts: 1960s Creature Features (...But Made By British People)",
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"content": "\u003cp>Welcome to week seven of \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">Lockdown Movie Musts\u003c/a>! Featuring weird subgenres of yore that’ll make you go, “Hey. At least a 3,000-year-old dude isn’t trying to make out with me right now.”\u003c/p>\n\u003cp>This week, we’re crawling through caves, humping in dungeons and howling at the moon with 1960s creature features! … Only they’re all super low-budget and uncomfortably British, on account of my childhood being both of those things.\u003c/p>\n\u003cp>That’s right! I have reached that point in shelter-in-place where I’ve started revisiting Childhood Things in order to feel better. And unfortunately for you, I spent a sizable portion of my first decade on the planet watching “Hammer Horrors”—schlocky creature features made by \u003ca href=\"https://en.wikipedia.org/wiki/Hammer_Film_Productions\" target=\"_blank\" rel=\"noopener noreferrer\">Hammer Film Productions\u003c/a> in ’50s, ’60s and ’70s England. Come along for the ride, won’t you? It’s very bumpy and includes some terrible sound effects. Just like the BART tunnel between Embarcadero and West Oakland. (In case the absence of regularly experiencing that is a void you need filling.)\u003c/p>\n\u003cp>Given the time and the place, we might as well start with the movie with the worst bat PR: 1960’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0053677/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">The Brides of Dracula\u003c/a>.\u003c/em> At its core, this movie is essentially a manual detailing the worst possible decisions you could ever make as a lone female traveler.\u003c/p>\n\u003cp>Here are some of the ones that our “heroine” Marianne makes:\u003c/p>\n\u003col>\n\u003cli>Accepting the offer of free room and board from a mysterious old lady who lives in a castle and looks like \u003ca href=\"https://futurama.fandom.com/wiki/Carol_Miller\" target=\"_blank\" rel=\"noopener noreferrer\">“Mom” from \u003cem>Futurama\u003c/em>\u003c/a>.\u003c/li>\n\u003cli>Assisting the escape of an imprisoned maniac from the castle, on the grounds that he’s a bit of a hottie.\u003c/li>\n\u003cli>Leaving her worldly belongings behind at the castle, while she goes off to her new teaching job at the local girls’ school. (Don’t you need clean underwear, Marianne?)\u003c/li>\n\u003cli>Agreeing to marry the maniac after 10 minutes of knowing him, even though both “Mom” and a babe from the local village die within 24 hours of him getting out. (Change your underwear, Marianne!)\u003c/li>\n\u003cli>Never ever taking any responsibility at all for indirectly causing the deaths of at least three people. (Maybe you don’t deserve clean underwear, Marianne!)\u003c/li>\n\u003c/ol>\n\u003cp>Don’t get me started on Peter Cushing’s Van Helsing, a vampire-hunter who stops chasing vampires the second old ladies stand in the way, or women faint in the vicinity. A “hero” who tells sick women he’s a doctor, despite having zero medical qualifications. A guy who desperately needs a crucifix to do his job, but never carries a spare. (You’ve got, like, eight pockets bro!)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LR8CaOgSSuc\u003c/p>\n\u003cp>Best we move swiftly on to 1961’s \u003ca href=\"https://www.imdb.com/title/tt0054777/?ref_=nv_sr_srsg_3\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Curse of the Werewolf\u003c/em>\u003c/a>. A movie that answers that age-old question: What happens if a “beggar” who’s been in prison for 15 years rapes a mute woman who then gives birth to the resulting infant on Christmas Day? The answer of course is that the child turns into a werewolf who can only be cured by the love of a good woman. (Talk about emotional labor, ladies!)\u003c/p>\n\u003cp>For some reason, \u003cem>The Curse of the Werewolf\u003c/em> is based in Spain. We know this because all of the very English actors in it are called things like “Pepe” and “Rico” and everyone says the word “señor” a lot. Also, when they go to bars, there is a fair amount of flamenco dancing involved. And you just don’t see that in many pubs in London, so \u003cem>sure\u003c/em>. Spain it is!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3oRjMACFhs8\u003c/p>\n\u003cp>You might be surprised to find out then, that \u003cem>The Curse of the Werewolf\u003c/em> lets Spain off easy compared to the variety of nations flagrantly stereotyped in 1964’s \u003ca href=\"https://www.imdb.com/title/tt0057986/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Curse of the Mummy’s Tomb\u003c/em>\u003c/a>. This is a film in which French women are unfaithful hussies, the English working classes all call everyone “Guv’na!” and Americans are money-grabbing loudmouths who talk about “sarsaparilla” and (oh, dear God) “cotton pickin’.”\u003c/p>\n\u003cp>Worst of all, 99% of the Middle Eastern characters in this film are played by white dudes and—I cannot complain about this enough—\u003cem>some of them are wearing bronzer\u003c/em>. In case the brownface isn’t enough to convince you that this movie is racist, two of the four black people who appear here play \u003cem>statues\u003c/em>. Actual, guarding-a-tomb, supposed-to-be-marble, statues.\u003c/p>\n\u003cp>So yeah, \u003cem>The Curse of the Mummy’s Tomb\u003c/em> is even more problematic than all of \u003ca href=\"https://metro.co.uk/2019/09/05/scarlett-johanssons-new-role-hollywoods-problematic-woman-10691922/\" target=\"_blank\" rel=\"noopener noreferrer\">Scarlett Johansson’s 2019 interviews\u003c/a> combined—and that is saying \u003cem>a lot\u003c/em>. No one comes out of this thing looking good, but as a vehicle for forgetting about the pandemic and yelling at your TV? Highly effective.\u003c/p>\n\u003cp>Here are some other things in\u003cem> The Curse of the Mummy’s Tomb \u003c/em>that are worthy of a “WTF?”:\u003c/p>\n\u003cul>\n\u003cli>Superficial stab wounds that cause instant death.\u003c/li>\n\u003cli>Hands that can be cut off in one swift motion using teeny-tiny daggers.\u003c/li>\n\u003cli>Ancient artifacts that are built out of Styrofoam and/or papier mâché.\u003c/li>\n\u003cli>The fact that the mummy is bulletproof.\u003c/li>\n\u003cli>The fact that the mummy can be immediately stopped if you dangle the right necklace—or lady!—in front of him.\u003c/li>\n\u003cli>The fact that the mummy has a penchant for destroying really nice window dressings. (Rude!)\u003c/li>\n\u003cli>The fact that any time anyone says anything dramatic, the whole cast stops and does what Joey from \u003cem>Friends\u003c/em> once memorably called “\u003ca href=\"https://www.youtube.com/watch?v=8c4YhwpiaKU\" target=\"_blank\" rel=\"noopener noreferrer\">Smell the fart acting\u003c/a>.”\u003c/li>\n\u003c/ul>\n\u003cp>https://www.youtube.com/watch?v=J6kv3TDc0-s\u003c/p>\n\u003cp>Even 6-year-old me knew these movies were incredibly silly, but I had not realized how much unintentional comedy gold was in them until now. So until next week, stay safer than all of the idiots in these movies, and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, click \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "This week's mental escape from shelter-in-place comes via a wolfman, a 3,000-year-old mitten-wearing monster, and some Dracula-lovin' ladies. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to week seven of \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">Lockdown Movie Musts\u003c/a>! Featuring weird subgenres of yore that’ll make you go, “Hey. At least a 3,000-year-old dude isn’t trying to make out with me right now.”\u003c/p>\n\u003cp>This week, we’re crawling through caves, humping in dungeons and howling at the moon with 1960s creature features! … Only they’re all super low-budget and uncomfortably British, on account of my childhood being both of those things.\u003c/p>\n\u003cp>That’s right! I have reached that point in shelter-in-place where I’ve started revisiting Childhood Things in order to feel better. And unfortunately for you, I spent a sizable portion of my first decade on the planet watching “Hammer Horrors”—schlocky creature features made by \u003ca href=\"https://en.wikipedia.org/wiki/Hammer_Film_Productions\" target=\"_blank\" rel=\"noopener noreferrer\">Hammer Film Productions\u003c/a> in ’50s, ’60s and ’70s England. Come along for the ride, won’t you? It’s very bumpy and includes some terrible sound effects. Just like the BART tunnel between Embarcadero and West Oakland. (In case the absence of regularly experiencing that is a void you need filling.)\u003c/p>\n\u003cp>Given the time and the place, we might as well start with the movie with the worst bat PR: 1960’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0053677/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">The Brides of Dracula\u003c/a>.\u003c/em> At its core, this movie is essentially a manual detailing the worst possible decisions you could ever make as a lone female traveler.