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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The San Francisco Transgender Film Festival was co-founded in 1997 by \u003ca href=\"https://en.wikipedia.org/wiki/Christopher_Lee_(activist)\" target=\"_blank\" rel=\"noopener\">Christopher Lee\u003c/a> and Alex Austin, after Austin came across a movie about Lee’s gender transition—\u003cem>Christopher’s Chronicles—\u003c/em>in the course of producing Oakland’s first LGBT film festival, Alternate Vision.\u003c/p>\n\u003cp>Lee, who passed away in 2012, is often remembered for being the first trans man to serve as the Grand Marshal at the San Francisco Pride Parade. He was honored earlier this year at the Stonewall National Monument, where he was inducted onto the National \u003ca href=\"https://en.wikipedia.org/wiki/National_LGBTQ_Wall_of_Honor\" target=\"_blank\" rel=\"noopener\">LGBTQ Wall of Honor\u003c/a>, which remembers “pioneers, trailblazers and heroes” in the community.\u003c/p>\n\u003cp>Austin and Lee brought on musician, activist and filmmaker \u003ca href=\"http://sftff.org/artistic-director/\" target=\"_blank\" rel=\"noopener\">Shawna Virago\u003c/a> as a co-director in 2003, and she remains artistic director of the Transgender Film Festival today. At the 20th anniversary of the festival, she noted that putting it together every year was an annual labor of love. “We’ve survived on our trans smarts, sweat,” she said, “and love from our communities.”\u003c/p>\n\u003cp>The full San Francisco Transgender Film Festival schedule is as follows:\u003cbr>\n\u003ca href=\"https://www.roxie.com/ai1ec_event/san-francisco-transgender-film-festival-program-1/?instance_id=\" target=\"_blank\" rel=\"noopener\">Program 1\u003c/a> (Nov. 7): \u003cem>Transfinite\u003c/em>\u003cbr>\n\u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-2/?instance_id=\" target=\"_blank\" rel=\"noopener\">Program 2\u003c/a> (Nov. 8): \u003cem>The Whistle, Denim\u003cbr>\n\u003c/em>\u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-3/\" target=\"_blank\" rel=\"noopener\">Program 3\u003c/a> (Nov. 9): \u003cem>Sweet and Tender Hooligan, I-57, Feeling Like An Orchid, Consonance, Unbecoming, Trans 128\u003cbr>\n\u003c/em>\u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-4/?instance_id=\" target=\"_blank\" rel=\"noopener\">Program 4\u003c/a> (Nov. 9): \u003cem>Eat Rich, Feminina, To Be With You, Get Off My Terf!, Across, Beyond and Over, This is For Us\u003cbr>\n\u003c/em>\u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-5/?instance_id=\" target=\"_blank\" rel=\"noopener\">Program 5\u003c/a> (Nov. 10): \u003cem>Mark, Tender, Turning, Boiler\u003c/em>\u003cbr>\n\u003ca href=\"https://www.roxie.com/ai1ec_event/2019-sf-transgender-film-festival-program-6/?instance_id=\" target=\"_blank\" rel=\"noopener\">Program 6\u003c/a> (Nov. 10):\u003cem>The Drum Tower, Run!, People Like Me, Carving Space\u003c/em>, and \u003cem>Honor Black Trans Women!\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Note: Screenings on Nov. 7 and 8 will include closed captioning and ASL interpretations. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Boys Don’t Cry\u003c/em> opened in theaters Oct. 22, 1999, first on 25 screens before spreading to hundreds. It became a runaway hit that drew rave reviews for its empathetic portrayal of a young person on a quest for love and acceptance—based on the true story of murdered Nebraskan Brandon Teena—at a time when transgender characters were just not represented on screen.\u003c/p>\n\u003cp>When Riki Wilchins began transitioning in the late 1970s, she says there was very little trans visibility, even in large cities.\u003c/p>\n\u003cp>“Trans people were like unicorns,” Wilchins says. “I mean, no one had actually seen one in the wild. There was really no one to talk to. The term transgender wasn’t even in use.”\u003c/p>\n\u003cp>In the early 1990s, Wilchins co-founded Transexual Menace, one of the first transgender rights organizations. Among its first goals was the documentation of anti-trans murders, which often went unreported. And when they were, says Wilchins, the stories were often coded.\u003c/p>\n\u003cp>“When trans people were killed the only way we would find out about it was there would be four paragraphs in the back of the local paper, you know, ‘Man Found Wearing Articles Of Women’s Clothing Murdered In Alley,’ says Wilchins. “And that meant that a transgender woman had been violently murdered, but you had to kind of read backwards.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The murder of 21-year-old Brandon Teena was different—it garnered national headlines. In 1993, Teena was killed in the town of Humboldt, Neb., along with two witnesses, Lisa Lambert and Phillip DeVine. The brutal triple homicide garnered salacious, victim-blaming headlines, such as “\u003ca href=\"https://www.apnews.com/6d811e00773d86e37fe99d58b7b5b4ad\">Cross-Dresser Killed Two Weeks After Town Learned Her True Identity\u003c/a>.”\u003c/p>\n\u003cp>When two men stood trial for the murders, members of Transexual Menace and their allies planned a vigil outside the Falls City, Neb. courthouse. They were met with a harsh reception, recalls Kimberly Peirce, who directed and co-wrote \u003cem>Boys Don’t Cry\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VqqqaV0Cn3M\u003c/p>\n\u003cp>“We were standing in front of the court building and guys would go by in their big truck and scream terrible things at us and throw things,” Peirce says. “And certainly us being there, you know, was catalyzing some kind of anger and that was scary.”\u003c/p>\n\u003cp>Peirce, then a graduate film student at Columbia University, had hitched a ride to the trial with Riki Wilchins and other members of Transexual Menace. She decided to make her thesis film about Brandon Teena after reading an article about him in the \u003ca href=\"https://www.villagevoice.com/2018/06/20/how-i-broke-and-botched-the-brandon-teena-story/\">\u003cem>Village Voice\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“I fell instantly in love with Brandon,” Peirce says. “I was coming at it as a person who was discovering my own gender queerness, and getting to know trans people, and saying, ‘Help me tell this story in a way that would be the most authentic.’ And I wanted to tell his story as a movie so that other people could empathize with him.”\u003c/p>\n\u003cp>Peirce’s thesis evolved into a full-length feature film, and over the next four years she immersed herself in Brandon Teena’s world, returning to Falls City to interview his girlfriend and other townspeople. When it was time to cast the film, she says hundreds of actors auditioned, starting with the trans community.\u003c/p>\n\u003cp>But Peirce says trans actors were harder to find than they are today. The part ultimately went to a relatively unknown cisgender actress: Hilary Swank. When Swank won an Oscar for Best Actress in a Leading Role for her portrayal of Brandon Teena, she used \u003ca href=\"https://www.youtube.com/watch?v=2zD5L-ja8O0\">her acceptance speech\u003c/a> to honor his courage.\u003c/p>\n\u003cp>As the first film to introduce mainstream audiences to a transgender man, \u003cem>Boys Don’t Cry\u003c/em> was a landmark, says Nick Adams, director of transgender representation at \u003ca href=\"https://www.glaad.org/\">GLAAD\u003c/a>. But today, Adams says we expect trans roles to be played by trans actors, who now appear in such popular television shows as \u003cem>Good Girls \u003c/em>and \u003cem>Grey’s Anatomy\u003c/em>. He points to \u003cem>Orange is the New Black\u003c/em>‘s Laverne Cox.\u003c/p>\n\u003cp>“Prior to \u003cem>Orange is the New Black\u003c/em>, almost every transgender character was portrayed by a cisgender actor,” Adams says. “And with transgender women, men playing them, which only reinforced in people’s minds that transgender women are not women, but just men in dresses.”\u003c/p>\n\u003cp>Transgender directors and writers also work behind the scenes on hits including \u003cem>Transparent\u003c/em> and \u003cem>Pose\u003c/em>.\u003c/p>\n\u003cp>At the same time, \u003cem>Boys Don’t Cry\u003c/em> has taken on a more complicated legacy. Some trans audiences object to the brutal violence depicted in the film, others to Peirce’s decision to cast a cisgender actress.\u003c/p>\n\u003cp>Wilchins says sure, the film might not be made the same way today, but Peirce doesn’t deserve the backlash.\u003c/p>\n\u003cp>“It’s not fair to go back and apply standards 20 years later that didn’t exist back then,” Wilchins says. “What she did is a major, major accomplishment. It legitimated and made possible all of these other representations that we’ve had since.”\u003c/p>\n\u003cp>That includes an increasing number of nonbinary characters who are portrayed by nonbinary actors. One of those actors, Asia Kate Dillon, of Showtime’s \u003cem>Billions\u003c/em>, has called on the major acting awards to \u003ca href=\"https://www.nytimes.com/2019/10/16/movies/oscars-gendered-categories.html?smid=nytcore-ios-share\">jettison gendered acting categories\u003c/a> altogether.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although visibility continues to expand, violence against trans people persists. According to \u003ca href=\"https://www.hrc.org/resources/violence-against-the-transgender-community-in-2019\">the most recent figures\u003c/a>, at least 19 trans people have been killed so far this year, the majority trans women of color. Nevertheless, Wilchins says she’s hopeful that will change, encouraged by \u003ca href=\"https://www.pewsocialtrends.org/2019/01/17/generation-z-looks-a-lot-like-millennials-on-key-social-and-political-issues/\">other recent studies\u003c/a> that indicate that binary definitions of gender have less meaning for the next generation.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=20+Years+Later%2C+%27Boys+Don%27t+Cry%27+Still+Inspires+Admiration+And+Debate&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Boys Don’t Cry\u003c/em> opened in theaters Oct. 22, 1999, first on 25 screens before spreading to hundreds. It became a runaway hit that drew rave reviews for its empathetic portrayal of a young person on a quest for love and acceptance—based on the true story of murdered Nebraskan Brandon Teena—at a time when transgender characters were just not represented on screen.\u003c/p>\n\u003cp>When Riki Wilchins began transitioning in the late 1970s, she says there was very little trans visibility, even in large cities.\u003c/p>\n\u003cp>“Trans people were like unicorns,” Wilchins says. “I mean, no one had actually seen one in the wild. There was really no one to talk to. The term transgender wasn’t even in use.”\u003c/p>\n\u003cp>In the early 1990s, Wilchins co-founded Transexual Menace, one of the first transgender rights organizations. Among its first goals was the documentation of anti-trans murders, which often went unreported. And when they were, says Wilchins, the stories were often coded.\u003c/p>\n\u003cp>“When trans people were killed the only way we would find out about it was there would be four paragraphs in the back of the local paper, you know, ‘Man Found Wearing Articles Of Women’s Clothing Murdered In Alley,’ says Wilchins. “And that meant that a transgender woman had been violently murdered, but you had to kind of read backwards.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The murder of 21-year-old Brandon Teena was different—it garnered national headlines. In 1993, Teena was killed in the town of Humboldt, Neb., along with two witnesses, Lisa Lambert and Phillip DeVine. The brutal triple homicide garnered salacious, victim-blaming headlines, such as “\u003ca href=\"https://www.apnews.com/6d811e00773d86e37fe99d58b7b5b4ad\">Cross-Dresser Killed Two Weeks After Town Learned Her True Identity\u003c/a>.”\u003c/p>\n\u003cp>When two men stood trial for the murders, members of Transexual Menace and their allies planned a vigil outside the Falls City, Neb. courthouse. They were met with a harsh reception, recalls Kimberly Peirce, who directed and co-wrote \u003cem>Boys Don’t Cry\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/VqqqaV0Cn3M'\n title='//www.youtube.com/embed/VqqqaV0Cn3M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We were standing in front of the court building and guys would go by in their big truck and scream terrible things at us and throw things,” Peirce says. “And certainly us being there, you know, was catalyzing some kind of anger and that was scary.”\u003c/p>\n\u003cp>Peirce, then a graduate film student at Columbia University, had hitched a ride to the trial with Riki Wilchins and other members of Transexual Menace. She decided to make her thesis film about Brandon Teena after reading an article about him in the \u003ca href=\"https://www.villagevoice.com/2018/06/20/how-i-broke-and-botched-the-brandon-teena-story/\">\u003cem>Village Voice\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“I fell instantly in love with Brandon,” Peirce says. “I was coming at it as a person who was discovering my own gender queerness, and getting to know trans people, and saying, ‘Help me tell this story in a way that would be the most authentic.’ And I wanted to tell his story as a movie so that other people could empathize with him.”\u003c/p>\n\u003cp>Peirce’s thesis evolved into a full-length feature film, and over the next four years she immersed herself in Brandon Teena’s world, returning to Falls City to interview his girlfriend and other townspeople. When it was time to cast the film, she says hundreds of actors auditioned, starting with the trans community.\u003c/p>\n\u003cp>But Peirce says trans actors were harder to find than they are today. The part ultimately went to a relatively unknown cisgender actress: Hilary Swank. When Swank won an Oscar for Best Actress in a Leading Role for her portrayal of Brandon Teena, she used \u003ca href=\"https://www.youtube.com/watch?v=2zD5L-ja8O0\">her acceptance speech\u003c/a> to honor his courage.\u003c/p>\n\u003cp>As the first film to introduce mainstream audiences to a transgender man, \u003cem>Boys Don’t Cry\u003c/em> was a landmark, says Nick Adams, director of transgender representation at \u003ca href=\"https://www.glaad.org/\">GLAAD\u003c/a>. But today, Adams says we expect trans roles to be played by trans actors, who now appear in such popular television shows as \u003cem>Good Girls \u003c/em>and \u003cem>Grey’s Anatomy\u003c/em>. He points to \u003cem>Orange is the New Black\u003c/em>‘s Laverne Cox.\u003c/p>\n\u003cp>“Prior to \u003cem>Orange is the New Black\u003c/em>, almost every transgender character was portrayed by a cisgender actor,” Adams says. “And with transgender women, men playing them, which only reinforced in people’s minds that transgender women are not women, but just men in dresses.”\u003c/p>\n\u003cp>Transgender directors and writers also work behind the scenes on hits including \u003cem>Transparent\u003c/em> and \u003cem>Pose\u003c/em>.\u003c/p>\n\u003cp>At the same time, \u003cem>Boys Don’t Cry\u003c/em> has taken on a more complicated legacy. Some trans audiences object to the brutal violence depicted in the film, others to Peirce’s decision to cast a cisgender actress.\u003c/p>\n\u003cp>Wilchins says sure, the film might not be made the same way today, but Peirce doesn’t deserve the backlash.\u003c/p>\n\u003cp>“It’s not fair to go back and apply standards 20 years later that didn’t exist back then,” Wilchins says. “What she did is a major, major accomplishment. It legitimated and made possible all of these other representations that we’ve had since.”\u003c/p>\n\u003cp>That includes an increasing number of nonbinary characters who are portrayed by nonbinary actors. One of those actors, Asia Kate Dillon, of Showtime’s \u003cem>Billions\u003c/em>, has called on the major acting awards to \u003ca href=\"https://www.nytimes.com/2019/10/16/movies/oscars-gendered-categories.html?smid=nytcore-ios-share\">jettison gendered acting categories\u003c/a> altogether.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although visibility continues to expand, violence against trans people persists. According to \u003ca href=\"https://www.hrc.org/resources/violence-against-the-transgender-community-in-2019\">the most recent figures\u003c/a>, at least 19 trans people have been killed so far this year, the majority trans women of color. Nevertheless, Wilchins says she’s hopeful that will change, encouraged by \u003ca href=\"https://www.pewsocialtrends.org/2019/01/17/generation-z-looks-a-lot-like-millennials-on-key-social-and-political-issues/\">other recent studies\u003c/a> that indicate that binary definitions of gender have less meaning for the next generation.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=20+Years+Later%2C+%27Boys+Don%27t+Cry%27+Still+Inspires+Admiration+And+Debate&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Zombieland: Double Tap' Taps Into Nostalgia For Its Predecessor",
"headTitle": "‘Zombieland: Double Tap’ Taps Into Nostalgia For Its Predecessor | KQED",
