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"content": "\u003cp>With its austere surfaces and jaundiced view of humanity’s interplanetary destiny, James Gray’s stirring sci-fi epic \u003cem>Ad Astra\u003c/em> can’t help but evoke Stanley Kubrick’s \u003cem>2001: A Space Odyssey\u003c/em>, the paterfamilias of all “serious” space movies. But in fact it’s a closer cousin to \u003cem>another\u003c/em> long-delayed, wildly over-budget spectacle that initially fared better with ticket-buyers than critics, only to be revealed in time as a masterpiece: Francis Ford Coppola’s \u003cem>Apocalypse Now\u003c/em>.\u003c/p>\n\u003cp>Like Coppola’s surreal Vietnam War movie, \u003cem>Ad Astra\u003c/em> is told to us by a haunted man on a mission into the unknown. After a thrilling set piece involving an unplanned high-altitude skydive from the “International Space Antenna,” Brad Pitt’s Major Roy McBride is dispatched to investigate the cause of a series of destructive cosmic ray bursts emanating from Neptune.\u003c/p>\n\u003cp>McBride is given the task because his superiors believe these disruptions might somehow have been caused by his father (Tommy Lee Jones), commander of an exploration mission that was presumed lost some 16 years earlier. In the event the old man has somehow survived and gone all Colonel Kurtz on them, they’re hoping his baby boy might be able to talk him down.\u003c/p>\n\u003cp>https://youtu.be/P6AaSMfXHbA\u003c/p>\n\u003cp>One needn’t have seen \u003cem>2001\u003c/em>—or for that matter, last year’s undervalued Neil Armstrong biopic \u003cem>First Man\u003c/em>—to grok that emotional availability is the one area in which McBride is seriously deficient. (His heart rate has never risen above 80, his dossier says.) In space, no one can hear you cry…\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>… though they \u003cem>are\u003c/em> sometimes privy to your internal monologue. “We are the world-eaters,” McBride laments in voiceover as he takes in the Applebees and Hudson News shops that pimple the near side of the moon in the mid-to-late 21st century. The only thing \u003cem>Ad Astra\u003c/em> shares with the comparatively upbeat adventure \u003cem>The Martian\u003c/em> is a notion we might be wiser to leave space exploration to our robots. We see McBride file a psychological self-evaluation each time he’s getting ready to launch; only if the A.I. concurs with his assessment that he’s fit to fly is he permitted to go.\u003c/p>\n\u003cp>Pitt is in every scene and frequently in close-up; now in his mid-50s, his face continues its preternaturally slow erosion from handsome to interesting. This is his second admirably interior performance in two months, but the laconic swagger he brought to \u003cem>Once Upon a Time… in Hollywood\u003c/em> is long gone. He plays McBride as a contemplative spaceman in the Armstrong mold; not one of those swaggering jet jocks Tom Wolfe wrote about in \u003cem>The Right Stuff\u003c/em>.\u003c/p>\n\u003cp>Gray and co-writer Ethan Gross are shrewd enough to consider that the qualities that made McBride a washout as a husband (Liv Tyler appears briefly as his estranged spouse in a near-silent role) make him an ideal candidate for the privation and solitude of space travel. Like Gray’s most recent picture, a soulful adaptation of the nonfiction book \u003cem>The Lost City of Z\u003c/em>, \u003cem>Ad Astra\u003c/em> is interested in the psychology of explorers. And while the filmmaker is careful to punctuate his existential walkabout with expertly staged feats of derring-do—there’s a pirate raid on a convoy of moon buggies, and it’s \u003cem>awesome\u003c/em>—he and his collaborators have done enough homework to let us suspend our disbelief without feeling like we’re selling it cheap. Their predictions of how commerce and geopolitics might play out on the moon in perhaps 50 years’ time are woven into the narrative rather than ladled on. And the movie’s analog aesthetic—\u003cem>Ad Astra\u003c/em> was shot on photochemical film, using practical sets wherever feasible—gives it a lens-flaring verisimilitude that makes it feel more substantial than all those space-set Marvel movies, for example.\u003c/p>\n\u003cp>Although Tyler is barely in the movie, the rest of the supporting cast delivers the requisite gravitas: Along with elder spacemen Jones and Donald Sutherland, there are brief but memorable appearances from Ruth Negga as the administrator of the American outpost on Mars and Loren Dean as a clay-footed rocket crewman.