\u003c/p>\n\u003cp>Here are some of the ones that our “heroine” Marianne makes:\u003c/p>\n\u003col>\n\u003cli>Accepting the offer of free room and board from a mysterious old lady who lives in a castle and looks like \u003ca href=\"https://futurama.fandom.com/wiki/Carol_Miller\" target=\"_blank\" rel=\"noopener noreferrer\">“Mom” from \u003cem>Futurama\u003c/em>\u003c/a>.\u003c/li>\n\u003cli>Assisting the escape of an imprisoned maniac from the castle, on the grounds that he’s a bit of a hottie.\u003c/li>\n\u003cli>Leaving her worldly belongings behind at the castle, while she goes off to her new teaching job at the local girls’ school. (Don’t you need clean underwear, Marianne?)\u003c/li>\n\u003cli>Agreeing to marry the maniac after 10 minutes of knowing him, even though both “Mom” and a babe from the local village die within 24 hours of him getting out. (Change your underwear, Marianne!)\u003c/li>\n\u003cli>Never ever taking any responsibility at all for indirectly causing the deaths of at least three people. (Maybe you don’t deserve clean underwear, Marianne!)\u003c/li>\n\u003c/ol>\n\u003cp>Don’t get me started on Peter Cushing’s Van Helsing, a vampire-hunter who stops chasing vampires the second old ladies stand in the way, or women faint in the vicinity. A “hero” who tells sick women he’s a doctor, despite having zero medical qualifications. A guy who desperately needs a crucifix to do his job, but never carries a spare. (You’ve got, like, eight pockets bro!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LR8CaOgSSuc'\n title='//www.youtube.com/embed/LR8CaOgSSuc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Best we move swiftly on to 1961’s \u003ca href=\"https://www.imdb.com/title/tt0054777/?ref_=nv_sr_srsg_3\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Curse of the Werewolf\u003c/em>\u003c/a>. A movie that answers that age-old question: What happens if a “beggar” who’s been in prison for 15 years rapes a mute woman who then gives birth to the resulting infant on Christmas Day? The answer of course is that the child turns into a werewolf who can only be cured by the love of a good woman. (Talk about emotional labor, ladies!)\u003c/p>\n\u003cp>For some reason, \u003cem>The Curse of the Werewolf\u003c/em> is based in Spain. We know this because all of the very English actors in it are called things like “Pepe” and “Rico” and everyone says the word “señor” a lot. Also, when they go to bars, there is a fair amount of flamenco dancing involved. And you just don’t see that in many pubs in London, so \u003cem>sure\u003c/em>. Spain it is!\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/3oRjMACFhs8'\n title='//www.youtube.com/embed/3oRjMACFhs8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You might be surprised to find out then, that \u003cem>The Curse of the Werewolf\u003c/em> lets Spain off easy compared to the variety of nations flagrantly stereotyped in 1964’s \u003ca href=\"https://www.imdb.com/title/tt0057986/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Curse of the Mummy’s Tomb\u003c/em>\u003c/a>. This is a film in which French women are unfaithful hussies, the English working classes all call everyone “Guv’na!” and Americans are money-grabbing loudmouths who talk about “sarsaparilla” and (oh, dear God) “cotton pickin’.”\u003c/p>\n\u003cp>Worst of all, 99% of the Middle Eastern characters in this film are played by white dudes and—I cannot complain about this enough—\u003cem>some of them are wearing bronzer\u003c/em>. In case the brownface isn’t enough to convince you that this movie is racist, two of the four black people who appear here play \u003cem>statues\u003c/em>. Actual, guarding-a-tomb, supposed-to-be-marble, statues.\u003c/p>\n\u003cp>So yeah, \u003cem>The Curse of the Mummy’s Tomb\u003c/em> is even more problematic than all of \u003ca href=\"https://metro.co.uk/2019/09/05/scarlett-johanssons-new-role-hollywoods-problematic-woman-10691922/\" target=\"_blank\" rel=\"noopener noreferrer\">Scarlett Johansson’s 2019 interviews\u003c/a> combined—and that is saying \u003cem>a lot\u003c/em>. No one comes out of this thing looking good, but as a vehicle for forgetting about the pandemic and yelling at your TV? Highly effective.\u003c/p>\n\u003cp>Here are some other things in\u003cem> The Curse of the Mummy’s Tomb \u003c/em>that are worthy of a “WTF?”:\u003c/p>\n\u003cul>\n\u003cli>Superficial stab wounds that cause instant death.\u003c/li>\n\u003cli>Hands that can be cut off in one swift motion using teeny-tiny daggers.\u003c/li>\n\u003cli>Ancient artifacts that are built out of Styrofoam and/or papier mâché.\u003c/li>\n\u003cli>The fact that the mummy is bulletproof.\u003c/li>\n\u003cli>The fact that the mummy can be immediately stopped if you dangle the right necklace—or lady!—in front of him.\u003c/li>\n\u003cli>The fact that the mummy has a penchant for destroying really nice window dressings. (Rude!)\u003c/li>\n\u003cli>The fact that any time anyone says anything dramatic, the whole cast stops and does what Joey from \u003cem>Friends\u003c/em> once memorably called “\u003ca href=\"https://www.youtube.com/watch?v=8c4YhwpiaKU\" target=\"_blank\" rel=\"noopener noreferrer\">Smell the fart acting\u003c/a>.”\u003c/li>\n\u003c/ul>\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/J6kv3TDc0-s'\n title='//www.youtube.com/embed/J6kv3TDc0-s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even 6-year-old me knew these movies were incredibly silly, but I had not realized how much unintentional comedy gold was in them until now. So until next week, stay safer than all of the idiots in these movies, and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, click \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Drive-in theaters in San Jose and Concord reopened to the general public on Tuesday, providing a welcome respite for those missing a communal movie-watching experience. \u003c/p>\n\u003cp>The West Wind-owned theaters, among the last remaining drive-ins in the Bay Area, will enforce strict rules: you’ll have to wear a mask to leave your car, and can only exit your car to go to the bathroom. Cars must park 10 feet apart. And the concession stand will be closed. (Customers may bring their own snacks.) \u003c/p>\n\u003cp>So… what’s playing? You can find full current schedules for each theater \u003ca href=\"https://www.westwinddi.com/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>. But as a taste, in San Jose, the following double features are showing at the Capitol Drive-In this week:\u003c/p>\n\u003cp>\u003cem>The Hunt\u003c/em> and \u003cem>The Invisible Man\u003c/em>\u003cbr>\n\u003cem>Gretel & Hansel\u003c/em> and \u003cem>Brahms: The Boy II\u003c/em>\u003cbr>\n\u003cem>Fast & Furious Presents: Hobbs & Shaw\u003c/em> and \u003cem>Good Boys\u003c/em>\u003cbr>\n\u003cem>The Wretched\u003c/em> and \u003cem>Disappearance at Clifton Hill\u003c/em>\u003cbr>\n\u003cem>Trolls World Tour\u003c/em> and \u003cem>Dolittle\u003c/em>\u003cbr>\n\u003cem>Onward\u003c/em> and \u003cem>Trolls World Tour\u003c/em>\u003c/p>\n\u003cp>Never been to a drive-in theater before? Here are \u003ca href=\"https://www.westwinddi.com/blog/2018/10-drive-in-movie-tips\" rel=\"noopener noreferrer\" target=\"_blank\">some tips\u003c/a> for those ready to try the classic drive-in experience. (And if you’re closer to Sacramento, West Wind also operates a \u003ca href=\"https://www.westwinddi.com/locations/sacramento\" rel=\"noopener noreferrer\" target=\"_blank\">drive-in theater\u003c/a> there, currently showing an extra-nostalgic double feature of \u003cem>Raiders of the Lost Ark\u003c/em> and \u003cem>Indiana Jones and the Last Crusade\u003c/em>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tickets are $8.25 general admission / $1.75 for kids age 5–11. (No smuggling your friends in the trunk, now!) \u003ca href=\"https://www.westwinddi.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Drive-in theaters in San Jose and Concord reopened to the general public on Tuesday, providing a welcome respite for those missing a communal movie-watching experience. \u003c/p>\n\u003cp>The West Wind-owned theaters, among the last remaining drive-ins in the Bay Area, will enforce strict rules: you’ll have to wear a mask to leave your car, and can only exit your car to go to the bathroom. Cars must park 10 feet apart. And the concession stand will be closed. (Customers may bring their own snacks.) \u003c/p>\n\u003cp>So… what’s playing? You can find full current schedules for each theater \u003ca href=\"https://www.westwinddi.com/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>. But as a taste, in San Jose, the following double features are showing at the Capitol Drive-In this week:\u003c/p>\n\u003cp>\u003cem>The Hunt\u003c/em> and \u003cem>The Invisible Man\u003c/em>\u003cbr>\n\u003cem>Gretel & Hansel\u003c/em> and \u003cem>Brahms: The Boy II\u003c/em>\u003cbr>\n\u003cem>Fast & Furious Presents: Hobbs & Shaw\u003c/em> and \u003cem>Good Boys\u003c/em>\u003cbr>\n\u003cem>The Wretched\u003c/em> and \u003cem>Disappearance at Clifton Hill\u003c/em>\u003cbr>\n\u003cem>Trolls World Tour\u003c/em> and \u003cem>Dolittle\u003c/em>\u003cbr>\n\u003cem>Onward\u003c/em> and \u003cem>Trolls World Tour\u003c/em>\u003c/p>\n\u003cp>Never been to a drive-in theater before? Here are \u003ca href=\"https://www.westwinddi.com/blog/2018/10-drive-in-movie-tips\" rel=\"noopener noreferrer\" target=\"_blank\">some tips\u003c/a> for those ready to try the classic drive-in experience. (And if you’re closer to Sacramento, West Wind also operates a \u003ca href=\"https://www.westwinddi.com/locations/sacramento\" rel=\"noopener noreferrer\" target=\"_blank\">drive-in theater\u003c/a> there, currently showing an extra-nostalgic double feature of \u003cem>Raiders of the Lost Ark\u003c/em> and \u003cem>Indiana Jones and the Last Crusade\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tickets are $8.25 general admission / $1.75 for kids age 5–11. (No smuggling your friends in the trunk, now!) \u003ca href=\"https://www.westwinddi.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lockdown Movie Musts: 1970s Disaster Debacles",