"content": "\u003cp>Had you told me even a month ago that Academy Award-nominee Jesse Eisenberg, Academy Award-nominee Abigail Breslin, three-time Academy Award-nominee Woody Harrelson, and three-time Academy Award-nominee/one-time Academy Award-winner Emma Stone were reuniting for the long-unawaited, highly unanticipated sequel to \u003cem>Zombieland \u003c/em>—the 42nd highest grossing picture of 2009 and to be fair, a perfectly agreeable expenditure of 88 minutes—I would’ve assumed someone in the Culver City offices of Sony Pictures was embezzling. \u003c/p>\n\u003cp>But I can now report that \u003cem>Zombieland: Double Tap\u003c/em> is a real movie, or at least the \u003cem>Another 48 Hours\u003c/em> of undead epics, one for which the entire creative team has reconvened. Director Ruben Fleischer and screenwriters Rhett Reese & Paul Wernick (assisted this time by David Callaham) have had much bigger hits in the intervening years with \u003cem>Venom\u003c/em> and the \u003cem>Deadpool movies\u003c/em>, respectively. Those pictures were more smug and less funny than \u003cem>Zombieland\u003c/em>, but they share its caustic self-awareness and its ultraviolence. \u003cem>Double Tap \u003c/em>is a second (or fifth) helping of the same, its episodic plot mere scaffolding from which to hang variations on the same jokes that worked 10 years ago, when the distance between the post-apocalyptic world and our own felt a lot more … distant. But they’re solid jokes, and like its Obama-era ancestor, \u003cem>Double Tap\u003c/em> doesn’t overstay. For all the snacked-on viscera and exploding brains this low-ambition, slightly-higher-return sequel asks you to stomach, its Muppety determination to please is even sort of sweet. As Eisenberg says in the opening voiceover: “We know you have a lot of choices in zombie entertainment, so thank you for picking us.”\u003c/p>\n\u003cp>https://youtu.be/ZlW9yhUKlkQ\u003c/p>\n\u003cp>Less time seems to have passed in Z-land than in our world, but the creators remain uninterested in the big picture of how the plague began or how it has reordered the globe. We’re not privy to any news our post-meltdown nuclear family of Columbus (Eisenberg), Wichita (Stone), Tallahasse (Harrelson), and Little Rock (Breslin) has not experienced firsthand. Columbus and Wichita are now in a cozy romantic relationship, and Little Rock has grown into late adolescence, with all the restlessness and craving for independence that that entrails—er, entails. (The real-life Breslin is 23 years old.) The foursome spends the first chapter of the movie living large in the vacant-but-fully intact White House because why not, which tells you how seriously the creators are taking their premise. But a Lincoln Bedroom marriage proposal from Columbus triggers Wichita’s attachment issues and sends her and Little Rock packing, again. So the menfolk and the womenfolk find themselves once again wandering the earth in pairs, each duo picking up its own idiot.\u003c/p>\n\u003cp>The newbie who rates the most screen time is Zoey Deutch’s Madison, a vapid, juicy-suit wearing mallrat whose characterization recalls an element of \u003cem>Zombieland\u003c/em> that has aged poorly—namely, its suggestion that Columbus was on his way to becoming what we’d now call an incel before the plague struck. Deutch is a good comic actor, and she fully commits to playing the fool, but it’s hard not to spend the movie waiting for the writers to let her have \u003cem>something\u003c/em>. The film’s other airheard, Avan Jogia’s Berkeley, is a ponytailed troubadour who persuades the smitten Little Rock to accompany him to Babylon, a rumored pacifist commune that has remained inexplicably untouched by the zombie uprising. It would be in keeping with the film’s gleeful embrace of stereotypes if it offered a late revelation that zombies were repelled by patchouli oil, for instance, but the writers never supply \u003cem>any\u003c/em> explanation for Babylon’s proof against the undead, hack or otherwise.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We do get a side-quest to Graceland, or what remains of it, where Harrelson’s Tallahassee forges an alliance, as it were, with another flinty survivor in the person of Rosario Dawson, always a welcome comic presence. \u003c/p>\n\u003cp>What’s touching about \u003cem>Double Tap\u003c/em> is also what’s exhausting about it: It has even more callbacks to its predecessor than it does to a much older, more substantial post-apocalyptic movie franchise. The new, harder-to-kill species of zombie \u003cem>Double Tap\u003c/em> introduces is referred to as a T-800, for example. For readers who haven’t had the benefit of a well-rounded liberal arts education with a concentration in the classics, that was the model number of the cyborg tactical infiltrator Arnold Schwarzenegger played in \u003cem>The Terminator\u003c/em> 35 years ago and shall again in that film’s imminent fifth sequel. So in the parlance of this movie, nut up for \u003cem>Zombieland: Triple Threat\u003c/em>, coming 2029, probably. Aw. It’s almost like a real franchise. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Had you told me even a month ago that Academy Award-nominee Jesse Eisenberg, Academy Award-nominee Abigail Breslin, three-time Academy Award-nominee Woody Harrelson, and three-time Academy Award-nominee/one-time Academy Award-winner Emma Stone were reuniting for the long-unawaited, highly unanticipated sequel to \u003cem>Zombieland \u003c/em>—the 42nd highest grossing picture of 2009 and to be fair, a perfectly agreeable expenditure of 88 minutes—I would’ve assumed someone in the Culver City offices of Sony Pictures was embezzling. \u003c/p>\n\u003cp>But I can now report that \u003cem>Zombieland: Double Tap\u003c/em> is a real movie, or at least the \u003cem>Another 48 Hours\u003c/em> of undead epics, one for which the entire creative team has reconvened. Director Ruben Fleischer and screenwriters Rhett Reese & Paul Wernick (assisted this time by David Callaham) have had much bigger hits in the intervening years with \u003cem>Venom\u003c/em> and the \u003cem>Deadpool movies\u003c/em>, respectively. Those pictures were more smug and less funny than \u003cem>Zombieland\u003c/em>, but they share its caustic self-awareness and its ultraviolence. \u003cem>Double Tap \u003c/em>is a second (or fifth) helping of the same, its episodic plot mere scaffolding from which to hang variations on the same jokes that worked 10 years ago, when the distance between the post-apocalyptic world and our own felt a lot more … distant. But they’re solid jokes, and like its Obama-era ancestor, \u003cem>Double Tap\u003c/em> doesn’t overstay. For all the snacked-on viscera and exploding brains this low-ambition, slightly-higher-return sequel asks you to stomach, its Muppety determination to please is even sort of sweet. As Eisenberg says in the opening voiceover: “We know you have a lot of choices in zombie entertainment, so thank you for picking us.”\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/ZlW9yhUKlkQ'\n title='//www.youtube.com/embed/ZlW9yhUKlkQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Less time seems to have passed in Z-land than in our world, but the creators remain uninterested in the big picture of how the plague began or how it has reordered the globe. We’re not privy to any news our post-meltdown nuclear family of Columbus (Eisenberg), Wichita (Stone), Tallahasse (Harrelson), and Little Rock (Breslin) has not experienced firsthand. Columbus and Wichita are now in a cozy romantic relationship, and Little Rock has grown into late adolescence, with all the restlessness and craving for independence that that entrails—er, entails. (The real-life Breslin is 23 years old.) The foursome spends the first chapter of the movie living large in the vacant-but-fully intact White House because why not, which tells you how seriously the creators are taking their premise. But a Lincoln Bedroom marriage proposal from Columbus triggers Wichita’s attachment issues and sends her and Little Rock packing, again. So the menfolk and the womenfolk find themselves once again wandering the earth in pairs, each duo picking up its own idiot.\u003c/p>\n\u003cp>The newbie who rates the most screen time is Zoey Deutch’s Madison, a vapid, juicy-suit wearing mallrat whose characterization recalls an element of \u003cem>Zombieland\u003c/em> that has aged poorly—namely, its suggestion that Columbus was on his way to becoming what we’d now call an incel before the plague struck. Deutch is a good comic actor, and she fully commits to playing the fool, but it’s hard not to spend the movie waiting for the writers to let her have \u003cem>something\u003c/em>. The film’s other airheard, Avan Jogia’s Berkeley, is a ponytailed troubadour who persuades the smitten Little Rock to accompany him to Babylon, a rumored pacifist commune that has remained inexplicably untouched by the zombie uprising. It would be in keeping with the film’s gleeful embrace of stereotypes if it offered a late revelation that zombies were repelled by patchouli oil, for instance, but the writers never supply \u003cem>any\u003c/em> explanation for Babylon’s proof against the undead, hack or otherwise.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We do get a side-quest to Graceland, or what remains of it, where Harrelson’s Tallahassee forges an alliance, as it were, with another flinty survivor in the person of Rosario Dawson, always a welcome comic presence. \u003c/p>\n\u003cp>What’s touching about \u003cem>Double Tap\u003c/em> is also what’s exhausting about it: It has even more callbacks to its predecessor than it does to a much older, more substantial post-apocalyptic movie franchise. The new, harder-to-kill species of zombie \u003cem>Double Tap\u003c/em> introduces is referred to as a T-800, for example. For readers who haven’t had the benefit of a well-rounded liberal arts education with a concentration in the classics, that was the model number of the cyborg tactical infiltrator Arnold Schwarzenegger played in \u003cem>The Terminator\u003c/em> 35 years ago and shall again in that film’s imminent fifth sequel. So in the parlance of this movie, nut up for \u003cem>Zombieland: Triple Threat\u003c/em>, coming 2029, probably. Aw. It’s almost like a real franchise. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>That headline, friends and neighbors, is intended to be slightly provocative and completely ironic. Join me, for just 24 hours, in abandoning the tired cliché that the good old days (especially hereabouts) were all that great.\u003c/p>\n\u003cp>Sure, those of us who’ve lived here for any length of time are convinced that San Francisco used to be a kinder, classier, quirkier and more affordable city. But perhaps that says more about us, and the way human beings react to the inevitability of change, than it says about the city.\u003c/p>\n\u003cp>“I remember my grandparents doing this in the car,” recalls filmmaker Peter Paul Jacques, who grew up in San Diego before relocating at the beginning of 1989 to study film at San Francisco State. “‘That used to be an ostrich farm.’ I’d go ‘Ugh, who cares, Grandma?’ Then you hit 50 and you go, ‘Ohhhh.’” Jacques’ forthcoming documentary, \u003ci>\u003ca href=\"https://www.sf89doc.com/\" rel=\"noopener\" target=\"_blank\">SF89: San Francisco Before the Internet\u003c/a>\u003c/i>, excavates and revisits the San Francisco of the late 1980s and early 1990s, a pivotal era in the lives of Jacques and his friends.\u003c/p>\n\u003cp>Of looking back over a period of massive change, Jacques muses, “What does that do to you inside? I think the theme of change is universal. We romanticize, ‘It used to be so great.’ People come up to me about this film, ‘You’re doing it about San Francisco in the good times.’ Well, it wasn’t that good.” Jacques laughs. “If we weren’t having a major earthquake, there were all kinds of [other] terrible, horrible [things].”\u003c/p>\n\u003cp>https://vimeo.com/363943361\u003c/p>\n\u003cp>The Loma Prieta earthquake that Jacques is referring to shook, rattled, rocked and rolled every creature in the Bay Area 30 years ago today. It immediately became a national story, thanks to the interrupted broadcast of the third game of the Bay Bridge World Series at Candlestick Park. But it took a good deal longer for locals, and the country, to come to terms with the fact that 63 people lost their lives in quake-related events.\u003c/p>\n\u003cp>As Jacques notes, it wasn’t the only unexpected tragedy during that period. The month after the quake, a construction crane collapsed at Kearny and California, killing five people. (“My friend John helped pull people out of that,” Jacques says.) The first Gulf War began a year later. (“I was of draft age and they were talking about [reinstating] the draft. We took to the streets.”) The mass shooting at 101 California that left eight people dead occurred three years after that. (“I was down the street,” Jacques notes.)\u003c/p>\n\u003cp>Of course, for Jacques and his friends, the period was remarkable for quite different reasons. It was a time when a single person could make lattes at a Rincon Center shop for minimum wage and afford rent, food and their nightly drinks at the neighborhood bar. (Jacques lived at Steiner and Fell, for those of you keeping score at home.)\u003c/p>\n\u003cfigure id=\"attachment_13868343\" class=\"wp-caption aligncenter\" style=\"max-width: 905px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KIds.jpg\" alt=\"Vikki Krekler and Peter Jacques in 1989.\" width=\"905\" height=\"706\" class=\"size-full wp-image-13868343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KIds.jpg 905w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KIds-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KIds-800x624.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KIds-768x599.jpg 768w\" sizes=\"(max-width: 905px) 100vw, 905px\">\u003cfigcaption class=\"wp-caption-text\">Vikki Krekler and Peter Jacques in 1989. \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The late ’80s and early ’90s, for him, marked that crucial period in a young person’s life that they think will continue forever. Jacques’ circle of friends were primarily artists, which is to say experimenters and collaborators. Since creative energy, by its nature, is impulsive rather than strategic, nobody was particularly concerned at the time with the future—or the past.\u003c/p>\n\u003cp>Let’s not forget, though, that even then there were folks warning that chain stores were paving over San Francisco’s history and violating its character. I lived at Oak and Ashbury in 1988—just before Jacques arrived—and was awakened one September morning by sirens and smoke. A Thrifty drugstore under construction on Haight Street was in flames, and the tenor of the times was such that it was instantly assumed that an opponent of soulless corporate expansion had torched the building. (It turned out to be arson, in fact.)\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Peter Paul Jacques']‘Everybody has a San Francisco. It’s the one you found when you got here.’[/pullquote]\u003c/p>\n\u003cp>The bigger point is that whenever you moved to San Francisco, and stepped into the stream that is the ebb, flow and change of a city, that’s your frame of reference.\u003c/p>\n\u003cp>“Someone told me about a book or an article written in 1859 about 1849 saying, ‘\u003cem>That\u003c/em> was the real San Francisco,’” Jacques remarks. “I would say that that is the same everywhere, not just in San Francisco. Any big city has a lore. And whenever you arrive, someone says, ‘Kid, you missed it.’\u003c/p>\n\u003cp>“We were talking about doing [the film] in the form of chapters, and one of the chapters I originally wrote was, ‘You Missed It.’ I started interviewing people about that and I didn’t get a lot of reaction. ‘I don’t remember anyone telling me that.’ Gee, I do. Maybe you weren’t listening.”\u003c/p>\n\u003cp>Jacques has been developing \u003cem>SF89: San Francisco Before the Internet\u003c/em> for several years, his thinking and vision for the project evolving along the way. While he largely relies on interviews with friends and acquaintances from the pre- and post-quake period, he’s clear about the need to reach a cross-generational audience—which means resisting the pitfall of the siren song of nostalgia.\u003c/p>\n\u003cfigure id=\"attachment_13868344\" class=\"wp-caption aligncenter\" style=\"max-width: 1022px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/MarketAndStockton.jpg\" alt=\"The corner of Market and Stockton in 1992.\" width=\"1022\" height=\"700\" class=\"size-full wp-image-13868344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton-1020x699.jpg 1020w\" sizes=\"(max-width: 1022px) 100vw, 1022px\">\u003cfigcaption class=\"wp-caption-text\">The corner of Market and Stockton in 1992. \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There is a type of documentary that I don’t want to make—and there’s nothing wrong with them, it’s just that I want to do something more—and it’s ‘let’s go down Memory Lane.’ What I want to do is something about the emotion of change, and watching it and being part of it, and one minute you’re the younger generation and for way longer you’re not.”\u003c/p>\n\u003cp>Jacques recently completed his last round of interviews, and he’s about to immerse himself in postproduction. Documentaries have a way of shifting their focus in the editing room, as a different story—or a more urgent theme—emerges out of the one the filmmaker conceived. But he imagines a structure in which the past and the present can coexist.\u003c/p>\n\u003cp>“The film could have the veneer of fun nostalgia, because I think that’s going to draw people to want to see it,” he says. “That’s what \u003cem>I\u003c/em> would come for. Lead them in with that, then give them something more nutritious: Let’s put it in the context of life and the world. Everybody has a San Francisco. It’s the one you found when you got here.”\u003c/p>\n\u003cfigure id=\"attachment_13868345\" class=\"wp-caption aligncenter\" style=\"max-width: 1107px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/LeighCrowInterview.jpg\" alt=\"Still of Leigh Crow interview from 'SF89.'\" width=\"1107\" height=\"675\" class=\"size-full wp-image-13868345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview.jpg 1107w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview-1020x622.jpg 1020w\" sizes=\"(max-width: 1107px) 100vw, 1107px\">\u003cfigcaption class=\"wp-caption-text\">Still of Leigh Crow interview from ‘SF89.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s that last bit that gives \u003cem>SF89: San Francisco Before the Internet\u003c/em> the potential ability to go beyond Jacques’ peers—let’s call them the ’89ers—and speak to San Francisco’s newest arrivals.\u003c/p>\n\u003cp>“I think a lot of times young people aren’t listening,” Jacques says. “We’re all, ‘It’s ours!’ and you reach your arms around and you grab it and ‘San Francisco is this and this and this and this.’ Then the next generation comes along and theirs is slightly different. So there’s that friction: ‘We don’t do that here.’ And the younger generation says, ‘Well, we do \u003cem>now\u003c/em>.’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>That headline, friends and neighbors, is intended to be slightly provocative and completely ironic. Join me, for just 24 hours, in abandoning the tired cliché that the good old days (especially hereabouts) were all that great.\u003c/p>\n\u003cp>Sure, those of us who’ve lived here for any length of time are convinced that San Francisco used to be a kinder, classier, quirkier and more affordable city. But perhaps that says more about us, and the way human beings react to the inevitability of change, than it says about the city.\u003c/p>\n\u003cp>“I remember my grandparents doing this in the car,” recalls filmmaker Peter Paul Jacques, who grew up in San Diego before relocating at the beginning of 1989 to study film at San Francisco State. “‘That used to be an ostrich farm.’ I’d go ‘Ugh, who cares, Grandma?’ Then you hit 50 and you go, ‘Ohhhh.’” Jacques’ forthcoming documentary, \u003ci>\u003ca href=\"https://www.sf89doc.com/\" rel=\"noopener\" target=\"_blank\">SF89: San Francisco Before the Internet\u003c/a>\u003c/i>, excavates and revisits the San Francisco of the late 1980s and early 1990s, a pivotal era in the lives of Jacques and his friends.