\u003c/p>\n\u003cp>\u003cem>Ad Astra\u003c/em> borrows some below-the-line talent from other sterling genre specimens of recent vintage: Cinematographer Hoyte Van Hoytema shot \u003cem>Interstellar\u003c/em> five years ago, while composer Max Richter (who shared scoring duties with Lorne Balfe) did the music for \u003cem>Arrival\u003c/em>. This film has big philosophical differences with those two, but it makes its observations about our place in the cosmos with equal grace, even majesty. If the arc of the moral universe bends toward justice, the arc of the physical universe might bend towards just us. That doesn’t mean we stop seeking.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>… though they \u003cem>are\u003c/em> sometimes privy to your internal monologue. “We are the world-eaters,” McBride laments in voiceover as he takes in the Applebees and Hudson News shops that pimple the near side of the moon in the mid-to-late 21st century. The only thing \u003cem>Ad Astra\u003c/em> shares with the comparatively upbeat adventure \u003cem>The Martian\u003c/em> is a notion we might be wiser to leave space exploration to our robots. We see McBride file a psychological self-evaluation each time he’s getting ready to launch; only if the A.I. concurs with his assessment that he’s fit to fly is he permitted to go.\u003c/p>\n\u003cp>Pitt is in every scene and frequently in close-up; now in his mid-50s, his face continues its preternaturally slow erosion from handsome to interesting. This is his second admirably interior performance in two months, but the laconic swagger he brought to \u003cem>Once Upon a Time… in Hollywood\u003c/em> is long gone. He plays McBride as a contemplative spaceman in the Armstrong mold; not one of those swaggering jet jocks Tom Wolfe wrote about in \u003cem>The Right Stuff\u003c/em>.\u003c/p>\n\u003cp>Gray and co-writer Ethan Gross are shrewd enough to consider that the qualities that made McBride a washout as a husband (Liv Tyler appears briefly as his estranged spouse in a near-silent role) make him an ideal candidate for the privation and solitude of space travel. Like Gray’s most recent picture, a soulful adaptation of the nonfiction book \u003cem>The Lost City of Z\u003c/em>, \u003cem>Ad Astra\u003c/em> is interested in the psychology of explorers. And while the filmmaker is careful to punctuate his existential walkabout with expertly staged feats of derring-do—there’s a pirate raid on a convoy of moon buggies, and it’s \u003cem>awesome\u003c/em>—he and his collaborators have done enough homework to let us suspend our disbelief without feeling like we’re selling it cheap. Their predictions of how commerce and geopolitics might play out on the moon in perhaps 50 years’ time are woven into the narrative rather than ladled on. And the movie’s analog aesthetic—\u003cem>Ad Astra\u003c/em> was shot on photochemical film, using practical sets wherever feasible—gives it a lens-flaring verisimilitude that makes it feel more substantial than all those space-set Marvel movies, for example.\u003c/p>\n\u003cp>Although Tyler is barely in the movie, the rest of the supporting cast delivers the requisite gravitas: Along with elder spacemen Jones and Donald Sutherland, there are brief but memorable appearances from Ruth Negga as the administrator of the American outpost on Mars and Loren Dean as a clay-footed rocket crewman.\u003c/p>\n\u003cp>\u003cem>Ad Astra\u003c/em> borrows some below-the-line talent from other sterling genre specimens of recent vintage: Cinematographer Hoyte Van Hoytema shot \u003cem>Interstellar\u003c/em> five years ago, while composer Max Richter (who shared scoring duties with Lorne Balfe) did the music for \u003cem>Arrival\u003c/em>. This film has big philosophical differences with those two, but it makes its observations about our place in the cosmos with equal grace, even majesty. If the arc of the moral universe bends toward justice, the arc of the physical universe might bend towards just us. That doesn’t mean we stop seeking.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“A year ago, I was reading Kafka,” Marco Saavedra tells us early in \u003cem>The Infiltrators\u003c/em>. “Now I was living it.” Born in Mexico and raised and educated in Massachusetts, he had cannily and bravely let himself be captured by authorities in 2012 with the goal of landing at Broward Transitional Center. Once inside the under-the-radar Florida detention facility (operated by a for-profit company with a contract from ICE to house non-criminal men allegedly in the U.S. without proper documentation), Marco’s mission was to help the inmates and expose the facility.