"headTitle": "Lockdown Movie Musts: 1970s Disaster Debacles | KQED",
"content": "\u003cp>Welcome to Week 6 of \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">Lockdown Movie Musts\u003c/a>! Featuring weird subgenres of yore that’ll make you go, “Hey. At least I’m not trapped in a burning building with Charlton Heston right now.”\u003c/p>\n\u003cp>This week, hold onto your pants/a priest/a pilot because we’re diving head first into 1970s disaster movies. I know, I know—it seems counterintuitive to subject yourself to this right now. But \u003cem>trust me\u003c/em>. You’ll not find another genre in which the tenacity of the human spirit shines brighter. Also—someone has to say it—there just is no balm more soothing than watching Much Worse Things happen to (fictional) Other People.\u003c/p>\n\u003cp>Need examples? Here’s a list of things that happen to characters in 1972’s \u003ca href=\"https://www.imdb.com/title/tt0069113/?ref_=fn_al_tt_5\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Poseidon Adventure\u003c/em>\u003c/a> that are way worse than sheltering in place:\u003c/p>\n\u003col>\n\u003cli>Getting crushed by a piano;\u003c/li>\n\u003cli>Getting crushed by a giant Christmas tree;\u003c/li>\n\u003cli>Falling from a great height into an ornate glass window/a fire/a flooded pipe;\u003c/li>\n\u003cli>Taking orders from Gene Hackman;\u003c/li>\n\u003cli>Crawling through a hot pipe with Gene Hackman;\u003c/li>\n\u003cli>Dying of a heart attack because you saved Gene Hackman.\u003c/li>\n\u003c/ol>\n\u003cp>You get the idea.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CP0wV7IvSiI\u003c/p>\n\u003cp>Needless to say, if you’re one of the few people who hasn’t already developed a phobia of cruises after witnessing floating coronavirus quarantines, \u003cem>The Poseidon Adventure\u003c/em> should finish the job.\u003c/p>\n\u003cp>Which brings us to another movie that’s excellent at making you feel just fine about not traveling: 1970’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0065377/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">Airport\u003c/a>\u003c/em>. This spawned three sequels and 1980’s \u003ca href=\"https://www.imdb.com/title/tt0080339/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Airplane!\u003c/em>\u003c/a> parody, starring Leslie Nielsen. (Nielsen, by the by, also played the captain in \u003cem>The Poseidon Adventure\u003c/em>. I’d have mentioned it sooner but he dies after about two minutes, so … y’know.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Anyway, \u003cem>Airport\u003c/em> is a movie that’s modern enough to depict airports as the raging, overcrowded hellscapes they still are, but old enough to have a philandering pilot character played (of course!) by Dean Martin. At one point, Martin tries to coerce a flight attendant into sexual activity by saying: “If you take me up to full throttle then throw me into reverse, you could damage my engine.”\u003c/p>\n\u003cp>Sorry. Can you hang on a minute?\u003c/p>\n\u003cp>*puts fist through wall*\u003c/p>\n\u003cp>That’s better.\u003c/p>\n\u003cp>This film is also old enough to present The Time Before Airport Security. There are plots about un-ticketed passengers slipping undetected onto flights; men casually carrying bombs onto planes inside briefcases; and airport employees feeling suspicious about passengers’ bags but being told, “There’s nothing we can do about it on this end.” (If we’re ever allowed in airports again, next time a TSA agent asks me to take my shoes off, I’ll probably kiss them.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PACKbKt8MOw\u003c/p>\n\u003cp>In the end, \u003cem>Airport\u003c/em> is basically a two-and-a-half-hour time capsule of a) how stupid we used to be, and; b) how tolerant audiences used to be of unnecessarily long movies featuring protracted scenes of snow shoveling.\u003c/p>\n\u003cp>Talking of which, almost nothing at all happens in the first 50 minutes of 1974’s \u003ca href=\"https://www.imdb.com/title/tt0071455/?ref_=nv_sr_srsg_2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Earthquake\u003c/em>\u003c/a>. You don’t really mind though, because instead of snow stuff, you get a variety of fun distractions like Geneviève Bujold’s pink-on-pink-on-pink-on-pink wardrobe and Walter Matthau’s cameo as a drunk. (Though, for some reason, in the credits he’s listed as “Walter Matuschanskayasky.” There’s obviously a joke here, but I can’t seem to find the punchline.)\u003c/p>\n\u003cp>Best of all, there’s Charlton Heston’s ridiculous car, which looks like this:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13879446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733-800x338.jpg\" alt=\"\" width=\"800\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733-768x325.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>What is it? Where’s the roof? Did a 6-year-old boy design it? Does the orange stripe make it go faster? Regardless of the answers, it tells you everything you need to know about Heston’s character. Whose name is Graff, by the way. (GRAFF.)\u003c/p>\n\u003cp>\u003cem>Earthquake\u003c/em> is a movie in which skyscrapers come with windows that can be broken by delicately nudging office chairs against them, and houses spontaneously explode for no reason. It’s a movie in which, on experiencing an Extremely Bad Earthquake, Charlton Heston still doesn’t put the roof on his car, cops herd civilians into basements, and high-rise office workers—this is my favorite one—pile into the nearest elevator.\u003c/p>\n\u003cp>So, yes. These people are even dumber than the ground staff in \u003cem>Airport\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w_BwX2fEUTo\u003c/p>\n\u003cp>All of which will make you happy to be on the ground, above the water and unimpeded by falling concrete slabs.\u003c/p>\n\u003cp>Until next week, stay safe and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" 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>For other Lockdown Movie Musts, click \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "This week's mental escape from shelter-in-place comes via disastrous journeys on planes, cruise ships and ... whatever the hell Charlton Heston is driving in 'Earthquake.' ",
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"headline": "Lockdown Movie Musts: 1970s Disaster Debacles",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to Week 6 of \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">Lockdown Movie Musts\u003c/a>! Featuring weird subgenres of yore that’ll make you go, “Hey. At least I’m not trapped in a burning building with Charlton Heston right now.”\u003c/p>\n\u003cp>This week, hold onto your pants/a priest/a pilot because we’re diving head first into 1970s disaster movies. I know, I know—it seems counterintuitive to subject yourself to this right now. But \u003cem>trust me\u003c/em>. You’ll not find another genre in which the tenacity of the human spirit shines brighter. Also—someone has to say it—there just is no balm more soothing than watching Much Worse Things happen to (fictional) Other People.\u003c/p>\n\u003cp>Need examples? Here’s a list of things that happen to characters in 1972’s \u003ca href=\"https://www.imdb.com/title/tt0069113/?ref_=fn_al_tt_5\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Poseidon Adventure\u003c/em>\u003c/a> that are way worse than sheltering in place:\u003c/p>\n\u003col>\n\u003cli>Getting crushed by a piano;\u003c/li>\n\u003cli>Getting crushed by a giant Christmas tree;\u003c/li>\n\u003cli>Falling from a great height into an ornate glass window/a fire/a flooded pipe;\u003c/li>\n\u003cli>Taking orders from Gene Hackman;\u003c/li>\n\u003cli>Crawling through a hot pipe with Gene Hackman;\u003c/li>\n\u003cli>Dying of a heart attack because you saved Gene Hackman.