\u003c/p>\n\u003cp>Of looking back over a period of massive change, Jacques muses, “What does that do to you inside? I think the theme of change is universal. We romanticize, ‘It used to be so great.’ People come up to me about this film, ‘You’re doing it about San Francisco in the good times.’ Well, it wasn’t that good.” Jacques laughs. “If we weren’t having a major earthquake, there were all kinds of [other] terrible, horrible [things].”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Loma Prieta earthquake that Jacques is referring to shook, rattled, rocked and rolled every creature in the Bay Area 30 years ago today. It immediately became a national story, thanks to the interrupted broadcast of the third game of the Bay Bridge World Series at Candlestick Park. But it took a good deal longer for locals, and the country, to come to terms with the fact that 63 people lost their lives in quake-related events.\u003c/p>\n\u003cp>As Jacques notes, it wasn’t the only unexpected tragedy during that period. The month after the quake, a construction crane collapsed at Kearny and California, killing five people. (“My friend John helped pull people out of that,” Jacques says.) The first Gulf War began a year later. (“I was of draft age and they were talking about [reinstating] the draft. We took to the streets.”) The mass shooting at 101 California that left eight people dead occurred three years after that. (“I was down the street,” Jacques notes.)\u003c/p>\n\u003cp>Of course, for Jacques and his friends, the period was remarkable for quite different reasons. It was a time when a single person could make lattes at a Rincon Center shop for minimum wage and afford rent, food and their nightly drinks at the neighborhood bar. (Jacques lived at Steiner and Fell, for those of you keeping score at home.)\u003c/p>\n\u003cfigure id=\"attachment_13868343\" class=\"wp-caption aligncenter\" style=\"max-width: 905px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KIds.jpg\" alt=\"Vikki Krekler and Peter Jacques in 1989.\" width=\"905\" height=\"706\" class=\"size-full wp-image-13868343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KIds.jpg 905w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KIds-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KIds-800x624.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KIds-768x599.jpg 768w\" sizes=\"(max-width: 905px) 100vw, 905px\">\u003cfigcaption class=\"wp-caption-text\">Vikki Krekler and Peter Jacques in 1989. \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The late ’80s and early ’90s, for him, marked that crucial period in a young person’s life that they think will continue forever. Jacques’ circle of friends were primarily artists, which is to say experimenters and collaborators. Since creative energy, by its nature, is impulsive rather than strategic, nobody was particularly concerned at the time with the future—or the past.\u003c/p>\n\u003cp>Let’s not forget, though, that even then there were folks warning that chain stores were paving over San Francisco’s history and violating its character. I lived at Oak and Ashbury in 1988—just before Jacques arrived—and was awakened one September morning by sirens and smoke. A Thrifty drugstore under construction on Haight Street was in flames, and the tenor of the times was such that it was instantly assumed that an opponent of soulless corporate expansion had torched the building. (It turned out to be arson, in fact.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The bigger point is that whenever you moved to San Francisco, and stepped into the stream that is the ebb, flow and change of a city, that’s your frame of reference.\u003c/p>\n\u003cp>“Someone told me about a book or an article written in 1859 about 1849 saying, ‘\u003cem>That\u003c/em> was the real San Francisco,’” Jacques remarks. “I would say that that is the same everywhere, not just in San Francisco. Any big city has a lore. And whenever you arrive, someone says, ‘Kid, you missed it.’\u003c/p>\n\u003cp>“We were talking about doing [the film] in the form of chapters, and one of the chapters I originally wrote was, ‘You Missed It.’ I started interviewing people about that and I didn’t get a lot of reaction. ‘I don’t remember anyone telling me that.’ Gee, I do. Maybe you weren’t listening.”\u003c/p>\n\u003cp>Jacques has been developing \u003cem>SF89: San Francisco Before the Internet\u003c/em> for several years, his thinking and vision for the project evolving along the way. While he largely relies on interviews with friends and acquaintances from the pre- and post-quake period, he’s clear about the need to reach a cross-generational audience—which means resisting the pitfall of the siren song of nostalgia.\u003c/p>\n\u003cfigure id=\"attachment_13868344\" class=\"wp-caption aligncenter\" style=\"max-width: 1022px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/MarketAndStockton.jpg\" alt=\"The corner of Market and Stockton in 1992.\" width=\"1022\" height=\"700\" class=\"size-full wp-image-13868344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/MarketAndStockton-1020x699.jpg 1020w\" sizes=\"(max-width: 1022px) 100vw, 1022px\">\u003cfigcaption class=\"wp-caption-text\">The corner of Market and Stockton in 1992. \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There is a type of documentary that I don’t want to make—and there’s nothing wrong with them, it’s just that I want to do something more—and it’s ‘let’s go down Memory Lane.’ What I want to do is something about the emotion of change, and watching it and being part of it, and one minute you’re the younger generation and for way longer you’re not.”\u003c/p>\n\u003cp>Jacques recently completed his last round of interviews, and he’s about to immerse himself in postproduction. Documentaries have a way of shifting their focus in the editing room, as a different story—or a more urgent theme—emerges out of the one the filmmaker conceived. But he imagines a structure in which the past and the present can coexist.\u003c/p>\n\u003cp>“The film could have the veneer of fun nostalgia, because I think that’s going to draw people to want to see it,” he says. “That’s what \u003cem>I\u003c/em> would come for. Lead them in with that, then give them something more nutritious: Let’s put it in the context of life and the world. Everybody has a San Francisco. It’s the one you found when you got here.”\u003c/p>\n\u003cfigure id=\"attachment_13868345\" class=\"wp-caption aligncenter\" style=\"max-width: 1107px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/LeighCrowInterview.jpg\" alt=\"Still of Leigh Crow interview from 'SF89.'\" width=\"1107\" height=\"675\" class=\"size-full wp-image-13868345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview.jpg 1107w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LeighCrowInterview-1020x622.jpg 1020w\" sizes=\"(max-width: 1107px) 100vw, 1107px\">\u003cfigcaption class=\"wp-caption-text\">Still of Leigh Crow interview from ‘SF89.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s that last bit that gives \u003cem>SF89: San Francisco Before the Internet\u003c/em> the potential ability to go beyond Jacques’ peers—let’s call them the ’89ers—and speak to San Francisco’s newest arrivals.\u003c/p>\n\u003cp>“I think a lot of times young people aren’t listening,” Jacques says. “We’re all, ‘It’s ours!’ and you reach your arms around and you grab it and ‘San Francisco is this and this and this and this.’ Then the next generation comes along and theirs is slightly different. So there’s that friction: ‘We don’t do that here.’ And the younger generation says, ‘Well, we do \u003cem>now\u003c/em>.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Now Playing! Contemporary Silent Movies at the Oakland Museum",
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"content": "\u003cp>The San Francisco Silent Film Festival’s imminent premiere of its newly restored 1915 two-reeler \u003cem>Jane’s Declaration of Independence\u003c/em> has been booked solid for weeks. You might still snag a spot on the \u003ca href=\"http://www.silentfilm.org/homepage/whats-new/presidio-jane\">waiting list\u003c/a>, though, for the Oct. 19 show at the \u003ca href=\"https://www.kqed.org/arts/13866660/historic-presidio-theatre-reopens-following-40-million-renovation\" rel=\"noopener noreferrer\" target=\"_blank\">recently renovated and reopened\u003c/a> Presidio Theatre. Seeing the earliest surviving theatrical release filmed in the Presidio \u003cem>in\u003c/em> the Presidio is bound to be special.\u003c/p>\n\u003cp>If you can’t join the crowd for Saturday’s silent-era show, the next best thing is a trip to the \u003ca href=\"https://museumca.org/exhibit/no-spectators-art-burning-man\" rel=\"noopener noreferrer\" target=\"_blank\">Oakland Museum of California\u003c/a>. There you’ll find, sequestered in the new touring exhibition \u003cem>\u003ca href=\"https://www.kqed.org/arts/13868108/burning-man-no-spectators-oakland-museum\" rel=\"noopener noreferrer\" target=\"_blank\">No Spectators: The Art of Burning Man\u003c/a>\u003c/em>, a half-dozen delicious shorts conceived and produced by San Francisco’s Obsolete Pictures. Wonderfully designed and more than a little tongue-in-cheek, the 21st Century silent films can be found looping inside “The Capitol Theater,” a 12-seat theater-on-wheels devised and built by the Oakland arts collective Five Ton Crane to enthrall sunbaked desert revelers.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Biddle-01-800x450.png\" alt=\"\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-13868255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Biddle-01-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Biddle-01-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Biddle-01-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Biddle-01-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Biddle-01-1200x675.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Biddle-01.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Creative whirlwind Allen White and producer and story maven Bree Hylkema are the movies’ key collaborators, employing current gear to evoke the look, feel, innocence and incredulity of early cinema. The films work as both homage and parody, our pleasure deriving from a shared understanding (by the artists and the viewer) of both the constraints that early filmmakers faced and the smugness with which many people watch older films.\u003c/p>\n\u003cp>\u003cem>The Picnic\u003c/em>, the most ambitious Obsolete Pictures work, is a 25-minute, multi-character melodrama that winks and nods at D.W. Griffith, Victor Sjostrom and Man Ray. The most remarkable and artistic piece, though, is \u003cem>Kokolores: Ein Modernener Tanz in Zwei Acte\u003c/em>, a pair of dance performances for the camera which salutes Weimar weirdness in Act I and shadow-happy Expressionism in Act II.\u003c/p>\n\u003cp>\u003cem>No Spectators: The Art of Burning Man\u003c/em> is on view at the Oakland Museum through Feb. 16, 2020. The ideal viewing experience is seated in “The Capitol Theater,” but if you can’t attend in person, you can stream the films at the \u003ca href=\"https://obsoletepictures.com\" rel=\"noopener noreferrer\" target=\"_blank\">Obsolete Pictures\u003c/a> website.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Silent Film Festival’s imminent premiere of its newly restored 1915 two-reeler \u003cem>Jane’s Declaration of Independence\u003c/em> has been booked solid for weeks. You might still snag a spot on the \u003ca href=\"http://www.silentfilm.org/homepage/whats-new/presidio-jane\">waiting list\u003c/a>, though, for the Oct. 19 show at the \u003ca href=\"https://www.kqed.org/arts/13866660/historic-presidio-theatre-reopens-following-40-million-renovation\" rel=\"noopener noreferrer\" target=\"_blank\">recently renovated and reopened\u003c/a> Presidio Theatre. Seeing the earliest surviving theatrical release filmed in the Presidio \u003cem>in\u003c/em> the Presidio is bound to be special.\u003c/p>\n\u003cp>If you can’t join the crowd for Saturday’s silent-era show, the next best thing is a trip to the \u003ca href=\"https://museumca.org/exhibit/no-spectators-art-burning-man\" rel=\"noopener noreferrer\" target=\"_blank\">Oakland Museum of California\u003c/a>. There you’ll find, sequestered in the new touring exhibition \u003cem>\u003ca href=\"https://www.kqed.org/arts/13868108/burning-man-no-spectators-oakland-museum\" rel=\"noopener noreferrer\" target=\"_blank\">No Spectators: The Art of Burning Man\u003c/a>\u003c/em>, a half-dozen delicious shorts conceived and produced by San Francisco’s Obsolete Pictures. Wonderfully designed and more than a little tongue-in-cheek, the 21st Century silent films can be found looping inside “The Capitol Theater,” a 12-seat theater-on-wheels devised and built by the Oakland arts collective Five Ton Crane to enthrall sunbaked desert revelers.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Biddle-01-800x450.png\" alt=\"\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-13868255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Biddle-01-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Biddle-01-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Biddle-01-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Biddle-01-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Biddle-01-1200x675.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Biddle-01.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Creative whirlwind Allen White and producer and story maven Bree Hylkema are the movies’ key collaborators, employing current gear to evoke the look, feel, innocence and incredulity of early cinema. The films work as both homage and parody, our pleasure deriving from a shared understanding (by the artists and the viewer) of both the constraints that early filmmakers faced and the smugness with which many people watch older films.\u003c/p>\n\u003cp>\u003cem>The Picnic\u003c/em>, the most ambitious Obsolete Pictures work, is a 25-minute, multi-character melodrama that winks and nods at D.W. Griffith, Victor Sjostrom and Man Ray. The most remarkable and artistic piece, though, is \u003cem>Kokolores: Ein Modernener Tanz in Zwei Acte\u003c/em>, a pair of dance performances for the camera which salutes Weimar weirdness in Act I and shadow-happy Expressionism in Act II.\u003c/p>\n\u003cp>\u003cem>No Spectators: The Art of Burning Man\u003c/em> is on view at the Oakland Museum through Feb. 16, 2020. The ideal viewing experience is seated in “The Capitol Theater,” but if you can’t attend in person, you can stream the films at the \u003ca href=\"https://obsoletepictures.com\" rel=\"noopener noreferrer\" target=\"_blank\">Obsolete Pictures\u003c/a> website.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Do List: Life is Living, Janelle Monáe, Stereolab and More",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode above with Gabe Meline, Sarah Hotchkiss, Nastia Voynovskaya and Rae Alexandra, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Life Is Living Festival\u003c/strong>: The Life is Living festival is an annual party in the park with a purpose. Their tagline? “Keeping Oakland Oakland Since 2008.” You’ll get live performances from Elle Varner (a marvelous singer who’s been in Oakland before, and who counts \u003ca href=\"https://www.vibe.com/2012/09/michelle-obama-endorses-elle-varner\" rel=\"noopener\" target=\"_blank\">Michelle Obama among her fans\u003c/a>), Shyan’G, Drew Banga and more, plus dance classes, theater, skateboarding, and local vendors. But the important thing this year is the 50th anniversary of the \u003ca href=\"https://www.kqed.org/arts/13867337/the-black-panther-partys-free-breakfast-program-a-50-year-old-blueprint\" rel=\"noopener\" target=\"_blank\">Black Panthers’ free breakfast program\u003c/a>; from 10 to noon, breakfast is served, including by some of the \u003ca href=\"https://www.kqed.org/arts/13867337/the-black-panther-partys-free-breakfast-program-a-50-year-old-blueprint\" rel=\"noopener\" target=\"_blank\">very same people\u003c/a> who helped found the program in 1969. The festival runs from 10am–7pm on Saturday, Oct. 12, at Lil Bobby Hutton Park (a.k.a. DeFremery Park) in Oakland. \u003ca href=\"https://lil19.youthspeaks.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Last Black Man in San Francisco’\u003c/strong>: On Friday, Oct. 11, you have a chance to see \u003cem>The Last Black Man in San Francisco\u003c/em>, a movie that wowed audiences earlier this year with its poetic depiction of two black friends trying to carve out space for themselves in the rapidly gentrifying city. It’s playing at PROXY, a free outdoor “walk-in” theater in Hayes Valley, right off of Patricia’s Green. You’ll recognize \u003ca href=\"https://www.kqed.org/arts/13864913/after-last-black-man-and-us-singer-mike-marshall-gets-a-second-chance\" rel=\"noopener\" target=\"_blank\">Mike Marshall\u003c/a>‘s version of \u003ca href=\"https://www.youtube.com/watch?v=3d3QbwWnLbc\" rel=\"noopener\" target=\"_blank\">this popular song\u003c/a> in the film, and much of the movie’s action takes place in the Fillmore, so this is a rare treat to see it just a few blocks from its setting. That’s Oct. 11, at 6pm. \u003ca href=\"http://proxysf.net/events/2019-proxy-fall-film-fest-the-last-black-man-in-san-francisco/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Janelle Monáe and the Roots\u003c/strong>: Janelle Monáe came to the Mission District a few years back to \u003ca href=\"https://www.kqed.org/arts/10912273/janelle-monae-jidenna-to-perform-sunday-at-mission-district-rally\" rel=\"noopener\" target=\"_blank\">lead a march against police brutality\u003c/a>, and now, she’s coming back—and bringing the Roots with her—for another good cause. A full 100% of the proceeds from this week’s show go to Tipping Point, a nonprofit that fights poverty in the Bay Area by funding organizations doing on-the-ground work to address homelessness and disparities in employment, housing and education. If you haven’t seen Monáe live, she puts on a killer show that celebrates queer black identity through a sci-fi lens. She and the Roots play the Fox Theater in Oakland on Oct. 12. \u003ca href=\"http://thefoxoakland.com/events/janelle-monae\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Tommy Orange\u003c/strong>: Every year, the San Francisco Public Library picks one book for its \u003cem>One City One Book\u003c/em> program. This year, their pick is \u003cem>There There\u003c/em>, by local author Tommy Orange, which tells the story of generations of interconnected Native Americans living in Oakland. Sarah loved this book, and can’t wait for more people to read it so she can talk about it more. Orange speaks at the main branch of the San Francisco Public Library on Wednesday, Oct. 16, at 6pm. \u003ca href=\"https://sfpl.org/?pg=1035343001\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Morbid Desire\u003c/strong>: If you’re one of those people that starts celebrating Halloween the second October starts, the historic Camron-Stanford House in Oakland has an excellent exhibit to get you in the mood. \u003cem>Morbid Desire\u003c/em> has been running annually for the last four years, and is all about the strange, dark world of Victorian mourning customs. It’s a little bit different each year—this time around, the focus is on funeral rites—but it’s always educational, and always entertaining. For Rae, the best part is the fashion; particularly the \u003cem>memento mori\u003c/em> jewelry, much of which contains braided human hair and other things you probably wouldn’t want to touch. There are three tours of the exhibit every Sunday in October, and the Camron-Stanford staff are incredibly knowledgeable and enthusiastic, so it’s always a fun, if rather gothic, way to spend the afternoon. \u003ca href=\"https://cshouse.