\u003c/p>\n\u003cp>Cristina Ibarra and Alex Rivera’s vital and important film, which mixes and matches documentary footage with reenactments, took home a couple of Sundance awards and is being developed as a scripted TV series. \u003cem>The Infiltrators\u003c/em> (Saturday, Sept. 21 at Alamo Drafthouse) is one of several films in the \u003ca href=\"https://sflatinofilmfestival.org/2019/\" target=\"_blank\" rel=\"noopener\">San Francisco Latino Film Festival\u003c/a>—Sept. 20–29 primarily at Drafthouse, the Roxie and the Opera Plaza Cinema—that’s set in the past yet feels utterly \u003cem>right now\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13866648\" class=\"wp-caption aligncenter\" style=\"max-width: 1536px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/the-infiltrators_COVER.jpg\" alt=\"Still from Alex Rivera and Cristina Ibarra's documentary 'The Infiltrators,' 2019.\" width=\"1536\" height=\"866\" class=\"size-full wp-image-13866648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/the-infiltrators_COVER.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/the-infiltrators_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/the-infiltrators_COVER-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/the-infiltrators_COVER-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/the-infiltrators_COVER-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/the-infiltrators_COVER-1200x677.jpg 1200w\" sizes=\"(max-width: 1536px) 100vw, 1536px\">\u003cfigcaption class=\"wp-caption-text\">Still from Alex Rivera and Cristina Ibarra’s documentary ‘The Infiltrators,’ 2019. \u003ccite>(Courtesy of the filmmakers and SF Latino Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acutely emotional Venezuelan drama \u003cem>Little Histories\u003c/em> (\u003cem>Historias Pequeñas\u003c/em>) (Saturday, Sept. 21 at the Roxie) is set during the bizarro days of the 2002 coup against President Hugo Chavez. The political events (or big history, if you will) form the background to five domestic scenarios that are parables of moral failings and triumphs. Writer-director Rafael Marziano overlays the personal and the political in both subtle and obvious ways that reveal the fault lines throughout Venezuelan society.\u003c/p>\n\u003cp>The lush opening night film, \u003cem>Yuli\u003c/em>, reaches back in time to trace the journey of Afro-Cuban dancer and choreographer Carlos Acosta from the Michael Jackson-inspired breakdance routines he showcased as a boy to his triumphs with the Royal Ballet in London. Based on Acosta’s autobiography and featuring Acosta himself, Icíar Bollaín’s full-blooded biopic encompasses a vast swath of terrain—psychic, artistic, emotional and historical. Festival season has begun, and you don’t want to miss a step.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“A year ago, I was reading Kafka,” Marco Saavedra tells us early in \u003cem>The Infiltrators\u003c/em>. “Now I was living it.” Born in Mexico and raised and educated in Massachusetts, he had cannily and bravely let himself be captured by authorities in 2012 with the goal of landing at Broward Transitional Center. Once inside the under-the-radar Florida detention facility (operated by a for-profit company with a contract from ICE to house non-criminal men allegedly in the U.S. without proper documentation), Marco’s mission was to help the inmates and expose the facility.\u003c/p>\n\u003cp>Cristina Ibarra and Alex Rivera’s vital and important film, which mixes and matches documentary footage with reenactments, took home a couple of Sundance awards and is being developed as a scripted TV series. \u003cem>The Infiltrators\u003c/em> (Saturday, Sept. 21 at Alamo Drafthouse) is one of several films in the \u003ca href=\"https://sflatinofilmfestival.org/2019/\" target=\"_blank\" rel=\"noopener\">San Francisco Latino Film Festival\u003c/a>—Sept. 20–29 primarily at Drafthouse, the Roxie and the Opera Plaza Cinema—that’s set in the past yet feels utterly \u003cem>right now\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13866648\" class=\"wp-caption aligncenter\" style=\"max-width: 1536px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/the-infiltrators_COVER.jpg\" alt=\"Still from Alex Rivera and Cristina Ibarra's documentary 'The Infiltrators,' 2019.\" width=\"1536\" height=\"866\" class=\"size-full wp-image-13866648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/the-infiltrators_COVER.