\u003c/li>\n\u003c/ol>\n\u003cp>You get the idea.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/CP0wV7IvSiI'\n title='//www.youtube.com/embed/CP0wV7IvSiI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Needless to say, if you’re one of the few people who hasn’t already developed a phobia of cruises after witnessing floating coronavirus quarantines, \u003cem>The Poseidon Adventure\u003c/em> should finish the job.\u003c/p>\n\u003cp>Which brings us to another movie that’s excellent at making you feel just fine about not traveling: 1970’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0065377/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">Airport\u003c/a>\u003c/em>. This spawned three sequels and 1980’s \u003ca href=\"https://www.imdb.com/title/tt0080339/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Airplane!\u003c/em>\u003c/a> parody, starring Leslie Nielsen. (Nielsen, by the by, also played the captain in \u003cem>The Poseidon Adventure\u003c/em>. I’d have mentioned it sooner but he dies after about two minutes, so … y’know.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Anyway, \u003cem>Airport\u003c/em> is a movie that’s modern enough to depict airports as the raging, overcrowded hellscapes they still are, but old enough to have a philandering pilot character played (of course!) by Dean Martin. At one point, Martin tries to coerce a flight attendant into sexual activity by saying: “If you take me up to full throttle then throw me into reverse, you could damage my engine.”\u003c/p>\n\u003cp>Sorry. Can you hang on a minute?\u003c/p>\n\u003cp>*puts fist through wall*\u003c/p>\n\u003cp>That’s better.\u003c/p>\n\u003cp>This film is also old enough to present The Time Before Airport Security. There are plots about un-ticketed passengers slipping undetected onto flights; men casually carrying bombs onto planes inside briefcases; and airport employees feeling suspicious about passengers’ bags but being told, “There’s nothing we can do about it on this end.” (If we’re ever allowed in airports again, next time a TSA agent asks me to take my shoes off, I’ll probably kiss them.)\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/PACKbKt8MOw'\n title='//www.youtube.com/embed/PACKbKt8MOw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the end, \u003cem>Airport\u003c/em> is basically a two-and-a-half-hour time capsule of a) how stupid we used to be, and; b) how tolerant audiences used to be of unnecessarily long movies featuring protracted scenes of snow shoveling.\u003c/p>\n\u003cp>Talking of which, almost nothing at all happens in the first 50 minutes of 1974’s \u003ca href=\"https://www.imdb.com/title/tt0071455/?ref_=nv_sr_srsg_2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Earthquake\u003c/em>\u003c/a>. You don’t really mind though, because instead of snow stuff, you get a variety of fun distractions like Geneviève Bujold’s pink-on-pink-on-pink-on-pink wardrobe and Walter Matthau’s cameo as a drunk. (Though, for some reason, in the credits he’s listed as “Walter Matuschanskayasky.” There’s obviously a joke here, but I can’t seem to find the punchline.)\u003c/p>\n\u003cp>Best of all, there’s Charlton Heston’s ridiculous car, which looks like this:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13879446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733-800x338.jpg\" alt=\"\" width=\"800\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733-768x325.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>What is it? Where’s the roof? Did a 6-year-old boy design it? Does the orange stripe make it go faster? Regardless of the answers, it tells you everything you need to know about Heston’s character. Whose name is Graff, by the way. (GRAFF.)\u003c/p>\n\u003cp>\u003cem>Earthquake\u003c/em> is a movie in which skyscrapers come with windows that can be broken by delicately nudging office chairs against them, and houses spontaneously explode for no reason. It’s a movie in which, on experiencing an Extremely Bad Earthquake, Charlton Heston still doesn’t put the roof on his car, cops herd civilians into basements, and high-rise office workers—this is my favorite one—pile into the nearest elevator.\u003c/p>\n\u003cp>So, yes. These people are even dumber than the ground staff in \u003cem>Airport\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/w_BwX2fEUTo'\n title='//www.youtube.com/embed/w_BwX2fEUTo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All of which will make you happy to be on the ground, above the water and unimpeded by falling concrete slabs.\u003c/p>\n\u003cp>Until next week, stay safe and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" 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>For other Lockdown Movie Musts, click \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Sample a Free SXSW Combo Platter on Amazon Prime",
"headTitle": "Now Playing! Sample a Free SXSW Combo Platter on Amazon Prime | KQED",
"content": "\u003cp>COVID-19 pulled the rug out from under South by Southwest, the major Austin, Texas film, music and tech festival, a mere week before the fest was set to begin in mid-March. So Amazon proposed a plan to stream—for free and for a limited time—every feature and short in the festival. It was an innovative partial solution that promoted SXSW, paid the filmmakers an undisclosed fee and, at the same time, self-evidently was neither the financial deal nor the platform that the vast majority of the 135 feature filmmakers in the SXSW program deemed the best distribution strategy for their films.\u003c/p>\n\u003cp>Consequently, only a handful of feature narratives and documentaries, a few episodes of new TV series and more than 30 short films accepted the offer. Dubbed “\u003ca href=\"https://www.amazon.com/adlp/sxsw\" target=\"_blank\" rel=\"noopener noreferrer\">Prime Video Presents the SXSW 2020 Film Festival Collection\u003c/a>,” the series launched this past Monday and streams through May 6. (An Amazon Prime membership isn’t required, but an Amazon account is.)\u003c/p>\n\u003cp>It’s important to recognize, as a viewer, that this collection resides at the intersection of film festival and the streaming experiences. The guiding principle of the former is accepting that you won’t love everything, but you’ll enter worlds and see visions you otherwise wouldn’t in the normal course of everyday commercial and/or arthouse movie-going.\u003c/p>\n\u003cp>While people very, very rarely walk out of a movie they’ve paid for, even if they don’t like it, streaming subscriptions are a de facto, 24/7 encouragement to start watching something/anything and, if it doesn’t grab you, bail. (I do this most frequently with stand-up comedy specials and long-form TV series.)\u003c/p>\n\u003cp>My gentle encouragement is to give everything in the SXSW 2020 Film Festival Collection a fair shot. That especially applies to the feature films—the short films will likely be over before you can even decide you’ve had enough. For your sampling consideration:\u003c/p>\n\u003cfigure id=\"attachment_13879455\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879455\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/figurant_still_08.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/figurant_still_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/figurant_still_08-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/figurant_still_08-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/figurant_still_08-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/figurant_still_08-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Figurant.’ \u003ccite>(Origine Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087FN6954\" target=\"_blank\" rel=\"noopener noreferrer\">Figurant\u003c/a>\u003c/em>\u003c/b>\u003cbr>\nCzech director Jan Vejnar’s riveting short film is a certified highlight of the series. Weather-beaten French actor Denis Lavant (\u003cem>Beau Travail\u003c/em>, \u003cem>Holy Motors\u003c/em>) trades his clothes for a few bucks and a day job as a film extra, or so it seems. It’s a parable, I think, of the film industry’s ruthless production ethos, as well as an indictment of governments who view soldiers as disposable parts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>\u003cem>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087JJF28R/\" target=\"_blank\" rel=\"noopener noreferrer\">Still Wylde\u003c/a>\u003c/em>\u003c/b>\u003cbr>\nWriter-director-star Ingrid Haas opens her vibrant piece with the not-unfamiliar scene of a young woman buying a bottle of booze at a corner store and, oh yeah, a pregnancy test. A lot of shorts are showcases for filmmakers with style and ambition, but \u003ci>Still Wylde\u003c/i>—which dashes through a longer period of time than most short films and mixes chuckle-worthy one-liners with piercingly dramatic moments—introduces a filmmaker with an off-center perspective and something to say.