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Darius Jones\u003c/strong>: Here’s a chance to see a rising saxophone star from New York who’s been praised all over the country for his innovative, poetic use of the instrument. Don’t expect easy listening—Jones’ work can get dark, and tense, drawing from the history of African-American blues, spirituals and gospel. He headlines the Center for New Music, a jewel of the Bay Area’s experimental music scene; the nonprofit space provides a much-needed venue for avant-garde artists to experiment outside of the pressure to be commercially successful. The tickets are always affordable, and 100% of the door goes to the artist. It’s a place where getting weird is encouraged, and Darius Jones’ show is a benefit for the space. That’s at the Center for New Music on Oct. 12. \u003ca href=\"https://centerfornewmusic.com/calendar/darius-jones-c4nm-benefit/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Stereolab\u003c/strong>: We can’t forget the return of Stereolab, the fiercely creative prog / new wave / lounge band. After a long hiatus, they play three reunion shows at the Fillmore in San Francisco next week, Oct. 17–19. \u003ca href=\"https://thefillmore.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode above with Gabe Meline, Sarah Hotchkiss, Nastia Voynovskaya and Rae Alexandra, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Life Is Living Festival\u003c/strong>: The Life is Living festival is an annual party in the park with a purpose. Their tagline? “Keeping Oakland Oakland Since 2008.” You’ll get live performances from Elle Varner (a marvelous singer who’s been in Oakland before, and who counts \u003ca href=\"https://www.vibe.com/2012/09/michelle-obama-endorses-elle-varner\" rel=\"noopener\" target=\"_blank\">Michelle Obama among her fans\u003c/a>), Shyan’G, Drew Banga and more, plus dance classes, theater, skateboarding, and local vendors. But the important thing this year is the 50th anniversary of the \u003ca href=\"https://www.kqed.org/arts/13867337/the-black-panther-partys-free-breakfast-program-a-50-year-old-blueprint\" rel=\"noopener\" target=\"_blank\">Black Panthers’ free breakfast program\u003c/a>; from 10 to noon, breakfast is served, including by some of the \u003ca href=\"https://www.kqed.org/arts/13867337/the-black-panther-partys-free-breakfast-program-a-50-year-old-blueprint\" rel=\"noopener\" target=\"_blank\">very same people\u003c/a> who helped found the program in 1969. The festival runs from 10am–7pm on Saturday, Oct. 12, at Lil Bobby Hutton Park (a.k.a. DeFremery Park) in Oakland. \u003ca href=\"https://lil19.youthspeaks.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Last Black Man in San Francisco’\u003c/strong>: On Friday, Oct. 11, you have a chance to see \u003cem>The Last Black Man in San Francisco\u003c/em>, a movie that wowed audiences earlier this year with its poetic depiction of two black friends trying to carve out space for themselves in the rapidly gentrifying city. It’s playing at PROXY, a free outdoor “walk-in” theater in Hayes Valley, right off of Patricia’s Green. You’ll recognize \u003ca href=\"https://www.kqed.org/arts/13864913/after-last-black-man-and-us-singer-mike-marshall-gets-a-second-chance\" rel=\"noopener\" target=\"_blank\">Mike Marshall\u003c/a>‘s version of \u003ca href=\"https://www.youtube.com/watch?v=3d3QbwWnLbc\" rel=\"noopener\" target=\"_blank\">this popular song\u003c/a> in the film, and much of the movie’s action takes place in the Fillmore, so this is a rare treat to see it just a few blocks from its setting. That’s Oct. 11, at 6pm. \u003ca href=\"http://proxysf.net/events/2019-proxy-fall-film-fest-the-last-black-man-in-san-francisco/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Janelle Monáe and the Roots\u003c/strong>: Janelle Monáe came to the Mission District a few years back to \u003ca href=\"https://www.kqed.org/arts/10912273/janelle-monae-jidenna-to-perform-sunday-at-mission-district-rally\" rel=\"noopener\" target=\"_blank\">lead a march against police brutality\u003c/a>, and now, she’s coming back—and bringing the Roots with her—for another good cause. A full 100% of the proceeds from this week’s show go to Tipping Point, a nonprofit that fights poverty in the Bay Area by funding organizations doing on-the-ground work to address homelessness and disparities in employment, housing and education. If you haven’t seen Monáe live, she puts on a killer show that celebrates queer black identity through a sci-fi lens. She and the Roots play the Fox Theater in Oakland on Oct. 12. \u003ca href=\"http://thefoxoakland.com/events/janelle-monae\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Tommy Orange\u003c/strong>: Every year, the San Francisco Public Library picks one book for its \u003cem>One City One Book\u003c/em> program. This year, their pick is \u003cem>There There\u003c/em>, by local author Tommy Orange, which tells the story of generations of interconnected Native Americans living in Oakland. Sarah loved this book, and can’t wait for more people to read it so she can talk about it more. Orange speaks at the main branch of the San Francisco Public Library on Wednesday, Oct. 16, at 6pm. \u003ca href=\"https://sfpl.org/?pg=1035343001\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Morbid Desire\u003c/strong>: If you’re one of those people that starts celebrating Halloween the second October starts, the historic Camron-Stanford House in Oakland has an excellent exhibit to get you in the mood. \u003cem>Morbid Desire\u003c/em> has been running annually for the last four years, and is all about the strange, dark world of Victorian mourning customs. It’s a little bit different each year—this time around, the focus is on funeral rites—but it’s always educational, and always entertaining. For Rae, the best part is the fashion; particularly the \u003cem>memento mori\u003c/em> jewelry, much of which contains braided human hair and other things you probably wouldn’t want to touch. There are three tours of the exhibit every Sunday in October, and the Camron-Stanford staff are incredibly knowledgeable and enthusiastic, so it’s always a fun, if rather gothic, way to spend the afternoon. \u003ca href=\"https://cshouse.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Darius Jones\u003c/strong>: Here’s a chance to see a rising saxophone star from New York who’s been praised all over the country for his innovative, poetic use of the instrument. Don’t expect easy listening—Jones’ work can get dark, and tense, drawing from the history of African-American blues, spirituals and gospel. He headlines the Center for New Music, a jewel of the Bay Area’s experimental music scene; the nonprofit space provides a much-needed venue for avant-garde artists to experiment outside of the pressure to be commercially successful. The tickets are always affordable, and 100% of the door goes to the artist. It’s a place where getting weird is encouraged, and Darius Jones’ show is a benefit for the space. That’s at the Center for New Music on Oct. 12. \u003ca href=\"https://centerfornewmusic.com/calendar/darius-jones-c4nm-benefit/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Stereolab\u003c/strong>: We can’t forget the return of Stereolab, the fiercely creative prog / new wave / lounge band. After a long hiatus, they play three reunion shows at the Fillmore in San Francisco next week, Oct. 17–19. \u003ca href=\"https://thefillmore.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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\">W\u003c/span>hen my family and I walked into a close friend’s house for a small gathering last Saturday afternoon, yoga instructor Shakira Scott was there—Apple TV remote in hand—saying we were just in time to watch this short comedy film, \u003cem>Hella Vegan\u003c/em>, starring R.i.c.o. G.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/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>I jumped. This guy is everywhere. “How are you connected to him?” I asked her.\u003c/p>\n\u003cp>Scott replied that she’s been cast in the role of his love interest in a separate upcoming film written by Jordan Skipper. They’d just shot the first scene the day before.\u003c/p>\n\u003cp>\u003cem>Of course\u003c/em> R.i.c.o is doing a love film, I thought. The short \u003ca href=\"https://vimeo.com/349229286\" target=\"_blank\" rel=\"noopener\">Hella Vegan\u003c/a>, also written by Jordan Skipper, is comedic social commentary. R.i.c.o.’s is also in LaTajh Weaver’s \u003ca href=\"https://www.kickstarter.com/projects/902481180/cycles-a-web-series-reclaiming-our-own-stories-of\" target=\"_blank\" rel=\"noopener\">Cycles\u003c/a>, a web series focused on cyclical violence in urban communities. So, a romantic role means he’s just about covered all the bases. Now I’m just waiting for a horror film.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Scott, who recently led the \u003ca href=\"https://www.sfgate.com/raiders/article/yoga-oakland-raiders-hard-knocks-marshawn-lynch-14301920.php\" target=\"_blank\" rel=\"noopener\">Oakland Raiders\u003c/a> through some yoga workouts for a segment that appeared on HBO’s series \u003cem>Hard Knocks\u003c/em>, then told me R.i.c.o also produced music for her yoga videos. \u003cem>Of course\u003c/em>, I forgot he’s been making beats too; he recently dropped a beat tape called \u003ca href=\"https://soundcloud.com/ricog28/sets/sayless\" target=\"_blank\" rel=\"noopener\">\u003cem>Say Less\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Scott laughed and told me she first met R.i.c.o back in the day, when he used to walk around with a mic and loudspeaker, freestyling on Telegraph. \u003cem>Of course\u003c/em>—I almost forgot that I used to see him over there too; so many late night moves to Rudy’s Can’t Fail for the French toast would lead me to crossing his path.\u003c/p>\n\u003cp>Dude is everywhere.\u003c/p>\n\u003cp>Did I mention we went to Edna Brewer Middle School together? He was two grades behind me, so I didn’t know him that well. But again, even as a kid, I’d still see him everywhere.\u003c/p>\n\u003cp>Kinda makes you wonder what goes through his mind, doesn’t it? What keeps him motivated to put himself out there?\u003c/p>\n\u003cp>So, I asked him.\u003c/p>\n\u003cfigure id=\"attachment_13867942\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867942\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/LRG__DSC6044-800x535.jpg\" alt=\"R.i.c.o G at the mini park on 14th and Willow Street in West Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6044-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6044-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6044-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6044-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6044-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6044.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">R.i.c.o G at the mini park on 14th and Willow Street in West Oakland \u003ccite>(Pendarvis Harshaw)\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\">“G\u003c/span>iving a fuck is overrated,” R.i.c.o G told me, by way of an answer, as we sat in the smoker’s section of 7th West in West Oakland. It might sound like the title of \u003ca href=\"https://www.goodreads.com/book/show/28257707-the-subtle-art-of-not-giving-a-f-ck\" target=\"_blank\" rel=\"noopener\">a bestselling book\u003c/a>, but it’s true: that driving philosophy is what allows him to be liberated as an artist. “That’s how I’m able to sing on a track, that’s how I’m able to be free,” he explained.\u003c/p>\n\u003cp>On his hip-hop album from this past summer, \u003ca href=\"https://soundcloud.com/ricog28/sets/patientlydonewaiting\" target=\"_blank\" rel=\"noopener\">\u003cem>Patiently Done Waiting\u003c/em>\u003c/a>, R.i.c.o G taps into his love for rock and R&B music—without overthinking it.\u003c/p>\n\u003cp>“When people ask what music I listen to, I can never answer it straight,” R.i.c.o G said. “I might be listening to the Ramones, I might be listening to Beyoncé. If I told people I do leg day at the gym to Beyoncé’s ‘Before I Let Go,’ no one would believe me,” he said with a laugh.\u003c/p>\n\u003cp>Although he does sing, it’s more harmonizing—he doesn’t hit any Beyoncé-like notes on the album—and yeah, he does his own version of the Ramones’ classic “I Wanna Be Sedated.”\u003c/p>\n\u003cp>And within his musical explorations, he drops subtle philosophies about his approach to work, art and life. That’s what garnered my interest, the philosophies—I mean, it’s not often you meet an MC from Oakland who attended Hofstra University and now works as a mental health counselor at a public school. So we talked about it.\u003c/p>\n\u003cp>On the song, Fly Away, Rico G says, “If you don’t run / you cannot be chased.” He says that’s emblematic of the mind state a lot of us have. “A lot of the time, being chased is metaphorical—it’s a feeling,” Rico G said. “The shit that you avoid is the shit you think about all day.”\u003c/p>\n\u003cp>“It’s like you’re mentally running,” I said, and looked at my notes for the next lyrics to ask him about.\u003c/p>\n\u003cp>“Playing hide-and-go-get-it / Found a dope stash when I was looking for hugs and kisses / Put it back just because I knew whose it was / at a young age I understood why they needed funds.”\u003c/p>\n\u003cp>I asked him: \u003cem>what does this mean?\u003c/em>\u003c/p>\n\u003cp>“That’s that Manzanita Center shit!” R.i.c.o. said, almost jumping up from the wood bench.\u003c/p>\n\u003cp>At a young age, he told me, he knew what a crack rock looked like. “I had always seen people with hella spitters (bagged up crack) under their tongue, so when I saw that bag—I put it back—I’m not going to touch that,” said R.i.c.o.\u003c/p>\n\u003cp>“That was a part of my growing up… I knew my place at that moment. I’m not a street dude. I don’t rob people for their crack and go sell it, that’s not me.”\u003c/p>\n\u003cp>\u003cem>Not a street dude, but exposed to street shit\u003c/em>. I fall into that column too. Even spent some significant moments from my formative years at that same community center.\u003c/p>\n\u003cp>I asked about the next line, “Stop bringing pistols to the party / all that street shit be fucking up the art scene.”\u003c/p>\n\u003cp>“Art murmur, first Friday,” R.i.c.o. said solemnly.\u003c/p>\n\u003cp>He was talking about \u003ca href=\"https://oaklandish.com/blogs/news/first-friday-violence-a-symptom-of-the-city-s-disease\">the 2013 death of Kiante Campbell\u003c/a>, who I wrote about, as he was the younger brother of \u003ca href=\"https://www.eastbaytimes.com/2006/11/20/man-fatally-shot-outside-complex-in-n-oakland/\">Marcel Campbell\u003c/a>, a childhood friend of mine who was also killed in 2006.\u003c/p>\n\u003cp>I told R.i.c.o. the line also made me think of the \u003ca href=\"https://www.eastbayexpress.com/oakland/reflections-on-the-15th-street-tragedy/Content?oid=4947666\">2016 killing\u003c/a> of Terrence “T-Mack” McCrary and Craig Fletcher-Cooks.\u003c/p>\n\u003cp>“I was there!” said R.i.c.o, as he explained running from gunfire that night during an arts event on 15th Street in downtown Oakland. He then lamented the notion of violence even coming into the arts arena.\u003c/p>\n\u003cp>“Bruh, it’s crazy. That’s bootsie. That blocks our progress. The way everyone speaks of Oakland in the old days, there was a universal code—there were certain places where certain shit just didn’t go down,” said R.i.c.o, just as Langston, a open mic host and 7th West employee, came up to us to let us know happy hour was ending.\u003c/p>\n\u003cfigure id=\"attachment_13867943\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867943\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/LRG__DSC6030-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6030-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6030-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6030-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6030-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6030-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6030.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">R.i.c.o stands for “real is currently over looked.” \u003ccite>(Pendarvis Harshaw)\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\">I\u003c/span> asked R.i.c.o. about the title of the album, and how it ties into his overall mind state at this point in his life.\u003c/p>\n\u003cp>“’Patiently done waiting’ is not being mad at anybody. And at the same time, saying: ‘fuck everybody’,” R.i.c.o said. “Not in a negative way,” he added, with a laugh.\u003c/p>\n\u003cp>He rattled off a list of recent happenings that have caused him to push the gas pedal on his career: his father’s death and his best friend’s little brother’s murder. He mentioned romantic relationships that didn’t pan out, and reflected on the role he played in them. Even mentioned music producers not sending him tracks after they said they would.\u003c/p>\n\u003cp>“Just ’cause somebody cats off on you, that’s no excuse not be successful,” R.i.c.o said. “It just means you have to demand more of yourself. And then meet that demand.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And a significant part of meeting that demand is simply showing up. R.i.c.o G seems to get that.\u003c/p>\n\n",