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/the-infiltrators_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/the-infiltrators_COVER-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/the-infiltrators_COVER-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/the-infiltrators_COVER-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/the-infiltrators_COVER-1200x677.jpg 1200w\" sizes=\"(max-width: 1536px) 100vw, 1536px\">\u003cfigcaption class=\"wp-caption-text\">Still from Alex Rivera and Cristina Ibarra’s documentary ‘The Infiltrators,’ 2019. \u003ccite>(Courtesy of the filmmakers and SF Latino Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acutely emotional Venezuelan drama \u003cem>Little Histories\u003c/em> (\u003cem>Historias Pequeñas\u003c/em>) (Saturday, Sept. 21 at the Roxie) is set during the bizarro days of the 2002 coup against President Hugo Chavez. The political events (or big history, if you will) form the background to five domestic scenarios that are parables of moral failings and triumphs. Writer-director Rafael Marziano overlays the personal and the political in both subtle and obvious ways that reveal the fault lines throughout Venezuelan society.\u003c/p>\n\u003cp>The lush opening night film, \u003cem>Yuli\u003c/em>, reaches back in time to trace the journey of Afro-Cuban dancer and choreographer Carlos Acosta from the Michael Jackson-inspired breakdance routines he showcased as a boy to his triumphs with the Royal Ballet in London. Based on Acosta’s autobiography and featuring Acosta himself, Icíar Bollaín’s full-blooded biopic encompasses a vast swath of terrain—psychic, artistic, emotional and historical. Festival season has begun, and you don’t want to miss a step.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Over its 16-hour run time, Ken Burns’ documentary \u003ca href=\"https://www.pbs.org/kenburns/country-music/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Country Music\u003c/em>\u003c/a> lends dignity and credibility to a genre often denigrated. And just as importantly, it elevates lesser-known figures, delving into a deeper history of country beyond its household names.\u003c/p>\n\u003cp>But what will surely have people talking is the way the documentary treats race in country music. Specifically, its genesis as a cross-cultural collaboration across racial lines. Within the first five minutes of the debut episode, the documentary credits both enslaved people and those living in border barrios as sources of country music, and emphasizes that the banjo—a key instrument in the genre—came to the southern United States from Africa.\u003c/p>\n\u003cp>“It’s not like we discovered that there’s deep roots that include black music that are part of country,” said Dayton Duncan, Burns’ writer and co-producer on the film, when I met with him and Burns in San Francisco. “It’s just there, in plain sight. But the common stereotype of country music is that it is only white music for white people. It’s become so encrusted. And I hope our film will show us that’s just as much of an unfair stereotype as any other unfair stereotype.”\u003c/p>\n\u003cp>Still, from the start of \u003cem>Country Music\u003c/em>, there’s a power imbalance. We learn that one of the music’s biggest stars, Fiddlin’ John Carson, performed at Ku Klux Klan rallies. When record producer Ralph Peer went to Atlanta after the success of Mamie Smith’s “Crazy Blues” to record more black artists, he instead was encouraged to record Carson, a white man, singing “Little Old Log Cabin in the Lane,” a song romanticizing slave life. Meanwhile, Stephen Foster wrote songs for minstrel shows with blackface performers that sold a sentimental version of the antebellum South. Emmett Miller, a blackface performer, recorded the first version of Hank Williams’ hit “Lovesick Blues.”\u003c/p>\n\u003cfigure id=\"attachment_13862150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862150\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-800x450.jpg\" alt=\"Documentary filmmaker Ken Burns backstage at the Palace of Fine Arts in San Francisco, July 24, 2019.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Documentary filmmaker Ken Burns backstage at the Palace of Fine Arts in San Francisco, July 24, 2019. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What to do with all of this? For Ken Burns, it means asking a handful of black artists to comment about it on camera: Charley Pride, Rihannon Giddens, Darius Rucker, Wynton Marsalis. Much of what they say in the film is about the uniting power of music, and not about the dividing nature of systemic racism in America.\u003c/p>\n\u003cp>When I met with Burns and Duncan, I wanted to know, especially after watching the documentary’s first episode: \u003cem>What happened?