\u003c/p>\n\u003cp>\u003cb>\u003cem>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087GZ7X4Q/\" target=\"_blank\" rel=\"noopener noreferrer\">Dieorama\u003c/a>\u003c/em>\u003c/b>\u003cbr>\nThe program includes several fascinating nonfiction portraits of artists. Abigail Goldman is an investigator in the public defender’s office who lives a normal suburban life outside Bellingham, Washington and makes crimson-dappled dioramas of domestic carnage. Although we’re in \u003ci>Twin Peaks\u003c/i> country, and David Lynch (not to mention John Waters) would embrace Goldman’s artistic pursuit, filmmaker Kevin Staake smartly depicts Goldman head-on without surreal embellishments or postmodern condescension.\u003c/p>\n\u003cfigure id=\"attachment_13879456\" class=\"wp-caption aligncenter\" style=\"max-width: 950px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879456\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/betye-saar-taking-care-of-business-179188.png\" alt=\"\" width=\"950\" height=\"679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/betye-saar-taking-care-of-business-179188.png 950w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/betye-saar-taking-care-of-business-179188-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/betye-saar-taking-care-of-business-179188-800x572.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/betye-saar-taking-care-of-business-179188-768x549.png 768w\" sizes=\"(max-width: 950px) 100vw, 950px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Betye Saar: Taking Care of Business.’ \u003ccite>(SXSW)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087KW871B/\" target=\"_blank\" rel=\"noopener noreferrer\">Betye Saar: Taking Care of Business\u003c/a>\u003c/em>\u003c/b>\u003cbr>\nNow in her 90s, Betye Saar is a remarkable artist and a genially provocative interviewee. Filmmaker Christine Turner packs an unbelievable number of her artworks, along with a telescoped biography, into a mere handful of minutes. The film makes you want to run out and visit a sprawling exhibition of Saar’s work, which is part of the goal of this piece produced for the Los Angeles County Museum of Art. It’s a delicious appetizer, but Saar deserves a full-length film.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087F58VVC/\" target=\"_blank\" rel=\"noopener noreferrer\">The Broken Orchestra\u003c/a>\u003c/em>\u003c/strong>\u003cbr>\nThe Philadelphia public school system, like all too many big city education departments, hacked its music budget to almost nothing. Charlie Tyrell reimagines the talking-head doc—cutting among interviews emanating from TVs on stands, i.e., catnip for high school A/V geeks in the house—to recount an inspiring grass-roots rehabilitation project for damaged instruments. Inspiring and infuriating, let me say, to anyone who’s fed up with the general lack of respect given to the arts in this country.\u003c/p>\n\u003cp>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087JYJQ8B/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>Le Choc du Futur\u003c/strong>\u003c/em>\u003c/a>\u003cbr>\nNot surprisingly, perhaps, none of the four narrative films in the SXSW lineup were made by U.S. filmmakers. Marc Collin’s enjoyably indulgent time-travel trip to late-’70s Paris focuses on an aspiring artist, Ana, who composes ahead-of-the-curve electronic music. This is kind of the perfect movie for sheltering in place, as it unfolds almost entirely in the flat where she’s housesitting with a wall of synthesizers, tape decks and, eventually, a beatbox. Alma Jodorowsky carries the unhurried film with a stylish naturalism that occasionally puts one in mind of Anna Karina. The misogyny she encounters isn’t unexpected, but the grooves of Throbbing Gristle and Aksak Maboul are.\u003c/p>\n\u003cfigure id=\"attachment_13879544\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879544\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/ModernWhore_FilmStill_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/ModernWhore_FilmStill_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/ModernWhore_FilmStill_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/ModernWhore_FilmStill_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/ModernWhore_FilmStill_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/ModernWhore_FilmStill_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Modern Whore.’ \u003ccite>(Courtesy of filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087H4KNRT/\" target=\"_blank\" rel=\"noopener noreferrer\">Modern Whore\u003c/a>\u003c/em>\u003c/strong>\u003cbr>\nAndrea Werhun describes herself as a performer, which is a kind of artist. The Toronto escort’s well-reviewed book of the same title, with photographer and filmmaker Nicole Bazuin, is full of provocative views on power, sex and money. The duo extends their collaboration with this highly art-directed, color-saturated, reenactment-laced slice of Werhun’s life that explores the thorny issue of vulnerability. \u003cem>Modern Whore\u003c/em> leaves you wanting more.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087FXZT4F\" target=\"_blank\" rel=\"noopener noreferrer\">I’m Gonna Make You Love Me\u003c/a>\u003c/strong>\u003c/em>\u003cbr>\nFor long stretches, Brian Belovitch lived a life of noisy desperation. Bullied as a boy in New England, Belovitch transitioned as a teenager and (after a short-lived marriage) fled to Manhattan to thrive as Tish, a performer in LGBTQ clubs in the ’80s. Then Belovitch came out again—as a gay man. Filmmakers Karen Bernstein and Nevie Owens get integrity points for opting not to structure and sell their documentary feature (which highlights Michael Musto as a voice of reason) as the latest (commercial) entry in the Warhol/Downtown subgenre. Instead they let Belovitch carry the ball most of the way through his wildly colorful life. Alas, I did not find their main subject the most riveting raconteur. I have to believe that \u003cem>I’m Gonna Make You Love Me\u003c/em>, which premiered last September at DocNYC, would be a shoo-in for the (now-postponed) Frameline festival. The audience that would have filled the Castro in June for this doc is the audience that will most appreciate it on Amazon Prime Video today.\u003c/p>\n\u003cfigure id=\"attachment_13879540\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879540\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/C-01-niels.jpg\" alt=\"\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C-01-niels.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C-01-niels-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C-01-niels-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C-01-niels-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C-01-niels-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Cat in the Wall.’ \u003ccite>(Courtesy of filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087FR3748/\" target=\"_blank\" rel=\"noopener noreferrer\">Cat in the Wall\u003c/a>\u003c/strong>\u003c/em>\u003cbr>\nBulgarian filmmakers Vesela Kazakova and Mina Mileva parlay their documentary background into this lived-in narrative feature in which the camera is never more than a few feet from the characters. A Bulgarian mother, brother and young son live in close quarters in a London council estate, trying to forge careers and a future. They aren’t typical refugees—Irina’s an architect and Vladimir has a master’s degree—yet they face similar slings and frustrations. \u003cem>Cat in the Wall\u003c/em> is billed as a comedy-drama, and I expect the humor would pop more with a theater audience. To put it another way, this is the film for people who wish Ken Loach’s movies were 80% less grim.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087J7TFBW\" target=\"_blank\" rel=\"noopener noreferrer\">Broken Bird\u003c/a>\u003c/em>\u003c/strong>\u003cbr>\nLast but hardly least, this fiction short—which was slated to screen locally in the SFFILM festival a few weeks ago—introduces us to a Jersey girl preparing for her bat mitzvah and (symbolic) adulthood. There aren’t a lot of black Jews in the United States, so we suspect from the opening shot that there’s a unique story here. Writer-director Rachel Harrison Gordon wants us to read between the lines rather than tell us outright, though it’s clear that Birdie lives with her white mom and is meeting her African-American dad for lunch. Adulthood is complicated, and comes with all kinds of responsibilities, but Birdie is ready. Some shorts are the perfect length, while others make us want to follow the story a while longer. \u003cem>Broken Bird\u003c/em> is in that second group.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>COVID-19 pulled the rug out from under South by Southwest, the major Austin, Texas film, music and tech festival, a mere week before the fest was set to begin in mid-March. So Amazon proposed a plan to stream—for free and for a limited time—every feature and short in the festival. It was an innovative partial solution that promoted SXSW, paid the filmmakers an undisclosed fee and, at the same time, self-evidently was neither the financial deal nor the platform that the vast majority of the 135 feature filmmakers in the SXSW program deemed the best distribution strategy for their films.