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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\">W\u003c/span>hen my family and I walked into a close friend’s house for a small gathering last Saturday afternoon, yoga instructor Shakira Scott was there—Apple TV remote in hand—saying we were just in time to watch this short comedy film, \u003cem>Hella Vegan\u003c/em>, starring R.i.c.o. G.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/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>I jumped. This guy is everywhere. “How are you connected to him?” I asked her.\u003c/p>\n\u003cp>Scott replied that she’s been cast in the role of his love interest in a separate upcoming film written by Jordan Skipper. They’d just shot the first scene the day before.\u003c/p>\n\u003cp>\u003cem>Of course\u003c/em> R.i.c.o is doing a love film, I thought. The short \u003ca href=\"https://vimeo.com/349229286\" target=\"_blank\" rel=\"noopener\">Hella Vegan\u003c/a>, also written by Jordan Skipper, is comedic social commentary. R.i.c.o.’s is also in LaTajh Weaver’s \u003ca href=\"https://www.kickstarter.com/projects/902481180/cycles-a-web-series-reclaiming-our-own-stories-of\" target=\"_blank\" rel=\"noopener\">Cycles\u003c/a>, a web series focused on cyclical violence in urban communities. So, a romantic role means he’s just about covered all the bases. Now I’m just waiting for a horror film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Scott, who recently led the \u003ca href=\"https://www.sfgate.com/raiders/article/yoga-oakland-raiders-hard-knocks-marshawn-lynch-14301920.php\" target=\"_blank\" rel=\"noopener\">Oakland Raiders\u003c/a> through some yoga workouts for a segment that appeared on HBO’s series \u003cem>Hard Knocks\u003c/em>, then told me R.i.c.o also produced music for her yoga videos. \u003cem>Of course\u003c/em>, I forgot he’s been making beats too; he recently dropped a beat tape called \u003ca href=\"https://soundcloud.com/ricog28/sets/sayless\" target=\"_blank\" rel=\"noopener\">\u003cem>Say Less\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Scott laughed and told me she first met R.i.c.o back in the day, when he used to walk around with a mic and loudspeaker, freestyling on Telegraph. \u003cem>Of course\u003c/em>—I almost forgot that I used to see him over there too; so many late night moves to Rudy’s Can’t Fail for the French toast would lead me to crossing his path.\u003c/p>\n\u003cp>Dude is everywhere.\u003c/p>\n\u003cp>Did I mention we went to Edna Brewer Middle School together? He was two grades behind me, so I didn’t know him that well. But again, even as a kid, I’d still see him everywhere.\u003c/p>\n\u003cp>Kinda makes you wonder what goes through his mind, doesn’t it? What keeps him motivated to put himself out there?\u003c/p>\n\u003cp>So, I asked him.\u003c/p>\n\u003cfigure id=\"attachment_13867942\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867942\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/LRG__DSC6044-800x535.jpg\" alt=\"R.i.c.o G at the mini park on 14th and Willow Street in West Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6044-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6044-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6044-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6044-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6044-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6044.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">R.i.c.o G at the mini park on 14th and Willow Street in West Oakland \u003ccite>(Pendarvis Harshaw)\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\">“G\u003c/span>iving a fuck is overrated,” R.i.c.o G told me, by way of an answer, as we sat in the smoker’s section of 7th West in West Oakland. It might sound like the title of \u003ca href=\"https://www.goodreads.com/book/show/28257707-the-subtle-art-of-not-giving-a-f-ck\" target=\"_blank\" rel=\"noopener\">a bestselling book\u003c/a>, but it’s true: that driving philosophy is what allows him to be liberated as an artist. “That’s how I’m able to sing on a track, that’s how I’m able to be free,” he explained.\u003c/p>\n\u003cp>On his hip-hop album from this past summer, \u003ca href=\"https://soundcloud.com/ricog28/sets/patientlydonewaiting\" target=\"_blank\" rel=\"noopener\">\u003cem>Patiently Done Waiting\u003c/em>\u003c/a>, R.i.c.o G taps into his love for rock and R&B music—without overthinking it.\u003c/p>\n\u003cp>“When people ask what music I listen to, I can never answer it straight,” R.i.c.o G said. “I might be listening to the Ramones, I might be listening to Beyoncé. If I told people I do leg day at the gym to Beyoncé’s ‘Before I Let Go,’ no one would believe me,” he said with a laugh.\u003c/p>\n\u003cp>Although he does sing, it’s more harmonizing—he doesn’t hit any Beyoncé-like notes on the album—and yeah, he does his own version of the Ramones’ classic “I Wanna Be Sedated.”\u003c/p>\n\u003cp>And within his musical explorations, he drops subtle philosophies about his approach to work, art and life. That’s what garnered my interest, the philosophies—I mean, it’s not often you meet an MC from Oakland who attended Hofstra University and now works as a mental health counselor at a public school. So we talked about it.\u003c/p>\n\u003cp>On the song, Fly Away, Rico G says, “If you don’t run / you cannot be chased.” He says that’s emblematic of the mind state a lot of us have. “A lot of the time, being chased is metaphorical—it’s a feeling,” Rico G said. “The shit that you avoid is the shit you think about all day.”\u003c/p>\n\u003cp>“It’s like you’re mentally running,” I said, and looked at my notes for the next lyrics to ask him about.\u003c/p>\n\u003cp>“Playing hide-and-go-get-it / Found a dope stash when I was looking for hugs and kisses / Put it back just because I knew whose it was / at a young age I understood why they needed funds.”\u003c/p>\n\u003cp>I asked him: \u003cem>what does this mean?\u003c/em>\u003c/p>\n\u003cp>“That’s that Manzanita Center shit!” R.i.c.o. said, almost jumping up from the wood bench.\u003c/p>\n\u003cp>At a young age, he told me, he knew what a crack rock looked like. “I had always seen people with hella spitters (bagged up crack) under their tongue, so when I saw that bag—I put it back—I’m not going to touch that,” said R.i.c.o.\u003c/p>\n\u003cp>“That was a part of my growing up… I knew my place at that moment. I’m not a street dude. I don’t rob people for their crack and go sell it, that’s not me.”\u003c/p>\n\u003cp>\u003cem>Not a street dude, but exposed to street shit\u003c/em>. I fall into that column too. Even spent some significant moments from my formative years at that same community center.\u003c/p>\n\u003cp>I asked about the next line, “Stop bringing pistols to the party / all that street shit be fucking up the art scene.”\u003c/p>\n\u003cp>“Art murmur, first Friday,” R.i.c.o. said solemnly.\u003c/p>\n\u003cp>He was talking about \u003ca href=\"https://oaklandish.com/blogs/news/first-friday-violence-a-symptom-of-the-city-s-disease\">the 2013 death of Kiante Campbell\u003c/a>, who I wrote about, as he was the younger brother of \u003ca href=\"https://www.eastbaytimes.com/2006/11/20/man-fatally-shot-outside-complex-in-n-oakland/\">Marcel Campbell\u003c/a>, a childhood friend of mine who was also killed in 2006.\u003c/p>\n\u003cp>I told R.i.c.o. the line also made me think of the \u003ca href=\"https://www.eastbayexpress.com/oakland/reflections-on-the-15th-street-tragedy/Content?oid=4947666\">2016 killing\u003c/a> of Terrence “T-Mack” McCrary and Craig Fletcher-Cooks.\u003c/p>\n\u003cp>“I was there!” said R.i.c.o, as he explained running from gunfire that night during an arts event on 15th Street in downtown Oakland. He then lamented the notion of violence even coming into the arts arena.\u003c/p>\n\u003cp>“Bruh, it’s crazy. That’s bootsie. That blocks our progress. The way everyone speaks of Oakland in the old days, there was a universal code—there were certain places where certain shit just didn’t go down,” said R.i.c.o, just as Langston, a open mic host and 7th West employee, came up to us to let us know happy hour was ending.\u003c/p>\n\u003cfigure id=\"attachment_13867943\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867943\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/LRG__DSC6030-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6030-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6030-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6030-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6030-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6030-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6030.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">R.i.c.o stands for “real is currently over looked.” \u003ccite>(Pendarvis Harshaw)\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\">I\u003c/span> asked R.i.c.o. about the title of the album, and how it ties into his overall mind state at this point in his life.\u003c/p>\n\u003cp>“’Patiently done waiting’ is not being mad at anybody. And at the same time, saying: ‘fuck everybody’,” R.i.c.o said. “Not in a negative way,” he added, with a laugh.\u003c/p>\n\u003cp>He rattled off a list of recent happenings that have caused him to push the gas pedal on his career: his father’s death and his best friend’s little brother’s murder. He mentioned romantic relationships that didn’t pan out, and reflected on the role he played in them. Even mentioned music producers not sending him tracks after they said they would.\u003c/p>\n\u003cp>“Just ’cause somebody cats off on you, that’s no excuse not be successful,” R.i.c.o said. “It just means you have to demand more of yourself. And then meet that demand.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And a significant part of meeting that demand is simply showing up. R.i.c.o G seems to get that.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Not Just 'Joker': America's Been Ignoring Gary Glitter's Pedophilia For Years",
"headTitle": "Not Just ‘Joker’: America’s Been Ignoring Gary Glitter’s Pedophilia For Years | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>UPDATE\u003c/strong>: According to the \u003c/em>\u003ca href=\"https://www.latimes.com/entertainment-arts/music/story/2019-10-11/joker-gary-glitter-rock-and-roll-part-2\" target=\"_blank\" rel=\"noopener noreferrer\">Los Angeles Times\u003c/a>\u003cem>, an unnamed spokesman at Gary Glitter’s label in London asserts that “\u003ca href=\"https://www.latimes.com/entertainment-arts/music/story/2019-10-11/joker-gary-glitter-rock-and-roll-part-2\" target=\"_blank\" rel=\"noopener noreferrer\">Gary Glitter does not get paid\u003c/a>” for the use of “Rock and Roll Part 2,” reporting that Glitter sold his publishing rights to the song over 20 years ago. This article’s text has been amended to reflect that.\u003c/em>\u003c/p>\n\u003cp>There’s a scene in Todd Phillips’ controversial new \u003cem>Joker\u003c/em> movie in which Joaquin Phoenix’s tortured lead is finally fully transformed from outcast Arthur Fleck into the dangerously bombastic Joker. As he embraces his new role, he is seen dancing down some stairs to the sounds of 1972’s “\u003ca href=\"https://www.youtube.com/watch?v=8OJ01psE6wc\" target=\"_blank\" rel=\"noopener noreferrer\">Rock & Roll Part 2\u003c/a>” by Gary Glitter—and it’s created a furor. (Well, on top of the one that already existed, about centering a movie on a murderous protagonist who gets that way via social rejection.)\u003c/p>\n\u003cp>It’s not for nothing. Glitter, a British glam rocker who found fame with outrageous clothes and catchy songs in the ’70s and early ’80s, is a pariah in his home country, thanks to his status as a \u003ca href=\"https://www.bbc.com/news/uk-31657929\" target=\"_blank\" rel=\"noopener noreferrer\">convicted pedophile and unapologetic\u003c/a> sexual abuser. Glitter’s rap sheet is long and horrifying. In 1999, he was placed on Britain’s sex offender register and sentenced to four months in prison after 4,000 images of child pornography (some featuring children \u003ca href=\"https://www.bbc.com/news/uk-31015347\" target=\"_blank\" rel=\"noopener noreferrer\">under the age of 6\u003c/a>) were discovered on his laptop.\u003c/p>\n\u003cp>After his release, he fled to Cambodia where he was eventually \u003ca href=\"https://www.theguardian.com/uk/2003/jan/08/childprotection.children\" target=\"_blank\" rel=\"noopener noreferrer\">deported for sex tourism\u003c/a>. In 2005 and 2006, he came to the attention of Vietnamese police after preying on \u003ca href=\"https://www.theguardian.com/world/2006/mar/03/ukcrime.uk\" target=\"_blank\" rel=\"noopener noreferrer\">multiple young girls\u003c/a>, including children as young as 10 and 11-years old, and a 15-year-old who was said to be living with him. He served three years in Thủ Đức Prison, was barred from \u003ca href=\"https://www.telegraph.co.uk/news/newstopics/garyglitter/3103578/Glitter-banned-from-France-and-Spain.html\" target=\"_blank\" rel=\"noopener noreferrer\">at least 19 countries\u003c/a>, including the Philippines, Cuba, Cambodia and Thailand, and was subsequently \u003ca href=\"https://www.telegraph.co.uk/news/celebritynews/2573385/Gary-Glitter-to-be-deported-to-Britain-on-Tuesday.html\" target=\"_blank\" rel=\"noopener noreferrer\">deported to the U.K.\u003c/a> in 2008.\u003c/p>\n\u003cp>During 2014 and 2015, as part of a \u003ca href=\"https://en.wikipedia.org/wiki/Operation_Yewtree\" target=\"_blank\" rel=\"noopener noreferrer\">sweeping investigation\u003c/a> that brought down a wealth of prominent TV, radio and music personalities in the U.K., Glitter was charged with a multitude of sexual offenses relating to multiple children \u003ca href=\"https://www.theguardian.com/uk-news/2015/feb/05/gary-glitter-guilty-child-sex-offences\" target=\"_blank\" rel=\"noopener noreferrer\">under the age of 14\u003c/a> (one of whom was 8). He is currently serving 16 years in prison.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of all the songs in all the world that Joker could have used for this scene, there is surely no justification in choosing one by this particular monster. There are plenty of stompy old rock ‘n’ roll hits, similar in genre to “Rock and Roll Part 2,” that aren’t going to raise the profile of a pedophile.\u003c/p>\n\u003cp>In truth though, the movie is just one in a long line of American products that have actively ignored the crimes of Gary Glitter. In 2006, \u003ca href=\"https://www.youtube.com/watch?v=UhF8JKHAZuA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Office\u003c/em> featured\u003c/a> “Rock & Roll Part 2” in an episode. In 2004, \u003cem>Meet the Fockers\u003c/em> used it during a \u003ca href=\"https://www.youtube.com/watch?v=flqu8TAROss\" target=\"_blank\" rel=\"noopener noreferrer\">football-related scene\u003c/a>. In 2012, \u003cem>Silver Linings Playbook\u003c/em> included it in a \u003ca href=\"https://www.youtube.com/watch?time_continue=31&v=kAvh8NeUlHo\" target=\"_blank\" rel=\"noopener noreferrer\">movie trailer\u003c/a> that was in heavy rotation on television. The choice to put the track in those last two was probably related to sports sub-plots—before \u003cem>Joker\u003c/em>, “Rock & Roll Part 2” was best known for being in heavy rotation at sporting events around the country.\u003c/p>\n\u003cp>Most commonly referred to as “The Hey Song” by sports fans, the track started \u003ca href=\"https://www.youtube.com/watch?v=2gdi7B7NKr4\" target=\"_blank\" rel=\"noopener noreferrer\">its sporting life\u003c/a> in hockey, when in 1974, Michigan’s Kalamazoo Wings began using it as a soundtrack to their arrival on the ice. When the team’s marketing director Kevin O’Brien moved to the NHL, he took the song with him to the Colorado Rockies, and it promptly became a staple across Denver sports. The Chicago Bulls adopted the track in the ’90s and it quickly spread to stadiums around the country.\u003c/p>\n\u003cp>While the NFL banned the use of the track at \u003ca href=\"https://www.nj.com/parenting/2012/02/gary_glitter_song_banned_from.html\" target=\"_blank\" rel=\"noopener noreferrer\">2012’s Super Bowl\u003c/a> as a direct result of Glitter-related controversies, the NHL and minor leagues continue to use it, and the NBA and MLB have yet to enforce official bans. In fact, the track is now so ingrained in American life, even the Democratic National Convention \u003ca href=\"https://www.spin.com/2012/09/democrats-inexplicably-play-child-molester-gary-glitter-at-convention/\" target=\"_blank\" rel=\"noopener noreferrer\">played it in 2012\u003c/a>.\u003c/p>\n\u003cp>America’s ability to ignore Glitter’s crimes becomes even more shocking when one considers the behavior of usually outspoken feminist Joan Jett. Jett continues to perform her 1981 single “Do You Wanna Touch Me (Oh Yeah)” despite the fact that it was originally written and released by Glitter in 1973.\u003c/p>\n\u003cp>Here she is performing it earlier this year in Australia:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nbjbrsirs4M\u003c/p>\n\u003cp>Jett has kept that song alive and, according to a \u003ca href=\"https://www.telegraph.co.uk/news/celebritynews/3277806/Gary-Glitter-to-get-100000-royalties-for-song-used-in-Hewlett-Packard-advert.html\" target=\"_blank\" rel=\"noopener noreferrer\">2008 report in \u003cem>The Telegraph\u003c/em>\u003c/a>, Glitter has profited. After Hewlett Packard used Jett’s version in \u003ca href=\"https://www.youtube.com/watch?time_continue=1&v=UR830Os72k0\" target=\"_blank\" rel=\"noopener noreferrer\">a commercial\u003c/a> that year, Glitter reportedly earned up to $122,000 (£100,000). The computer company only \u003ca href=\"https://www.upi.com/Entertainment_News/2008/11/11/HP-yanks-commercial-with-Gary-Glitter-song/25011226432244/\" target=\"_blank\" rel=\"noopener noreferrer\">pulled the commercial\u003c/a> after receiving multiple complaints, including one from the editor of \u003ca href=\"https://www.abusewatch.net/\" target=\"_blank\" rel=\"noopener noreferrer\">AbuseWatch.net\u003c/a>, Evin Daly. That didn’t stop Gwyneth Paltrow and the cast of \u003cem>Glee\u003c/em> from doing \u003ca href=\"https://www.youtube.com/watch?v=a3aMRxHS0sY\" target=\"_blank\" rel=\"noopener noreferrer\">a cover of the song\u003c/a> on the show in 2011.\u003c/p>\n\u003cp>The discussion around how and when we can separate art from disgraced artists is complex and ongoing—especially in the age of #MeToo. For every discussion that arises about another abusive musician, there are ten people waiting in the wings to remind you that \u003ca href=\"https://www.thrillist.com/entertainment/nation/i-lost-my-virginity-to-david-bowie\" target=\"_blank\" rel=\"noopener noreferrer\">David Bowie\u003c/a>, \u003ca href=\"https://www.thedailybeast.com/led-zeppelins-controversial-legacy-thievery-underage-groupies-and-the-mud-shark-incident\" target=\"_blank\" rel=\"noopener noreferrer\">Led Zeppelin\u003c/a>, \u003ca href=\"https://www.mirror.co.uk/news/uk-news/rolling-stones-bill-wyman-contacted-1795749\" target=\"_blank\" rel=\"noopener noreferrer\">The Rolling Stones\u003c/a>, Aerosmith’s \u003ca href=\"http://www.feelnumb.com/2011/01/22/steven-tyler-once-had-14-year-old-girlfriend-that-her-parents-signed-over-to-him/\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Tyler\u003c/a> and Red Hot Chili Peppers’ \u003ca href=\"https://www.disasterserum.com/your-favorite-rockstar-is-probably-a-creep\" target=\"_blank\" rel=\"noopener noreferrer\">Anthony Kiedis\u003c/a> all had sex with underage girls. And for those ten people, there are another 20 who want to tell you that all of those statutory rapes happened during a “different time,” and with fans that have, at least \u003ca href=\"https://jezebel.com/what-should-we-say-about-david-bowie-and-lori-maddox-1754533894\" target=\"_blank\" rel=\"noopener noreferrer\">sometimes\u003c/a>, expressed no regrets about what happened.\u003c/p>\n\u003cp>The question remains: why risk potentially rewarding someone this grotesque? If there is one place we should all be able to agree, it’s on the fact that Gary Glitter is the worst kind of long-term predatory pedophile, one who has traveled around the world specifically in pursuit of his illegal sexual predilection, completely undeterred by either prison time or public shaming.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>While complaining about Glitter no doubt plays into \u003cem>Joker\u003c/em>‘s twisted marketing strategy, if anything positive is to come from this particular soundtrack choice, we should see it as a chance to recognize just how badly America needs to erase this kind of artist from the public consciousness. Cancel culture is supposed to be in full swing, but if we as a nation can’t even say no to the musical output of a criminal as heinous as Gary Glitter, how will we ever begin to address the ethics of more complex situations?\u003c/p>\n\n",