\u003c/em>\u003c/p>\n\u003cp>Country music is an almost entirely white genre now. The number of high-charting black country artists can be counted on one hand, and some of them, most recently \u003ca href=\"https://www.kqed.org/arts/13854359/old-town-road-lil-nas-x-billy-ray-cyrus\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Nas X\u003c/a>, have faced overt resistance from the country music establishment. How did the African American influence in the music, and its help in creating its coalesced sound, give way so easily to overwhelmingly white country stars?\u003c/p>\n\u003cp>The answer, not fully explored in the remaining 14 hours of \u003cem>Country Music\u003c/em>, falls mostly to marketing, according to Duncan.\u003c/p>\n\u003cp>“Once music became commercialized, it was easier to say, ‘Oh, here are the race records,’ which meant this is music made by African Americans for an African-American audience, and ‘here is the hillbilly music,’ and that’s made by white artists for white people. On those two styles of music in particular, it was bifurcated really early,” Duncan said. “The truth is that it was more for commerce and convenience. We create certain categories, and we try to organize it a certain way. And some of that is necessary, some of it is good, and some of it can be distorting and bad, and even evil.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burns has first-person experience with those categories, having worked in an Ann Arbor record store when he was younger, filing albums into different genre sections dictated in part by race. But he clearly did not want to make the scourge of racism a greater issue in the film than the salve of music’s back-and-forth conversation.\u003c/p>\n\u003cp>“We know the history of the United States has not been exemplary with regard to race. So I don’t think we need to be too shocked anytime you find that African-American influence isn’t acknowledged,” said Burns. “Saying that race is an issue in America is not a banner headline. To me, the banner headline—which has run through all our work—is that for a population that hovers around 13 or 14 percent, it has had a disproportionate effect on our arts, particularly our music.”\u003c/p>\n\u003cp>It’s no surprise to learn, given Burns’ non-cynical nature, that he wants to focus on the better parts of humanity. The viewer sees it in the quotes he chooses. “You have a lot of opposites that create this richness,” comments Marsalis. Giddens is shown adding to this viewpoint: “It starts going back and forth,” she says, “and becomes this beautiful mix of cultures.”\u003c/p>\n\u003cfigure id=\"attachment_13866447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866447\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-800x581.jpg\" alt=\"Uncle Dave Macon, the first star of the Grand Ol' Opry, performed songs and stage moves from the black tradition.\" width=\"800\" height=\"581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-768x558.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Uncle Dave Macon, the first star of the Grand Ol’ Opry, performed songs and stage moves from the black tradition. \u003ccite>(Wiki Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, the film’s first episode is titled “The Rub,” named for the commingling of black and white in the South that gave birth to country music. Over the course of the subsequent seven episodes, we learn about the many black figures behind the scenes, helping white stars become famous. Gus Cannon for Johnny Cash. Rufus “Tee Tot” Payne for Hank Williams. Lesley Riddle for A.B. Carter. Arnold Shultz for Bill Monroe.\u003c/p>\n\u003cp>But is this true cross-pollination, or is it a siphoning? We learn about the banjo player Uncle Dave Macon, descended from Confederate soldiers, becoming a celebrity by taking songs and stage moves from the black tradition. We learn about Jimmie Rodgers picking up field hollers from black crews in the railroad yards where he worked as a water boy, and then performing in blackface for medicine shows before becoming the wealthiest country singer of his time.\u003c/p>\n\u003cp>Again: isn’t this theft? Not just theft of cultural production, but—when royalties are involved—actual money?\u003c/p>\n\u003cp>“I don’t want to say we \u003cem>stole\u003c/em> it—that’s a pretty strong word. But I will say that we adapted it,” says Nashville studio guitarist Harold Bradley at one point in the first episode. He’s talking about lifting melodies from the British Isles, but his comment resonates with the overall charitable approach that Burns takes in \u003cem>Country Music\u003c/em>.\u003c/p>\n\u003cp>“At the end Wynton says, ‘Art tells the tale of us coming together,’” said Burns. “We’ve categorized music, forgetting that for the artist, there’s no border. It’s a wonderful two-way street.”