\u003c/p>\n\u003cp>Consequently, only a handful of feature narratives and documentaries, a few episodes of new TV series and more than 30 short films accepted the offer. Dubbed “\u003ca href=\"https://www.amazon.com/adlp/sxsw\" target=\"_blank\" rel=\"noopener noreferrer\">Prime Video Presents the SXSW 2020 Film Festival Collection\u003c/a>,” the series launched this past Monday and streams through May 6. (An Amazon Prime membership isn’t required, but an Amazon account is.)\u003c/p>\n\u003cp>It’s important to recognize, as a viewer, that this collection resides at the intersection of film festival and the streaming experiences. The guiding principle of the former is accepting that you won’t love everything, but you’ll enter worlds and see visions you otherwise wouldn’t in the normal course of everyday commercial and/or arthouse movie-going.\u003c/p>\n\u003cp>While people very, very rarely walk out of a movie they’ve paid for, even if they don’t like it, streaming subscriptions are a de facto, 24/7 encouragement to start watching something/anything and, if it doesn’t grab you, bail. (I do this most frequently with stand-up comedy specials and long-form TV series.)\u003c/p>\n\u003cp>My gentle encouragement is to give everything in the SXSW 2020 Film Festival Collection a fair shot. That especially applies to the feature films—the short films will likely be over before you can even decide you’ve had enough. For your sampling consideration:\u003c/p>\n\u003cfigure id=\"attachment_13879455\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879455\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/figurant_still_08.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/figurant_still_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/figurant_still_08-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/figurant_still_08-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/figurant_still_08-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/figurant_still_08-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Figurant.’ \u003ccite>(Origine Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087FN6954\" target=\"_blank\" rel=\"noopener noreferrer\">Figurant\u003c/a>\u003c/em>\u003c/b>\u003cbr>\nCzech director Jan Vejnar’s riveting short film is a certified highlight of the series. Weather-beaten French actor Denis Lavant (\u003cem>Beau Travail\u003c/em>, \u003cem>Holy Motors\u003c/em>) trades his clothes for a few bucks and a day job as a film extra, or so it seems. It’s a parable, I think, of the film industry’s ruthless production ethos, as well as an indictment of governments who view soldiers as disposable parts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003cem>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087JJF28R/\" target=\"_blank\" rel=\"noopener noreferrer\">Still Wylde\u003c/a>\u003c/em>\u003c/b>\u003cbr>\nWriter-director-star Ingrid Haas opens her vibrant piece with the not-unfamiliar scene of a young woman buying a bottle of booze at a corner store and, oh yeah, a pregnancy test. A lot of shorts are showcases for filmmakers with style and ambition, but \u003ci>Still Wylde\u003c/i>—which dashes through a longer period of time than most short films and mixes chuckle-worthy one-liners with piercingly dramatic moments—introduces a filmmaker with an off-center perspective and something to say.\u003c/p>\n\u003cp>\u003cb>\u003cem>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087GZ7X4Q/\" target=\"_blank\" rel=\"noopener noreferrer\">Dieorama\u003c/a>\u003c/em>\u003c/b>\u003cbr>\nThe program includes several fascinating nonfiction portraits of artists. Abigail Goldman is an investigator in the public defender’s office who lives a normal suburban life outside Bellingham, Washington and makes crimson-dappled dioramas of domestic carnage. Although we’re in \u003ci>Twin Peaks\u003c/i> country, and David Lynch (not to mention John Waters) would embrace Goldman’s artistic pursuit, filmmaker Kevin Staake smartly depicts Goldman head-on without surreal embellishments or postmodern condescension.\u003c/p>\n\u003cfigure id=\"attachment_13879456\" class=\"wp-caption aligncenter\" style=\"max-width: 950px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879456\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/betye-saar-taking-care-of-business-179188.png\" alt=\"\" width=\"950\" height=\"679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/betye-saar-taking-care-of-business-179188.png 950w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/betye-saar-taking-care-of-business-179188-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/betye-saar-taking-care-of-business-179188-800x572.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/betye-saar-taking-care-of-business-179188-768x549.png 768w\" sizes=\"(max-width: 950px) 100vw, 950px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Betye Saar: Taking Care of Business.’ \u003ccite>(SXSW)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087KW871B/\" target=\"_blank\" rel=\"noopener noreferrer\">Betye Saar: Taking Care of Business\u003c/a>\u003c/em>\u003c/b>\u003cbr>\nNow in her 90s, Betye Saar is a remarkable artist and a genially provocative interviewee. Filmmaker Christine Turner packs an unbelievable number of her artworks, along with a telescoped biography, into a mere handful of minutes. The film makes you want to run out and visit a sprawling exhibition of Saar’s work, which is part of the goal of this piece produced for the Los Angeles County Museum of Art. It’s a delicious appetizer, but Saar deserves a full-length film.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087F58VVC/\" target=\"_blank\" rel=\"noopener noreferrer\">The Broken Orchestra\u003c/a>\u003c/em>\u003c/strong>\u003cbr>\nThe Philadelphia public school system, like all too many big city education departments, hacked its music budget to almost nothing. Charlie Tyrell reimagines the talking-head doc—cutting among interviews emanating from TVs on stands, i.e., catnip for high school A/V geeks in the house—to recount an inspiring grass-roots rehabilitation project for damaged instruments. Inspiring and infuriating, let me say, to anyone who’s fed up with the general lack of respect given to the arts in this country.\u003c/p>\n\u003cp>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087JYJQ8B/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>Le Choc du Futur\u003c/strong>\u003c/em>\u003c/a>\u003cbr>\nNot surprisingly, perhaps, none of the four narrative films in the SXSW lineup were made by U.S. filmmakers. Marc Collin’s enjoyably indulgent time-travel trip to late-’70s Paris focuses on an aspiring artist, Ana, who composes ahead-of-the-curve electronic music. This is kind of the perfect movie for sheltering in place, as it unfolds almost entirely in the flat where she’s housesitting with a wall of synthesizers, tape decks and, eventually, a beatbox. Alma Jodorowsky carries the unhurried film with a stylish naturalism that occasionally puts one in mind of Anna Karina. The misogyny she encounters isn’t unexpected, but the grooves of Throbbing Gristle and Aksak Maboul are.\u003c/p>\n\u003cfigure id=\"attachment_13879544\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879544\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/ModernWhore_FilmStill_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/ModernWhore_FilmStill_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/ModernWhore_FilmStill_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/ModernWhore_FilmStill_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/ModernWhore_FilmStill_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/ModernWhore_FilmStill_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Modern Whore.’ \u003ccite>(Courtesy of filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087H4KNRT/\" target=\"_blank\" rel=\"noopener noreferrer\">Modern Whore\u003c/a>\u003c/em>\u003c/strong>\u003cbr>\nAndrea Werhun describes herself as a performer, which is a kind of artist. The Toronto escort’s well-reviewed book of the same title, with photographer and filmmaker Nicole Bazuin, is full of provocative views on power, sex and money. The duo extends their collaboration with this highly art-directed, color-saturated, reenactment-laced slice of Werhun’s life that explores the thorny issue of vulnerability. \u003cem>Modern Whore\u003c/em> leaves you wanting more.