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"excerpt": "The ongoing use of Gary Glitter's music on soundtracks and commercials in American is proof that so-called \"Cancel Culture\" doesn't actually exist. ",
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"title": "Not Just 'Joker': America's Been Ignoring Gary Glitter's Pedophilia For Years | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>UPDATE\u003c/strong>: According to the \u003c/em>\u003ca href=\"https://www.latimes.com/entertainment-arts/music/story/2019-10-11/joker-gary-glitter-rock-and-roll-part-2\" target=\"_blank\" rel=\"noopener noreferrer\">Los Angeles Times\u003c/a>\u003cem>, an unnamed spokesman at Gary Glitter’s label in London asserts that “\u003ca href=\"https://www.latimes.com/entertainment-arts/music/story/2019-10-11/joker-gary-glitter-rock-and-roll-part-2\" target=\"_blank\" rel=\"noopener noreferrer\">Gary Glitter does not get paid\u003c/a>” for the use of “Rock and Roll Part 2,” reporting that Glitter sold his publishing rights to the song over 20 years ago. This article’s text has been amended to reflect that.\u003c/em>\u003c/p>\n\u003cp>There’s a scene in Todd Phillips’ controversial new \u003cem>Joker\u003c/em> movie in which Joaquin Phoenix’s tortured lead is finally fully transformed from outcast Arthur Fleck into the dangerously bombastic Joker. As he embraces his new role, he is seen dancing down some stairs to the sounds of 1972’s “\u003ca href=\"https://www.youtube.com/watch?v=8OJ01psE6wc\" target=\"_blank\" rel=\"noopener noreferrer\">Rock & Roll Part 2\u003c/a>” by Gary Glitter—and it’s created a furor. (Well, on top of the one that already existed, about centering a movie on a murderous protagonist who gets that way via social rejection.)\u003c/p>\n\u003cp>It’s not for nothing. Glitter, a British glam rocker who found fame with outrageous clothes and catchy songs in the ’70s and early ’80s, is a pariah in his home country, thanks to his status as a \u003ca href=\"https://www.bbc.com/news/uk-31657929\" target=\"_blank\" rel=\"noopener noreferrer\">convicted pedophile and unapologetic\u003c/a> sexual abuser. Glitter’s rap sheet is long and horrifying. In 1999, he was placed on Britain’s sex offender register and sentenced to four months in prison after 4,000 images of child pornography (some featuring children \u003ca href=\"https://www.bbc.com/news/uk-31015347\" target=\"_blank\" rel=\"noopener noreferrer\">under the age of 6\u003c/a>) were discovered on his laptop.\u003c/p>\n\u003cp>After his release, he fled to Cambodia where he was eventually \u003ca href=\"https://www.theguardian.com/uk/2003/jan/08/childprotection.children\" target=\"_blank\" rel=\"noopener noreferrer\">deported for sex tourism\u003c/a>. In 2005 and 2006, he came to the attention of Vietnamese police after preying on \u003ca href=\"https://www.theguardian.com/world/2006/mar/03/ukcrime.uk\" target=\"_blank\" rel=\"noopener noreferrer\">multiple young girls\u003c/a>, including children as young as 10 and 11-years old, and a 15-year-old who was said to be living with him. He served three years in Thủ Đức Prison, was barred from \u003ca href=\"https://www.telegraph.co.uk/news/newstopics/garyglitter/3103578/Glitter-banned-from-France-and-Spain.html\" target=\"_blank\" rel=\"noopener noreferrer\">at least 19 countries\u003c/a>, including the Philippines, Cuba, Cambodia and Thailand, and was subsequently \u003ca href=\"https://www.telegraph.co.uk/news/celebritynews/2573385/Gary-Glitter-to-be-deported-to-Britain-on-Tuesday.html\" target=\"_blank\" rel=\"noopener noreferrer\">deported to the U.K.\u003c/a> in 2008.\u003c/p>\n\u003cp>During 2014 and 2015, as part of a \u003ca href=\"https://en.wikipedia.org/wiki/Operation_Yewtree\" target=\"_blank\" rel=\"noopener noreferrer\">sweeping investigation\u003c/a> that brought down a wealth of prominent TV, radio and music personalities in the U.K., Glitter was charged with a multitude of sexual offenses relating to multiple children \u003ca href=\"https://www.theguardian.com/uk-news/2015/feb/05/gary-glitter-guilty-child-sex-offences\" target=\"_blank\" rel=\"noopener noreferrer\">under the age of 14\u003c/a> (one of whom was 8). He is currently serving 16 years in prison.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of all the songs in all the world that Joker could have used for this scene, there is surely no justification in choosing one by this particular monster. There are plenty of stompy old rock ‘n’ roll hits, similar in genre to “Rock and Roll Part 2,” that aren’t going to raise the profile of a pedophile.\u003c/p>\n\u003cp>In truth though, the movie is just one in a long line of American products that have actively ignored the crimes of Gary Glitter. In 2006, \u003ca href=\"https://www.youtube.com/watch?v=UhF8JKHAZuA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Office\u003c/em> featured\u003c/a> “Rock & Roll Part 2” in an episode. In 2004, \u003cem>Meet the Fockers\u003c/em> used it during a \u003ca href=\"https://www.youtube.com/watch?v=flqu8TAROss\" target=\"_blank\" rel=\"noopener noreferrer\">football-related scene\u003c/a>. In 2012, \u003cem>Silver Linings Playbook\u003c/em> included it in a \u003ca href=\"https://www.youtube.com/watch?time_continue=31&v=kAvh8NeUlHo\" target=\"_blank\" rel=\"noopener noreferrer\">movie trailer\u003c/a> that was in heavy rotation on television. The choice to put the track in those last two was probably related to sports sub-plots—before \u003cem>Joker\u003c/em>, “Rock & Roll Part 2” was best known for being in heavy rotation at sporting events around the country.\u003c/p>\n\u003cp>Most commonly referred to as “The Hey Song” by sports fans, the track started \u003ca href=\"https://www.youtube.com/watch?v=2gdi7B7NKr4\" target=\"_blank\" rel=\"noopener noreferrer\">its sporting life\u003c/a> in hockey, when in 1974, Michigan’s Kalamazoo Wings began using it as a soundtrack to their arrival on the ice. When the team’s marketing director Kevin O’Brien moved to the NHL, he took the song with him to the Colorado Rockies, and it promptly became a staple across Denver sports. The Chicago Bulls adopted the track in the ’90s and it quickly spread to stadiums around the country.\u003c/p>\n\u003cp>While the NFL banned the use of the track at \u003ca href=\"https://www.nj.com/parenting/2012/02/gary_glitter_song_banned_from.html\" target=\"_blank\" rel=\"noopener noreferrer\">2012’s Super Bowl\u003c/a> as a direct result of Glitter-related controversies, the NHL and minor leagues continue to use it, and the NBA and MLB have yet to enforce official bans. In fact, the track is now so ingrained in American life, even the Democratic National Convention \u003ca href=\"https://www.spin.com/2012/09/democrats-inexplicably-play-child-molester-gary-glitter-at-convention/\" target=\"_blank\" rel=\"noopener noreferrer\">played it in 2012\u003c/a>.\u003c/p>\n\u003cp>America’s ability to ignore Glitter’s crimes becomes even more shocking when one considers the behavior of usually outspoken feminist Joan Jett. Jett continues to perform her 1981 single “Do You Wanna Touch Me (Oh Yeah)” despite the fact that it was originally written and released by Glitter in 1973.\u003c/p>\n\u003cp>Here she is performing it earlier this year in Australia:\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/nbjbrsirs4M'\n title='//www.youtube.com/embed/nbjbrsirs4M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jett has kept that song alive and, according to a \u003ca href=\"https://www.telegraph.co.uk/news/celebritynews/3277806/Gary-Glitter-to-get-100000-royalties-for-song-used-in-Hewlett-Packard-advert.html\" target=\"_blank\" rel=\"noopener noreferrer\">2008 report in \u003cem>The Telegraph\u003c/em>\u003c/a>, Glitter has profited. After Hewlett Packard used Jett’s version in \u003ca href=\"https://www.youtube.com/watch?time_continue=1&v=UR830Os72k0\" target=\"_blank\" rel=\"noopener noreferrer\">a commercial\u003c/a> that year, Glitter reportedly earned up to $122,000 (£100,000). The computer company only \u003ca href=\"https://www.upi.com/Entertainment_News/2008/11/11/HP-yanks-commercial-with-Gary-Glitter-song/25011226432244/\" target=\"_blank\" rel=\"noopener noreferrer\">pulled the commercial\u003c/a> after receiving multiple complaints, including one from the editor of \u003ca href=\"https://www.abusewatch.net/\" target=\"_blank\" rel=\"noopener noreferrer\">AbuseWatch.net\u003c/a>, Evin Daly. That didn’t stop Gwyneth Paltrow and the cast of \u003cem>Glee\u003c/em> from doing \u003ca href=\"https://www.youtube.com/watch?v=a3aMRxHS0sY\" target=\"_blank\" rel=\"noopener noreferrer\">a cover of the song\u003c/a> on the show in 2011.\u003c/p>\n\u003cp>The discussion around how and when we can separate art from disgraced artists is complex and ongoing—especially in the age of #MeToo. For every discussion that arises about another abusive musician, there are ten people waiting in the wings to remind you that \u003ca href=\"https://www.thrillist.com/entertainment/nation/i-lost-my-virginity-to-david-bowie\" target=\"_blank\" rel=\"noopener noreferrer\">David Bowie\u003c/a>, \u003ca href=\"https://www.thedailybeast.com/led-zeppelins-controversial-legacy-thievery-underage-groupies-and-the-mud-shark-incident\" target=\"_blank\" rel=\"noopener noreferrer\">Led Zeppelin\u003c/a>, \u003ca href=\"https://www.mirror.co.uk/news/uk-news/rolling-stones-bill-wyman-contacted-1795749\" target=\"_blank\" rel=\"noopener noreferrer\">The Rolling Stones\u003c/a>, Aerosmith’s \u003ca href=\"http://www.feelnumb.com/2011/01/22/steven-tyler-once-had-14-year-old-girlfriend-that-her-parents-signed-over-to-him/\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Tyler\u003c/a> and Red Hot Chili Peppers’ \u003ca href=\"https://www.disasterserum.com/your-favorite-rockstar-is-probably-a-creep\" target=\"_blank\" rel=\"noopener noreferrer\">Anthony Kiedis\u003c/a> all had sex with underage girls. And for those ten people, there are another 20 who want to tell you that all of those statutory rapes happened during a “different time,” and with fans that have, at least \u003ca href=\"https://jezebel.com/what-should-we-say-about-david-bowie-and-lori-maddox-1754533894\" target=\"_blank\" rel=\"noopener noreferrer\">sometimes\u003c/a>, expressed no regrets about what happened.\u003c/p>\n\u003cp>The question remains: why risk potentially rewarding someone this grotesque? If there is one place we should all be able to agree, it’s on the fact that Gary Glitter is the worst kind of long-term predatory pedophile, one who has traveled around the world specifically in pursuit of his illegal sexual predilection, completely undeterred by either prison time or public shaming.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While complaining about Glitter no doubt plays into \u003cem>Joker\u003c/em>‘s twisted marketing strategy, if anything positive is to come from this particular soundtrack choice, we should see it as a chance to recognize just how badly America needs to erase this kind of artist from the public consciousness. Cancel culture is supposed to be in full swing, but if we as a nation can’t even say no to the musical output of a criminal as heinous as Gary Glitter, how will we ever begin to address the ethics of more complex situations?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'The Last Black Man in San Francisco' Screens Just Blocks from its Fillmore Setting",
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"content": "\u003cp>Hayes Valley’s free outdoor cinema program, \u003ca href=\"http://proxysf.net/\" rel=\"noopener\" target=\"_blank\">PROXY\u003c/a>, is back with a great slate of highly entertaining and (mostly) family-friendly offerings, screening every Friday through Nov. 1. This week brings an opportunity to watch local filmmaker Joe Talbot’s directorial debut \u003ci>\u003ca href=\"https://www.kqed.org/arts/13859133/the-last-black-man-in-san-francisco-review\" rel=\"noopener\" target=\"_blank\">The Last Black Man in San Francisco\u003c/a>\u003c/i> just blocks from the Fillmore mansion the main character Jimmie Fails yearns to reclaim. (The \u003ca href=\"https://missionlocal.org/2019/07/residing-in-the-past-a-trip-into-the-last-black-man-in-san-francisco-mansion/\" rel=\"noopener\" target=\"_blank\">actual location\u003c/a> of the house that plays the pivotal role of Fails’ ancestral home is on South Van Ness, but let’s not quibble about beautiful Victorians.)\u003c/p>\n\u003cp>Screenings at the walk-in theater begin at dusk, with “doors” opening at 6pm. Pizza and beer are available for purchase on-site. And mark your calendars for future screenings of \u003ci>Booksmart\u003c/i> (two good girls let loose on their last night of high school), \u003ci>Woman at War\u003c/i> (an Icelandic woman leads a double life as a radical environmentalist) and \u003ci>Us\u003c/i> (a family meets the murderous doppelgängers they never knew they had). \u003ci>–Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hayes Valley’s free outdoor cinema program, \u003ca href=\"http://proxysf.net/\" rel=\"noopener\" target=\"_blank\">PROXY\u003c/a>, is back with a great slate of highly entertaining and (mostly) family-friendly offerings, screening every Friday through Nov. 1. This week brings an opportunity to watch local filmmaker Joe Talbot’s directorial debut \u003ci>\u003ca href=\"https://www.kqed.org/arts/13859133/the-last-black-man-in-san-francisco-review\" rel=\"noopener\" target=\"_blank\">The Last Black Man in San Francisco\u003c/a>\u003c/i> just blocks from the Fillmore mansion the main character Jimmie Fails yearns to reclaim. (The \u003ca href=\"https://missionlocal.org/2019/07/residing-in-the-past-a-trip-into-the-last-black-man-in-san-francisco-mansion/\" rel=\"noopener\" target=\"_blank\">actual location\u003c/a> of the house that plays the pivotal role of Fails’ ancestral home is on South Van Ness, but let’s not quibble about beautiful Victorians.)\u003c/p>\n\u003cp>Screenings at the walk-in theater begin at dusk, with “doors” opening at 6pm. Pizza and beer are available for purchase on-site. And mark your calendars for future screenings of \u003ci>Booksmart\u003c/i> (two good girls let loose on their last night of high school), \u003ci>Woman at War\u003c/i> (an Icelandic woman leads a double life as a radical environmentalist) and \u003ci>Us\u003c/i> (a family meets the murderous doppelgängers they never knew they had). \u003ci>–Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Now Playing! A Palestinian State of Mind at Arab Film Festival",
"headTitle": "Now Playing! A Palestinian State of Mind at Arab Film Festival | KQED",
"content": "\u003cp>Gaza, Irish doc filmmaker Garry Keane and photojournalist Andrew McConnell remind us at the beginning of their immersive, textured \u003cem>Gaza\u003c/em>, is only 25 miles long and seven miles wide. Its borders with Egypt and Israel are closed, while the expansive Mediterranean merely offers the illusions of escape and freedom. For the last decade-plus, Gaza’s two million inhabitants have been ruled by Hamas, so women steadily have less latitude and liberty.\u003c/p>\n\u003cp>\u003cem>Gaza\u003c/em>, which is Ireland’s official submission for the Academy Award for International Feature Film (formerly known as Foreign Language Film), screens Oct. 16 and 19 in the \u003ca href=\"https://aff2019.eventive.org/welcome\" rel=\"noopener\" target=\"_blank\">Arab Film Festival\u003c/a> (Oct. 11–20 at the Castro and Roxie in San Francisco and the New Parkway in Oakland). The filmmakers dispense with a narrator so as to amplify the voices of a range of everyday people—a cab driver, a cello-studying teenager, a child fisherman, a woman who produced the first fashion show in Gaza. The documentary teems with activity, yet the overwhelming vibe is inertia and frustration. “There is a barrier that stands between the people of Gaza and life itself,” declares a theater director with six college-educated children, none of whom found jobs after graduation.\u003c/p>\n\u003cfigure id=\"attachment_13867791\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200.jpg\" alt=\"Still from 'It Must Be Heaven.'\" width=\"1200\" height=\"462\" class=\"size-full wp-image-13867791\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200-160x62.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200-800x308.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200-768x296.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200-1020x393.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘It Must Be Heaven.’ \u003ccite>(Courtesy of Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dryly comic cinema laureate of Palestinian malaise, Elia Suleiman, has built a reasonably successful, undeniably bittersweet career since 1996’s \u003cem>Chronicle of a Disappearance\u003c/em> satirizing and lamenting (in equal measure) the painful quality of life under Israeli occupation. \u003cem>It Must Be Heaven\u003c/em>, his first feature since \u003cem>The Time That Remains\u003c/em> one long decade ago, opens the Arab Film Festival with a poignant whiff of dislocation, alienation and resignation.\u003c/p>\n\u003cp>Suleiman’s films aren’t narratives but rather collections of vignettes and sight gags that coalesce into a worldview. The now-gray-bearded filmmaker is the lone recurring character, a silent (except for precisely two lines of dialogue) and unsmiling observer of the absurdity of daily life in Nazareth, Paris and New York.\u003c/p>\n\u003cp>Clad in the same straw hat, slate jacket and jeans in every scene and setting, Suleiman is always an outsider, even in Palestine. That feeling is underscored by people interacting with each other as if they were aliens unversed in normal human behavior. The key consequence is that the usual Suleiman empathy and warmth, typically expressed via a raised eyebrow, is missing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Alas, \u003cem>It Must Be Heaven\u003c/em> (which is Palestine’s official submission to the Oscars) is, to me, his least funny film by a mile. It may be as simple as a batch of gags failing to land—though the Bergman-meets-Woody Allen image of Death at a Manhattan falafel cart does elicit a laugh, as well as consideration of its layers of meaning—or perhaps it’s a symptom of a more serious condition: Suleiman no longer sees anything amusing about the Palestinians’ situation, or a world that tolerates their plight day after day, month after month, year after year. \u003c/p>\n\n",