\u003c/p>\n\u003cp>It’s a nice thought, the two-way street. But, as many viewers watching \u003cem>Country Music\u003c/em> this week will surely recognize, the traffic never really flows equally both ways.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Country Music’ premieres on Sept. 15 on PBS stations, including KQED 9. \u003ca href=\"https://www.pbs.org/kenburns/country-music/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over its 16-hour run time, Ken Burns’ documentary \u003ca href=\"https://www.pbs.org/kenburns/country-music/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Country Music\u003c/em>\u003c/a> lends dignity and credibility to a genre often denigrated. And just as importantly, it elevates lesser-known figures, delving into a deeper history of country beyond its household names.\u003c/p>\n\u003cp>But what will surely have people talking is the way the documentary treats race in country music. Specifically, its genesis as a cross-cultural collaboration across racial lines. Within the first five minutes of the debut episode, the documentary credits both enslaved people and those living in border barrios as sources of country music, and emphasizes that the banjo—a key instrument in the genre—came to the southern United States from Africa.\u003c/p>\n\u003cp>“It’s not like we discovered that there’s deep roots that include black music that are part of country,” said Dayton Duncan, Burns’ writer and co-producer on the film, when I met with him and Burns in San Francisco. “It’s just there, in plain sight. But the common stereotype of country music is that it is only white music for white people. It’s become so encrusted. And I hope our film will show us that’s just as much of an unfair stereotype as any other unfair stereotype.”\u003c/p>\n\u003cp>Still, from the start of \u003cem>Country Music\u003c/em>, there’s a power imbalance. We learn that one of the music’s biggest stars, Fiddlin’ John Carson, performed at Ku Klux Klan rallies. When record producer Ralph Peer went to Atlanta after the success of Mamie Smith’s “Crazy Blues” to record more black artists, he instead was encouraged to record Carson, a white man, singing “Little Old Log Cabin in the Lane,” a song romanticizing slave life. Meanwhile, Stephen Foster wrote songs for minstrel shows with blackface performers that sold a sentimental version of the antebellum South. Emmett Miller, a blackface performer, recorded the first version of Hank Williams’ hit “Lovesick Blues.”\u003c/p>\n\u003cfigure id=\"attachment_13862150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862150\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-800x450.jpg\" alt=\"Documentary filmmaker Ken Burns backstage at the Palace of Fine Arts in San Francisco, July 24, 2019.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Documentary filmmaker Ken Burns backstage at the Palace of Fine Arts in San Francisco, July 24, 2019. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What to do with all of this? For Ken Burns, it means asking a handful of black artists to comment about it on camera: Charley Pride, Rihannon Giddens, Darius Rucker, Wynton Marsalis. Much of what they say in the film is about the uniting power of music, and not about the dividing nature of systemic racism in America.\u003c/p>\n\u003cp>When I met with Burns and Duncan, I wanted to know, especially after watching the documentary’s first episode: \u003cem>What happened?\u003c/em>\u003c/p>\n\u003cp>Country music is an almost entirely white genre now. The number of high-charting black country artists can be counted on one hand, and some of them, most recently \u003ca href=\"https://www.kqed.org/arts/13854359/old-town-road-lil-nas-x-billy-ray-cyrus\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Nas X\u003c/a>, have faced overt resistance from the country music establishment. How did the African American influence in the music, and its help in creating its coalesced sound, give way so easily to overwhelmingly white country stars?\u003c/p>\n\u003cp>The answer, not fully explored in the remaining 14 hours of \u003cem>Country Music\u003c/em>, falls mostly to marketing, according to Duncan.\u003c/p>\n\u003cp>“Once music became commercialized, it was easier to say, ‘Oh, here are the race records,’ which meant this is music made by African Americans for an African-American audience, and ‘here is the hillbilly music,’ and that’s made by white artists for white people. On those two styles of music in particular, it was bifurcated really early,” Duncan said. “The truth is that it was more for commerce and convenience. We create certain categories, and we try to organize it a certain way. And some of that is necessary, some of it is good, and some of it can be distorting and bad, and even evil.