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087FXZT4F\" target=\"_blank\" rel=\"noopener noreferrer\">I’m Gonna Make You Love Me\u003c/a>\u003c/strong>\u003c/em>\u003cbr>\nFor long stretches, Brian Belovitch lived a life of noisy desperation. Bullied as a boy in New England, Belovitch transitioned as a teenager and (after a short-lived marriage) fled to Manhattan to thrive as Tish, a performer in LGBTQ clubs in the ’80s. Then Belovitch came out again—as a gay man. Filmmakers Karen Bernstein and Nevie Owens get integrity points for opting not to structure and sell their documentary feature (which highlights Michael Musto as a voice of reason) as the latest (commercial) entry in the Warhol/Downtown subgenre. Instead they let Belovitch carry the ball most of the way through his wildly colorful life. Alas, I did not find their main subject the most riveting raconteur. I have to believe that \u003cem>I’m Gonna Make You Love Me\u003c/em>, which premiered last September at DocNYC, would be a shoo-in for the (now-postponed) Frameline festival. The audience that would have filled the Castro in June for this doc is the audience that will most appreciate it on Amazon Prime Video today.\u003c/p>\n\u003cfigure id=\"attachment_13879540\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879540\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/C-01-niels.jpg\" alt=\"\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C-01-niels.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C-01-niels-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C-01-niels-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C-01-niels-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C-01-niels-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Cat in the Wall.’ \u003ccite>(Courtesy of filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087FR3748/\" target=\"_blank\" rel=\"noopener noreferrer\">Cat in the Wall\u003c/a>\u003c/strong>\u003c/em>\u003cbr>\nBulgarian filmmakers Vesela Kazakova and Mina Mileva parlay their documentary background into this lived-in narrative feature in which the camera is never more than a few feet from the characters. A Bulgarian mother, brother and young son live in close quarters in a London council estate, trying to forge careers and a future. They aren’t typical refugees—Irina’s an architect and Vladimir has a master’s degree—yet they face similar slings and frustrations. \u003cem>Cat in the Wall\u003c/em> is billed as a comedy-drama, and I expect the humor would pop more with a theater audience. To put it another way, this is the film for people who wish Ken Loach’s movies were 80% less grim.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087J7TFBW\" target=\"_blank\" rel=\"noopener noreferrer\">Broken Bird\u003c/a>\u003c/em>\u003c/strong>\u003cbr>\nLast but hardly least, this fiction short—which was slated to screen locally in the SFFILM festival a few weeks ago—introduces us to a Jersey girl preparing for her bat mitzvah and (symbolic) adulthood. There aren’t a lot of black Jews in the United States, so we suspect from the opening shot that there’s a unique story here. Writer-director Rachel Harrison Gordon wants us to read between the lines rather than tell us outright, though it’s clear that Birdie lives with her white mom and is meeting her African-American dad for lunch. Adulthood is complicated, and comes with all kinds of responsibilities, but Birdie is ready. Some shorts are the perfect length, while others make us want to follow the story a while longer. \u003cem>Broken Bird\u003c/em> is in that second group.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lockdown Movie Musts: 1950s B-Movies, Underwater Monster Edition",
"headTitle": "Lockdown Movie Musts: 1950s B-Movies, Underwater Monster Edition | KQED",
"content": "\u003cp>Welcome to week five of \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">Lockdown Movie Musts\u003c/a>! Featuring weird subgenres of yore that’ll take your mind off, well, (*smashes head on wall*) you know…\u003c/p>\n\u003cp>This week, we’re creepin’ and crawlin’ through swamps and a surprising amount of radiation to get better acquainted with the underwater creatures of 1950s B-movies. [aside postid='arts_13877955']\u003c/p>\n\u003cp>The rational place to start, of course, is with the most famous of them all: 1954’s\u003cem> \u003ca href=\"https://www.imdb.com/title/tt0046876/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">Creature From the Black Lagoon\u003c/a>\u003c/em>. It’s a movie that starts with lofty ideas (a depiction of the Big Bang!) and descends quickly into racist nonsense (why do all these indigenous people have hair like \u003ca href=\"http://www.americanmythology.net/gallery?lightbox=image_1x15\" target=\"_blank\" rel=\"noopener noreferrer\">Moe from the \u003cem>Three Stooges\u003c/em>\u003c/a>?). Then come a series of appearances by the aforementioned creature that revolve entirely around his webbed hand. (It reaches out of the water in a claw position! It touches the riverbank in slow motion for no reason! And, faced with the sight of a Moe haircut, it attacks!)\u003c/p>\n\u003cp>The plot involves a team of explorers who are hanging out in the Amazon investigating a fossilized version of The Webbed Hand that presumably came from the creature’s great-grandad. What follows is a gratuitous amount of scuba diving (presumably because it was only \u003ca href=\"https://blog.padi.com/2014/01/27/jacques-cousteau-the-father-of-scuba-diving/\" target=\"_blank\" rel=\"noopener noreferrer\">invented\u003c/a> 12 years before this movie came out) and human behavior that is increasingly hard to justify.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ariuokNFhSw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There the creature is, just swimming around, trying to deal with his woeful inability to successfully grab women’s ankles. Meanwhile, the humans are casually tossing cigarette butts into his lagoon and wondering why their repeated attempts to hurt or trap him are making him angry. It’s impossible not to side with the creature on this one. The moral of the story is clear: humans are \u003cem>awful\u003c/em>. [aside postid='arts_13878444']\u003c/p>\n\u003cp>1957’s \u003ca href=\"https://www.imdb.com/title/tt0050147/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Attack of the Crab Monsters\u003c/em>\u003c/a> makes for far less emotional viewing because it makes absolutely no sense. Sure, radiation has made a bunch of giant googly-eyed crabs. And sure, a team of humans wants to investigate. But get this! In this movie—and please bear with me—when a human gets eaten by a crab, the crab then magically absorbs the personality of the human and can suddenly transmit their voice and thoughts. Long-distance, sometimes!\u003c/p>\n\u003cp>Yeah.\u003c/p>\n\u003cp>At one point, an on-screen botanist tries to make sense of this by saying: “Once they were men, now they are land crabs.” Sure, bro, but what’s with the ghost-in-the-crustacean stuff?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=S68QJFheZaw\u003c/p>\n\u003cp>Also on the confusing front—and this is definitely a side-note—there is only one woman on the team of explorers here and her eyebrows appear to have been stolen from a ventriloquist’s dummy.\u003c/p>\n\u003cp>Who did this to you, \u003ca href=\"https://www.imdb.com/name/nm0242056/?ref_=fn_al_nm_1\" target=\"_blank\" rel=\"noopener noreferrer\">Pamela Duncan\u003c/a>?\u003c/p>\n\u003cfigure id=\"attachment_13879057\" class=\"wp-caption aligncenter\" style=\"max-width: 446px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879057\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-12.01.52-AM.png\" alt=\"Martha stressing about her weird eyebrows (probably) in 'Attack of the Crab Monsters.'\" width=\"446\" height=\"301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-12.01.52-AM.png 446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-12.01.52-AM-160x108.png 160w\" sizes=\"(max-width: 446px) 100vw, 446px\">\u003cfigcaption class=\"wp-caption-text\">Martha stressing about her weird eyebrows (probably) in ‘Attack of the Crab Monsters.’\u003c/figcaption>\u003c/figure>\n\u003cp>Anyway, just like those eyebrows, \u003cem>Attack of the Crab Monsters\u003c/em> tries way, way too hard to justify itself. It could learn a thing or two from our next pick, a 1959 movie that answers the question: What would it look like if a man turned into an alligator, but still managed to keep his snazzy, high-waisted, 1950s pants on? It’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0052549/\" target=\"_blank\" rel=\"noopener noreferrer\">The Alligator People\u003c/a>\u003c/em>!\u003c/p>\n\u003cp>It all begins with Joyce, a woman whose husband, Paul, ditches her literally an hour into their honeymoon. She responds to this by going on a cross-country hunt to track him down. (Have some pride, woman! Just get an annulment and put on some \u003ca href=\"https://www.youtube.com/watch?v=gl1aHhXnN1k\" target=\"_blank\" rel=\"noopener noreferrer\">Ariana Grande\u003c/a>, already!)\u003c/p>\n\u003cp>After arriving in the butt crack of Louisiana, Joyce casually jumps into the truck of a man with a hook hand who enjoys running over alligators and saying menacing things about swamps and quicksand.