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"excerpt": "Tour Gaza with a pair of Irish filmmakers, and see Nazareth, Paris and New York through the eyes of the drily comic cinema laureate of Palestinian malaise, Elia Suleiman.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gaza, Irish doc filmmaker Garry Keane and photojournalist Andrew McConnell remind us at the beginning of their immersive, textured \u003cem>Gaza\u003c/em>, is only 25 miles long and seven miles wide. Its borders with Egypt and Israel are closed, while the expansive Mediterranean merely offers the illusions of escape and freedom. For the last decade-plus, Gaza’s two million inhabitants have been ruled by Hamas, so women steadily have less latitude and liberty.\u003c/p>\n\u003cp>\u003cem>Gaza\u003c/em>, which is Ireland’s official submission for the Academy Award for International Feature Film (formerly known as Foreign Language Film), screens Oct. 16 and 19 in the \u003ca href=\"https://aff2019.eventive.org/welcome\" rel=\"noopener\" target=\"_blank\">Arab Film Festival\u003c/a> (Oct. 11–20 at the Castro and Roxie in San Francisco and the New Parkway in Oakland). The filmmakers dispense with a narrator so as to amplify the voices of a range of everyday people—a cab driver, a cello-studying teenager, a child fisherman, a woman who produced the first fashion show in Gaza. The documentary teems with activity, yet the overwhelming vibe is inertia and frustration. “There is a barrier that stands between the people of Gaza and life itself,” declares a theater director with six college-educated children, none of whom found jobs after graduation.\u003c/p>\n\u003cfigure id=\"attachment_13867791\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200.jpg\" alt=\"Still from 'It Must Be Heaven.'\" width=\"1200\" height=\"462\" class=\"size-full wp-image-13867791\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200-160x62.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200-800x308.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200-768x296.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200-1020x393.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘It Must Be Heaven.’ \u003ccite>(Courtesy of Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dryly comic cinema laureate of Palestinian malaise, Elia Suleiman, has built a reasonably successful, undeniably bittersweet career since 1996’s \u003cem>Chronicle of a Disappearance\u003c/em> satirizing and lamenting (in equal measure) the painful quality of life under Israeli occupation. \u003cem>It Must Be Heaven\u003c/em>, his first feature since \u003cem>The Time That Remains\u003c/em> one long decade ago, opens the Arab Film Festival with a poignant whiff of dislocation, alienation and resignation.\u003c/p>\n\u003cp>Suleiman’s films aren’t narratives but rather collections of vignettes and sight gags that coalesce into a worldview. The now-gray-bearded filmmaker is the lone recurring character, a silent (except for precisely two lines of dialogue) and unsmiling observer of the absurdity of daily life in Nazareth, Paris and New York.\u003c/p>\n\u003cp>Clad in the same straw hat, slate jacket and jeans in every scene and setting, Suleiman is always an outsider, even in Palestine. That feeling is underscored by people interacting with each other as if they were aliens unversed in normal human behavior. The key consequence is that the usual Suleiman empathy and warmth, typically expressed via a raised eyebrow, is missing.\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>Alas, \u003cem>It Must Be Heaven\u003c/em> (which is Palestine’s official submission to the Oscars) is, to me, his least funny film by a mile. It may be as simple as a batch of gags failing to land—though the Bergman-meets-Woody Allen image of Death at a Manhattan falafel cart does elicit a laugh, as well as consideration of its layers of meaning—or perhaps it’s a symptom of a more serious condition: Suleiman no longer sees anything amusing about the Palestinians’ situation, or a world that tolerates their plight day after day, month after month, year after year. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Eddie Murphy Explores a Blaxploitation Classic: 'Dolemite is My Name'",
"headTitle": "Eddie Murphy Explores a Blaxploitation Classic: ‘Dolemite is My Name’ | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Note: This film is now in limited theatrical release before debuting on Netflix on Friday, October 25th. \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Eddie Murphy, who had name-above-title billing in a hit movie at 21, was one of the biggest stars in the world at 25, and whose imminent “comeback” has been a three-decade topic that a steady role in the animated \u003cem>Shrek\u003c/em> franchise and an Oscar nomination (for \u003cem>Dreamgirls\u003c/em>) couldn’t silence, is an odd choice to play Rudy Ray Moore.\u003c/p>\n\u003cp>Moore chased success as a singer, dancer, and stand-up before finding it in his mid-forties (in the early ’70s) in the persona of Dolemite, his pimp-styled character who delivered artfully filthy rhymes over a backbeat. In the decorous language of his 2008 \u003cem>New York Times \u003c/em>obituary, Moore’s “standup comedy, records and movies related earthy rhyming tales of a vivid gaggle of characters as they lurched from sexual escapade to sexual escapade in a boisterous tradition, born in Africa, that helped shape today’s hip-hop.”\u003c/p>\n\u003cp>Certainly the blue-chip cast that has shown up to support Murphy in the buoyant-but-superficial Netflix biopic \u003cem>Dolemite Is My Name\u003c/em> is its own tribute to Moore’s intersectional significance: Snoop Dogg and Chris Rock appear in two-scene roles, with Keegan-Michael Key, Titus Burgess, Craig Robinson, and Mike Epps in beefier parts as Moore’s various collaborators. Wesley Snipes’ effeminate characterization of D’urville Martin, who directed and played the villain in the 1975 blaxploitation classic \u003cem>Dolemite—\u003c/em>the film that solidified Moore’s cult… stardom?—may strike some viewers as homophobic, but it’s the first real performance that Snipes, who a generation ago appeared to be an actor whose versatility and magnetisim were without limit, has given in too many years.\u003c/p>\n\u003cp>None of these men have been cast for their resemblance to the people they’re playing. But Murphy, despite how much he seems to love filling out Dolemite’s flamboyant suits, doesn’t even try to look or sound like Moore. (His Bill Cosby impression in his 1988 concert film \u003cem>Raw\u003c/em> is a much closer act of mimicry than anything he does here.) He just throws himself headlong into this incurious depiction of Moore as an entertainer who didn’t much care whether his audience was laughing with him or at him, so long as they were laughing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gLZk03rXpVc\u003c/p>\n\u003cp>Neither the performance nor the movie surrounding it attempts the sort of sober psychological investigation that Will Smith brought to his performance as Muhammad Ali, for example. Murphy and director Craig Brewer (who are working together again on a \u003cem>Coming to America\u003c/em> sequel due next year) have opted for a feel-good approach, letting Scott Bomar’s pastiche-funk score and the warm camaraderie among the cast—and those wonderful suits—propel their tale of underdog triumph. What emotional depth it has comes mostly from Da’Vine Joy Randolph’s commanding turn as Lady Reed, whom Moore recruits to be his onstage comic foil after watching her deck her philandering husband at a nightclub where he’s performing. A scene where she thanks him for talking her into trying showbiz because she’s never seen anyone who looks like her on screen before feels anachronistic, but it’s moving all the same.\u003c/p>\n\u003cp>After a while, it becomes apparent that this is less a character study than an Origins of a Turkey movie in the tradition of the recent \u003cem>The Disaster Artist\u003c/em> or 1994’s \u003cem>Ed Wood. \u003c/em>Its screenplay, come to that, is by the \u003cem>Ed Wood\u003c/em> duo of Scott Alexander and Larry Karaszewski, who that same decade gave us \u003cem>The People Vs. Larry Flynt \u003c/em>and \u003cem>Man on the Moon\u003c/em> (with A-lister Jim Carrey as cult comic Andy Kaufman). So clearly these writers are interested in figures whose work challenges notions of taste and propriety. But \u003cem>Dolemite Is My Name,\u003c/em> for all its potent entertainment value, never musters the same curiosity about its subject that those ’90s movies did.\u003c/p>\n\u003cp>Instead,\u003cem> Dolemite Is My Name\u003c/em> compresses the events of five years or so into a breezy calendar-flipping arc, starting with Moore’s triumph as a DIY peddler of dirty comedy records and climaxing with his success as a DIY film producer and star. The eureka moment wherein he decides he belongs in the pictures comes when he and his pals go—on the recommendation of a glowing newspaper review!—to see Billy Wilder’s 1974 version of \u003cem>The Front Page.\u003c/em> While the movie’s overwhelmingly white audience howls, Moore and his friends are stone-faced. Moore’s verdict is harsh but two-thirds indisputable: “That movie had no funny, no titties, and no Kung Fu!”\u003c/p>\n\u003cp>Had Wilder had the benefit of such insight, \u003cem>Double Indemnity\u003c/em> and \u003cem>Some Like It Hot\u003c/em> might have been very different films. But Murphy-as-Moore’s other note—that \u003cem>The Front Page\u003c/em> had no performers of color—sticks, even if the notion that “people like us” (in Moore’s words) can’t appreciate the sort of mordant comedy Wilder was into is potentially problematic. Brewer, who directed \u003cem>Hustle and Flow\u003c/em> and \u003cem>Black Snake Moan,\u003c/em> is undeterred by “potentially problematic,” as is Murphy.\u003c/p>\n\u003cp>Obviously a long-unsated appetite among black audiences to see themselves represented in mass entertainment was key to the success of the blaxploitation genre, but that alone cannot account for the specific popularity of \u003cem>Dolemite, \u003c/em>a hilariously low-rent production that made earlier penny-pinching blaxploitation hits like \u003cem>Coffy\u003c/em> or \u003cem>Black Caesar\u003c/em> look lavish by comparison. It’s full of catatonic line readings, boom mics dipping into frame, and halfhearted karate kicks from a winded star who doesn’t look fit enough to take on a flight of stairs. When my friends and I watched \u003cem>Dolemite\u003c/em> repeatedly in high school in the 90s, we would argue whether its irresistible awfulness was intentional or not.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DebCN7U65vY\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For what it’s worth, \u003cem>Dolemite Is My Name \u003c/em>splits the difference, suggesting that \u003cem>Dolemite’\u003c/em>s room-destroying sex scene was designed to be funny, but that the hilarity of its fights stemmed from genuine incompetence. In that spirit, we witness the filming of the infamous throw-down that ensues when three white FBI agents confront Dolemite in his driveway and try to take him into custody. Is it a deliberate in-joke that Martin—the director who watches his hopeless performers fumble their way through their fight choreography and concludes that a second take would be futile—is played by Snipes, the one genuine martial artist in the movie? A guy whose overindulgence in action flicks arguably ruined his career as a serious actor? Probably. In any case, it’s a fun thing to argue about with your friends.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Breezy+Look+At+The+Making+Of+A+Blaxploitation+Classic%3A+%27Dolemite+Is+My+Name%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Note: This film is now in limited theatrical release before debuting on Netflix on Friday, October 25th. \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Eddie Murphy, who had name-above-title billing in a hit movie at 21, was one of the biggest stars in the world at 25, and whose imminent “comeback” has been a three-decade topic that a steady role in the animated \u003cem>Shrek\u003c/em> franchise and an Oscar nomination (for \u003cem>Dreamgirls\u003c/em>) couldn’t silence, is an odd choice to play Rudy Ray Moore.\u003c/p>\n\u003cp>Moore chased success as a singer, dancer, and stand-up before finding it in his mid-forties (in the early ’70s) in the persona of Dolemite, his pimp-styled character who delivered artfully filthy rhymes over a backbeat. In the decorous language of his 2008 \u003cem>New York Times \u003c/em>obituary, Moore’s “standup comedy, records and movies related earthy rhyming tales of a vivid gaggle of characters as they lurched from sexual escapade to sexual escapade in a boisterous tradition, born in Africa, that helped shape today’s hip-hop.”\u003c/p>\n\u003cp>Certainly the blue-chip cast that has shown up to support Murphy in the buoyant-but-superficial Netflix biopic \u003cem>Dolemite Is My Name\u003c/em> is its own tribute to Moore’s intersectional significance: Snoop Dogg and Chris Rock appear in two-scene roles, with Keegan-Michael Key, Titus Burgess, Craig Robinson, and Mike Epps in beefier parts as Moore’s various collaborators. Wesley Snipes’ effeminate characterization of D’urville Martin, who directed and played the villain in the 1975 blaxploitation classic \u003cem>Dolemite—\u003c/em>the film that solidified Moore’s cult… stardom?—may strike some viewers as homophobic, but it’s the first real performance that Snipes, who a generation ago appeared to be an actor whose versatility and magnetisim were without limit, has given in too many years.\u003c/p>\n\u003cp>None of these men have been cast for their resemblance to the people they’re playing. But Murphy, despite how much he seems to love filling out Dolemite’s flamboyant suits, doesn’t even try to look or sound like Moore. (His Bill Cosby impression in his 1988 concert film \u003cem>Raw\u003c/em> is a much closer act of mimicry than anything he does here.) He just throws himself headlong into this incurious depiction of Moore as an entertainer who didn’t much care whether his audience was laughing with him or at him, so long as they were laughing.\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/gLZk03rXpVc'\n title='//www.youtube.com/embed/gLZk03rXpVc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Neither the performance nor the movie surrounding it attempts the sort of sober psychological investigation that Will Smith brought to his performance as Muhammad Ali, for example. Murphy and director Craig Brewer (who are working together again on a \u003cem>Coming to America\u003c/em> sequel due next year) have opted for a feel-good approach, letting Scott Bomar’s pastiche-funk score and the warm camaraderie among the cast—and those wonderful suits—propel their tale of underdog triumph. What emotional depth it has comes mostly from Da’Vine Joy Randolph’s commanding turn as Lady Reed, whom Moore recruits to be his onstage comic foil after watching her deck her philandering husband at a nightclub where he’s performing. A scene where she thanks him for talking her into trying showbiz because she’s never seen anyone who looks like her on screen before feels anachronistic, but it’s moving all the same.\u003c/p>\n\u003cp>After a while, it becomes apparent that this is less a character study than an Origins of a Turkey movie in the tradition of the recent \u003cem>The Disaster Artist\u003c/em> or 1994’s \u003cem>Ed Wood. \u003c/em>Its screenplay, come to that, is by the \u003cem>Ed Wood\u003c/em> duo of Scott Alexander and Larry Karaszewski, who that same decade gave us \u003cem>The People Vs. Larry Flynt \u003c/em>and \u003cem>Man on the Moon\u003c/em> (with A-lister Jim Carrey as cult comic Andy Kaufman). So clearly these writers are interested in figures whose work challenges notions of taste and propriety. But \u003cem>Dolemite Is My Name,\u003c/em> for all its potent entertainment value, never musters the same curiosity about its subject that those ’90s movies did.\u003c/p>\n\u003cp>Instead,\u003cem> Dolemite Is My Name\u003c/em> compresses the events of five years or so into a breezy calendar-flipping arc, starting with Moore’s triumph as a DIY peddler of dirty comedy records and climaxing with his success as a DIY film producer and star. The eureka moment wherein he decides he belongs in the pictures comes when he and his pals go—on the recommendation of a glowing newspaper review!—to see Billy Wilder’s 1974 version of \u003cem>The Front Page.\u003c/em> While the movie’s overwhelmingly white audience howls, Moore and his friends are stone-faced. Moore’s verdict is harsh but two-thirds indisputable: “That movie had no funny, no titties, and no Kung Fu!”\u003c/p>\n\u003cp>Had Wilder had the benefit of such insight, \u003cem>Double Indemnity\u003c/em> and \u003cem>Some Like It Hot\u003c/em> might have been very different films. But Murphy-as-Moore’s other note—that \u003cem>The Front Page\u003c/em> had no performers of color—sticks, even if the notion that “people like us” (in Moore’s words) can’t appreciate the sort of mordant comedy Wilder was into is potentially problematic. Brewer, who directed \u003cem>Hustle and Flow\u003c/em> and \u003cem>Black Snake Moan,\u003c/em> is undeterred by “potentially problematic,” as is Murphy.\u003c/p>\n\u003cp>Obviously a long-unsated appetite among black audiences to see themselves represented in mass entertainment was key to the success of the blaxploitation genre, but that alone cannot account for the specific popularity of \u003cem>Dolemite, \u003c/em>a hilariously low-rent production that made earlier penny-pinching blaxploitation hits like \u003cem>Coffy\u003c/em> or \u003cem>Black Caesar\u003c/em> look lavish by comparison. It’s full of catatonic line readings, boom mics dipping into frame, and halfhearted karate kicks from a winded star who doesn’t look fit enough to take on a flight of stairs. When my friends and I watched \u003cem>Dolemite\u003c/em> repeatedly in high school in the 90s, we would argue whether its irresistible awfulness was intentional or not.\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/DebCN7U65vY'\n title='//www.youtube.com/embed/DebCN7U65vY'\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>For what it’s worth, \u003cem>Dolemite Is My Name \u003c/em>splits the difference, suggesting that \u003cem>Dolemite’\u003c/em>s room-destroying sex scene was designed to be funny, but that the hilarity of its fights stemmed from genuine incompetence. In that spirit, we witness the filming of the infamous throw-down that ensues when three white FBI agents confront Dolemite in his driveway and try to take him into custody. Is it a deliberate in-joke that Martin—the director who watches his hopeless performers fumble their way through their fight choreography and concludes that a second take would be futile—is played by Snipes, the one genuine martial artist in the movie? A guy whose overindulgence in action flicks arguably ruined his career as a serious actor? Probably. In any case, it’s a fun thing to argue about with your friends.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Breezy+Look+At+The+Making+Of+A+Blaxploitation+Classic%3A+%27Dolemite+Is+My+Name%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the comics and cartoons—and on film, as played by Jack Nicholson, Heath Ledger and (checks notes) Jared Leto—the Joker, Batman’s archenemy, is an agent of chaos.\u003c/p>\n\u003cp>To be clear: It’s a calculating, meticulously planned chaos. That speech Ledger’s Joker gives in the hospital, in \u003cem>The Dark Knight\u003c/em>? Where he says he’s not a planner, he’s just a “dog chasing cars?” Yeah, that’s a lie. Because underneath that terrifying, physiology-defying grin and that laugh like a hyena on nitrous, there’s a coldly cunning criminal mastermind—he’s just hidden it behind his purple riverboat-gambler couture and his penchant for goofy, playing-card-themed capers, hoping you don’t notice.\u003c/p>\n\u003cp>Funny thing about the Joker. (Historically, he’s referred to as both The Joker and Joker—the definite article gets a lot less definitive around him, in much the same way it does around his opposite number, The Batman/Batman.) He’s unique among Batman’s rogues gallery. Penguin, Riddler, Catwoman, Clayface, Scarecrow—the whole lot: When \u003cem>they \u003c/em>were first introduced in the comics, they were introduced by way of their origin stories. The reader encountered them embarked upon some act of moral turpitude and immediately learned their entire deal—their real name, their background and why they settled upon whichever absurd larcenous gimmick (birds, riddles, cats, etc.) that they did.\u003c/p>\n\u003cp>Not the Joker. When he debuted in 1940—just one year after Batman’s first appearance—he didn’t waste our time whinging on about his backstory; he just set to work killin’ folk. It took an unprecedented 11 years for him to earn an origin tale—and even then, it was a half-assed one. We didn’t learn his real name, or his background, just that he was a crook who had jumped into a vat of chemicals to escape capture by Batman, which transformed him into the grinning ghoul we know today, the Clown Prince of Crime.\u003c/p>\n\u003cp>It’s that version of his origin story (others have been offered over the years) that writer Alan Moore and artist Brian Bolland made some tweaks to in 1988’s unrelentingly grim \u003cem>The Killing Joke\u003c/em> graphic novel, and that Tim Burton took up and played with—adding a generous dollop of Jack Nicholson—in 1989’s \u003cem>Batman \u003c/em>film.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Both attempts—and that original, 1951 origin tale—diminished the character. As a concept, the Joker is a beautiful (albeit vicious) butterfly; his colors dim once you pin him to the specimen board. He functions best as a symbol, an abstract representation—or more precisely a \u003cem>distillation\u003c/em>—of the kind of random act of violence that birthed Batman in the first place. (Batman’s parents were killed by a mugger, FYI. Don’t know if you knew that. It’s possible you’ve been sealed in a vault for the past 80 years, so just in case: alley, gun, pearls, it was a whole deal.)\u003c/p>\n\u003cp>He is a vector for disorder, for gleeful, heedless violence. If Batman is Merciless Order (he wasn’t always, but he became so, around 1970), then Joker is Sadistic Chaos. He is Batman’s perfect foil. He is, simply, The Adversary.\u003c/p>\n\u003cp>One of the many things Christopher Nolan’s \u003cem>The Dark Knight\u003c/em> got right about the character is that we only \u003cem>think \u003c/em>we want to know who he is and where he came from. The Joker works best, most purely, when unencumbered by the humdrum of the everyday. His motivations must and should remain mysterious, unknowable.\u003c/p>\n\u003cp>Director Todd Phillips’ new film seeks to strip all mystery from the character and make his motivations \u003cem>very \u003c/em>knowable. And in that much at least, he succeeds.\u003c/p>\n\u003cp>Meet Arthur Fleck (Joaquin Phoenix), a down-on-his-luck clown for hire, only … he’s having a little trouble getting hired. Arthur has a condition that causes him to burst into laughter at random intervals, which tends to creep people out. And get him beaten up. A lot.\u003c/p>\n\u003cp>(If you’re curious about the degree of subtlety and restraint that Phillips brings to his subject, know that \u003cem>Joker \u003c/em>is the kind of movie in which a bunch of punk kids beat up our hero while shouting “Beat him up!” and kick our hero while shouting “Kick him!”)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zAGVQLHvwOY\u003c/p>\n\u003cp>Arthur suffers one of his many onscreen beatings at the hands (and feet) of a bunch of Wall Street bros on the subway, who taunt him by singing “Send In The Clowns.” Nearly in its entirety. (The scene goes on for a while.)\u003c/p>\n\u003cp>It’s really the only time in this otherwise grounded, grim and gritty film that we’re asked to suspend our disbelief at all—because, seriously, we’re supposed to buy that a straight finance bro would be off-book on the \u003cem>second and third verses of a Sondheim number\u003c/em>?\u003c/p>\n\u003cp>(“Bro! I spent last night poundin’ brews and fallin’ down \u003cem>A Little Night Music\u003c/em> YouTube wormhole! The Dench, bro! The Dench \u003cem>crushed it\u003c/em>!” “Naw man, you gotta see my girl CZ-J in the 2009 Broadway revival, she makes Desiree’s wry and winsome melancholy A THING YOU CAN FEEL IN YOUR ‘NADS BRO.”)\u003c/p>\n\u003cp>When the city cuts the funding for his social worker, Arthur goes off his meds and throws himself into his would-be stand-up comedy career.\u003c/p>\n\u003cp>It doesn’t go well. Put it that way.\u003c/p>\n\u003cp>\u003cem>Joker\u003c/em> is, ostensibly, a downfall story—a tale of how a broken man got broken in the first place. To make stories compelling, to keep audiences’ interest when the conclusion is foregone, storytellers need to forgo what they know audiences already expect to see. But Phillips and his co-screenwriter Scott Silver aren’t interested in iterating or innovating, because doing so would clash with their mission statement.\u003c/p>\n\u003cp>They want us to see Arthur as a victim, pushed into becoming a monster by his mental illness and a broken government. You may or may not find that prospect irresponsible, even dangerous. Let’s leave that to social scientists. What I can tell you is that, as executed in \u003cem>Joker\u003c/em>, it’s wildly unconvincing and mundanely uninteresting.\u003c/p>\n\u003cp>Certainly, \u003cem>Joker \u003c/em>is tense, grimy and claustrophobic, and Phoenix’s performance is a big swing, and a risky one—the kind of big, risky swing that Oscar voters historically eat up with a big ol’ spoon.\u003c/p>\n\u003cp>But the film so desperately strives to reject comic book trappings—so aches to be seen as edgy, provocative, serious, adult—that it simply apes the tone, style and content of other, better, edgier and more provocative films like \u003cem>Taxi Driver\u003c/em> and \u003cem>The King of Comedy\u003c/em> and \u003cem>Fight Club\u003c/em>.\u003c/p>\n\u003cp>But \u003cem>those \u003c/em>films had a point of view, they had something to say—they implicated us in their onscreen violence, in the bad choices their characters made.\u003c/p>\n\u003cp>\u003cem>Joker \u003c/em>sees Arthur’s transformation into a mass murderer as inevitable. It’s not a choice; it’s something the world does \u003cem>to\u003c/em> him. As a result of his passivity, the story becomes little more than Arthur suffering a string of indignities until, one day, heroically (?), he doesn’t anymore. It swiftly grows predictable, then repetitive, then dull.\u003c/p>\n\u003cp>But the film doesn’t care—it’s too busy exuding a sense of self-satisfaction, a preening, self-consciously provocative challenge to an audience—a \u003cem>humanity\u003c/em>—it holds in pitched contempt.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Joker \u003c/em>thinks of itself as urgent, relevant, of the moment and—mostly, unrelentingly—not just another silly superhero movie. Ultimately, however, it devotes so much of its energy into \u003cem>not \u003c/em>being about a comic book villain that it neglects being about … much of anything, really.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Joker%27+Is+Wild+...+ly+Dull&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the comics and cartoons—and on film, as played by Jack Nicholson, Heath Ledger and (checks notes) Jared Leto—the Joker, Batman’s archenemy, is an agent of chaos.\u003c/p>\n\u003cp>To be clear: It’s a calculating, meticulously planned chaos. That speech Ledger’s Joker gives in the hospital, in \u003cem>The Dark Knight\u003c/em>? Where he says he’s not a planner, he’s just a “dog chasing cars?” Yeah, that’s a lie. Because underneath that terrifying, physiology-defying grin and that laugh like a hyena on nitrous, there’s a coldly cunning criminal mastermind—he’s just hidden it behind his purple riverboat-gambler couture and his penchant for goofy, playing-card-themed capers, hoping you don’t notice.\u003c/p>\n\u003cp>Funny thing about the Joker. (Historically, he’s referred to as both The Joker and Joker—the definite article gets a lot less definitive around him, in much the same way it does around his opposite number, The Batman/Batman.) He’s unique among Batman’s rogues gallery. Penguin, Riddler, Catwoman, Clayface, Scarecrow—the whole lot: When \u003cem>they \u003c/em>were first introduced in the comics, they were introduced by way of their origin stories. The reader encountered them embarked upon some act of moral turpitude and immediately learned their entire deal—their real name, their background and why they settled upon whichever absurd larcenous gimmick (birds, riddles, cats, etc.) that they did.\u003c/p>\n\u003cp>Not the Joker. When he debuted in 1940—just one year after Batman’s first appearance—he didn’t waste our time whinging on about his backstory; he just set to work killin’ folk. It took an unprecedented 11 years for him to earn an origin tale—and even then, it was a half-assed one. We didn’t learn his real name, or his background, just that he was a crook who had jumped into a vat of chemicals to escape capture by Batman, which transformed him into the grinning ghoul we know today, the Clown Prince of Crime.\u003c/p>\n\u003cp>It’s that version of his origin story (others have been offered over the years) that writer Alan Moore and artist Brian Bolland made some tweaks to in 1988’s unrelentingly grim \u003cem>The Killing Joke\u003c/em> graphic novel, and that Tim Burton took up and played with—adding a generous dollop of Jack Nicholson—in 1989’s \u003cem>Batman \u003c/em>film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Both attempts—and that original, 1951 origin tale—diminished the character. As a concept, the Joker is a beautiful (albeit vicious) butterfly; his colors dim once you pin him to the specimen board. He functions best as a symbol, an abstract representation—or more precisely a \u003cem>distillation\u003c/em>—of the kind of random act of violence that birthed Batman in the first place. (Batman’s parents were killed by a mugger, FYI. Don’t know if you knew that. It’s possible you’ve been sealed in a vault for the past 80 years, so just in case: alley, gun, pearls, it was a whole deal.)\u003c/p>\n\u003cp>He is a vector for disorder, for gleeful, heedless violence. If Batman is Merciless Order (he wasn’t always, but he became so, around 1970), then Joker is Sadistic Chaos. He is Batman’s perfect foil. He is, simply, The Adversary.\u003c/p>\n\u003cp>One of the many things Christopher Nolan’s \u003cem>The Dark Knight\u003c/em> got right about the character is that we only \u003cem>think \u003c/em>we want to know who he is and where he came from. The Joker works best, most purely, when unencumbered by the humdrum of the everyday. His motivations must and should remain mysterious, unknowable.\u003c/p>\n\u003cp>Director Todd Phillips’ new film seeks to strip all mystery from the character and make his motivations \u003cem>very \u003c/em>knowable. And in that much at least, he succeeds.\u003c/p>\n\u003cp>Meet Arthur Fleck (Joaquin Phoenix), a down-on-his-luck clown for hire, only … he’s having a little trouble getting hired. Arthur has a condition that causes him to burst into laughter at random intervals, which tends to creep people out. And get him beaten up. A lot.\u003c/p>\n\u003cp>(If you’re curious about the degree of subtlety and restraint that Phillips brings to his subject, know that \u003cem>Joker \u003c/em>is the kind of movie in which a bunch of punk kids beat up our hero while shouting “Beat him up!” and kick our hero while shouting “Kick him!”)\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/zAGVQLHvwOY'\n title='//www.youtube.com/embed/zAGVQLHvwOY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Arthur suffers one of his many onscreen beatings at the hands (and feet) of a bunch of Wall Street bros on the subway, who taunt him by singing “Send In The Clowns.” Nearly in its entirety. (The scene goes on for a while.)\u003c/p>\n\u003cp>It’s really the only time in this otherwise grounded, grim and gritty film that we’re asked to suspend our disbelief at all—because, seriously, we’re supposed to buy that a straight finance bro would be off-book on the \u003cem>second and third verses of a Sondheim number\u003c/em>?\u003c/p>\n\u003cp>(“Bro! I spent last night poundin’ brews and fallin’ down \u003cem>A Little Night Music\u003c/em> YouTube wormhole! The Dench, bro! The Dench \u003cem>crushed it\u003c/em>!” “Naw man, you gotta see my girl CZ-J in the 2009 Broadway revival, she makes Desiree’s wry and winsome melancholy A THING YOU CAN FEEL IN YOUR ‘NADS BRO.”)\u003c/p>\n\u003cp>When the city cuts the funding for his social worker, Arthur goes off his meds and throws himself into his would-be stand-up comedy career.\u003c/p>\n\u003cp>It doesn’t go well. Put it that way.\u003c/p>\n\u003cp>\u003cem>Joker\u003c/em> is, ostensibly, a downfall story—a tale of how a broken man got broken in the first place. To make stories compelling, to keep audiences’ interest when the conclusion is foregone, storytellers need to forgo what they know audiences already expect to see. But Phillips and his co-screenwriter Scott Silver aren’t interested in iterating or innovating, because doing so would clash with their mission statement.\u003c/p>\n\u003cp>They want us to see Arthur as a victim, pushed into becoming a monster by his mental illness and a broken government. You may or may not find that prospect irresponsible, even dangerous. Let’s leave that to social scientists. What I can tell you is that, as executed in \u003cem>Joker\u003c/em>, it’s wildly unconvincing and mundanely uninteresting.\u003c/p>\n\u003cp>Certainly, \u003cem>Joker \u003c/em>is tense, grimy and claustrophobic, and Phoenix’s performance is a big swing, and a risky one—the kind of big, risky swing that Oscar voters historically eat up with a big ol’ spoon.\u003c/p>\n\u003cp>But the film so desperately strives to reject comic book trappings—so aches to be seen as edgy, provocative, serious, adult—that it simply apes the tone, style and content of other, better, edgier and more provocative films like \u003cem>Taxi Driver\u003c/em> and \u003cem>The King of Comedy\u003c/em> and \u003cem>Fight Club\u003c/em>.\u003c/p>\n\u003cp>But \u003cem>those \u003c/em>films had a point of view, they had something to say—they implicated us in their onscreen violence, in the bad choices their characters made.\u003c/p>\n\u003cp>\u003cem>Joker \u003c/em>sees Arthur’s transformation into a mass murderer as inevitable. It’s not a choice; it’s something the world does \u003cem>to\u003c/em> him. As a result of his passivity, the story becomes little more than Arthur suffering a string of indignities until, one day, heroically (?), he doesn’t anymore. It swiftly grows predictable, then repetitive, then dull.\u003c/p>\n\u003cp>But the film doesn’t care—it’s too busy exuding a sense of self-satisfaction, a preening, self-consciously provocative challenge to an audience—a \u003cem>humanity\u003c/em>—it holds in pitched contempt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Joker \u003c/em>thinks of itself as urgent, relevant, of the moment and—mostly, unrelentingly—not just another silly superhero movie. Ultimately, however, it devotes so much of its energy into \u003cem>not \u003c/em>being about a comic book villain that it neglects being about … much of anything, really.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Joker%27+Is+Wild+...+ly+Dull&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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