\u003c/p>\n\u003cp>(Can we just take a timeout here to talk about the fact that, if you were a child growing up anytime between 1920 and 1990, quicksand was presented in popular culture as a constant, imminent threat. Why don’t we ever hear about quicksand anymore? It used to be freakin’ \u003cem>everywhere\u003c/em>.)\u003c/p>\n\u003cp>After arriving totally unannounced at Paul’s family’s house (rude much, Joyce?), Joyce meets Paul’s mom, who has an accent that can’t make up its mind about whether it wants to be Southern, British or Mrs. Doubtfire. Also, Joyce finds a local doctor who dresses like Colonel Sanders and has been doing dodgy experiments on gravely injured people using radiation and alligator DNA. Turns out—*dun-dun-duuuuun!*—Paul is one of them! And now his face is falling off! Or getting scaley! Or both depending on the makeup that day!\u003c/p>\n\u003cp>I don’t want to spoil the ending, but \u003ca href=\"https://www.imdb.com/name/nm0307500/?ref_=tt_cl_t1\" target=\"_blank\" rel=\"noopener noreferrer\">Beverly Garland\u003c/a> has to do a surprising amount of stunt work with living, snapping alligators, and the alligator-man in the pants is a thing of majestic beauty that you’ll never forget.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w-lv3OxnnG4\u003c/p>\n\u003cp>Until next week, stay safe and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, click \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "This week's mental escape from shelter-in-place comes via alligator people, giant crabs and a very famous fish-man. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to week five of \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">Lockdown Movie Musts\u003c/a>! Featuring weird subgenres of yore that’ll take your mind off, well, (*smashes head on wall*) you know…\u003c/p>\n\u003cp>This week, we’re creepin’ and crawlin’ through swamps and a surprising amount of radiation to get better acquainted with the underwater creatures of 1950s B-movies. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The rational place to start, of course, is with the most famous of them all: 1954’s\u003cem> \u003ca href=\"https://www.imdb.com/title/tt0046876/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">Creature From the Black Lagoon\u003c/a>\u003c/em>. It’s a movie that starts with lofty ideas (a depiction of the Big Bang!) and descends quickly into racist nonsense (why do all these indigenous people have hair like \u003ca href=\"http://www.americanmythology.net/gallery?lightbox=image_1x15\" target=\"_blank\" rel=\"noopener noreferrer\">Moe from the \u003cem>Three Stooges\u003c/em>\u003c/a>?). Then come a series of appearances by the aforementioned creature that revolve entirely around his webbed hand. (It reaches out of the water in a claw position! It touches the riverbank in slow motion for no reason! And, faced with the sight of a Moe haircut, it attacks!)\u003c/p>\n\u003cp>The plot involves a team of explorers who are hanging out in the Amazon investigating a fossilized version of The Webbed Hand that presumably came from the creature’s great-grandad. What follows is a gratuitous amount of scuba diving (presumably because it was only \u003ca href=\"https://blog.padi.com/2014/01/27/jacques-cousteau-the-father-of-scuba-diving/\" target=\"_blank\" rel=\"noopener noreferrer\">invented\u003c/a> 12 years before this movie came out) and human behavior that is increasingly hard to justify.\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/ariuokNFhSw'\n title='//www.youtube.com/embed/ariuokNFhSw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There the creature is, just swimming around, trying to deal with his woeful inability to successfully grab women’s ankles. Meanwhile, the humans are casually tossing cigarette butts into his lagoon and wondering why their repeated attempts to hurt or trap him are making him angry. It’s impossible not to side with the creature on this one. The moral of the story is clear: humans are \u003cem>awful\u003c/em>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>1957’s \u003ca href=\"https://www.imdb.com/title/tt0050147/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Attack of the Crab Monsters\u003c/em>\u003c/a> makes for far less emotional viewing because it makes absolutely no sense. Sure, radiation has made a bunch of giant googly-eyed crabs. And sure, a team of humans wants to investigate. But get this! In this movie—and please bear with me—when a human gets eaten by a crab, the crab then magically absorbs the personality of the human and can suddenly transmit their voice and thoughts. Long-distance, sometimes!\u003c/p>\n\u003cp>Yeah.\u003c/p>\n\u003cp>At one point, an on-screen botanist tries to make sense of this by saying: “Once they were men, now they are land crabs.” Sure, bro, but what’s with the ghost-in-the-crustacean stuff?\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/S68QJFheZaw'\n title='//www.youtube.com/embed/S68QJFheZaw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Also on the confusing front—and this is definitely a side-note—there is only one woman on the team of explorers here and her eyebrows appear to have been stolen from a ventriloquist’s dummy.\u003c/p>\n\u003cp>Who did this to you, \u003ca href=\"https://www.imdb.com/name/nm0242056/?ref_=fn_al_nm_1\" target=\"_blank\" rel=\"noopener noreferrer\">Pamela Duncan\u003c/a>?\u003c/p>\n\u003cfigure id=\"attachment_13879057\" class=\"wp-caption aligncenter\" style=\"max-width: 446px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879057\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-12.01.52-AM.png\" alt=\"Martha stressing about her weird eyebrows (probably) in 'Attack of the Crab Monsters.'\" width=\"446\" height=\"301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-12.01.52-AM.png 446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-12.01.52-AM-160x108.png 160w\" sizes=\"(max-width: 446px) 100vw, 446px\">\u003cfigcaption class=\"wp-caption-text\">Martha stressing about her weird eyebrows (probably) in ‘Attack of the Crab Monsters.’\u003c/figcaption>\u003c/figure>\n\u003cp>Anyway, just like those eyebrows, \u003cem>Attack of the Crab Monsters\u003c/em> tries way, way too hard to justify itself. It could learn a thing or two from our next pick, a 1959 movie that answers the question: What would it look like if a man turned into an alligator, but still managed to keep his snazzy, high-waisted, 1950s pants on? It’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0052549/\" target=\"_blank\" rel=\"noopener noreferrer\">The Alligator People\u003c/a>\u003c/em>!\u003c/p>\n\u003cp>It all begins with Joyce, a woman whose husband, Paul, ditches her literally an hour into their honeymoon. She responds to this by going on a cross-country hunt to track him down. (Have some pride, woman! Just get an annulment and put on some \u003ca href=\"https://www.youtube.com/watch?v=gl1aHhXnN1k\" target=\"_blank\" rel=\"noopener noreferrer\">Ariana Grande\u003c/a>, already!)\u003c/p>\n\u003cp>After arriving in the butt crack of Louisiana, Joyce casually jumps into the truck of a man with a hook hand who enjoys running over alligators and saying menacing things about swamps and quicksand.\u003c/p>\n\u003cp>(Can we just take a timeout here to talk about the fact that, if you were a child growing up anytime between 1920 and 1990, quicksand was presented in popular culture as a constant, imminent threat. Why don’t we ever hear about quicksand anymore? It used to be freakin’ \u003cem>everywhere\u003c/em>.)\u003c/p>\n\u003cp>After arriving totally unannounced at Paul’s family’s house (rude much, Joyce?), Joyce meets Paul’s mom, who has an accent that can’t make up its mind about whether it wants to be Southern, British or Mrs. Doubtfire. Also, Joyce finds a local doctor who dresses like Colonel Sanders and has been doing dodgy experiments on gravely injured people using radiation and alligator DNA. Turns out—*dun-dun-duuuuun!*—Paul is one of them! And now his face is falling off! Or getting scaley! Or both depending on the makeup that day!\u003c/p>\n\u003cp>I don’t want to spoil the ending, but \u003ca href=\"https://www.imdb.com/name/nm0307500/?ref_=tt_cl_t1\" target=\"_blank\" rel=\"noopener noreferrer\">Beverly Garland\u003c/a> has to do a surprising amount of stunt work with living, snapping alligators, and the alligator-man in the pants is a thing of majestic beauty that you’ll never forget.\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/w-lv3OxnnG4'\n title='//www.youtube.com/embed/w-lv3OxnnG4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Until next week, stay safe and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, click \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"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": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"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. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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