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burns has first-person experience with those categories, having worked in an Ann Arbor record store when he was younger, filing albums into different genre sections dictated in part by race. But he clearly did not want to make the scourge of racism a greater issue in the film than the salve of music’s back-and-forth conversation.\u003c/p>\n\u003cp>“We know the history of the United States has not been exemplary with regard to race. So I don’t think we need to be too shocked anytime you find that African-American influence isn’t acknowledged,” said Burns. “Saying that race is an issue in America is not a banner headline. To me, the banner headline—which has run through all our work—is that for a population that hovers around 13 or 14 percent, it has had a disproportionate effect on our arts, particularly our music.”\u003c/p>\n\u003cp>It’s no surprise to learn, given Burns’ non-cynical nature, that he wants to focus on the better parts of humanity. The viewer sees it in the quotes he chooses. “You have a lot of opposites that create this richness,” comments Marsalis. Giddens is shown adding to this viewpoint: “It starts going back and forth,” she says, “and becomes this beautiful mix of cultures.”\u003c/p>\n\u003cfigure id=\"attachment_13866447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866447\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-800x581.jpg\" alt=\"Uncle Dave Macon, the first star of the Grand Ol' Opry, performed songs and stage moves from the black tradition.\" width=\"800\" height=\"581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-768x558.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Uncle Dave Macon, the first star of the Grand Ol’ Opry, performed songs and stage moves from the black tradition. \u003ccite>(Wiki Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, the film’s first episode is titled “The Rub,” named for the commingling of black and white in the South that gave birth to country music. Over the course of the subsequent seven episodes, we learn about the many black figures behind the scenes, helping white stars become famous. Gus Cannon for Johnny Cash. Rufus “Tee Tot” Payne for Hank Williams. Lesley Riddle for A.B. Carter. Arnold Shultz for Bill Monroe.\u003c/p>\n\u003cp>But is this true cross-pollination, or is it a siphoning? We learn about the banjo player Uncle Dave Macon, descended from Confederate soldiers, becoming a celebrity by taking songs and stage moves from the black tradition. We learn about Jimmie Rodgers picking up field hollers from black crews in the railroad yards where he worked as a water boy, and then performing in blackface for medicine shows before becoming the wealthiest country singer of his time.\u003c/p>\n\u003cp>Again: isn’t this theft? Not just theft of cultural production, but—when royalties are involved—actual money?\u003c/p>\n\u003cp>“I don’t want to say we \u003cem>stole\u003c/em> it—that’s a pretty strong word. But I will say that we adapted it,” says Nashville studio guitarist Harold Bradley at one point in the first episode. He’s talking about lifting melodies from the British Isles, but his comment resonates with the overall charitable approach that Burns takes in \u003cem>Country Music\u003c/em>.\u003c/p>\n\u003cp>“At the end Wynton says, ‘Art tells the tale of us coming together,’” said Burns. “We’ve categorized music, forgetting that for the artist, there’s no border. It’s a wonderful two-way street.”\u003c/p>\n\u003cp>It’s a nice thought, the two-way street. But, as many viewers watching \u003cem>Country Music\u003c/em> this week will surely recognize, the traffic never really flows equally both ways.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Country Music’ premieres on Sept. 15 on PBS stations, including KQED 9. \u003ca href=\"https://www.pbs.org/kenburns/country-music/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>By Rae Alexandra\u003c/strong>\u003c/p>\n\u003cp>These days, as far as American music festivals go, you won’t find two more divisive than Coachella and Burning Man. These annual, much-anticipated events are, depending on your perspective, either essential and transformative or insufferably pretentious. Either way, they’ve both seeped into California culture so much that at this point, you’d be hard-pushed to find someone here who doesn’t have an opinion on both.\u003c/p>\n\u003cp>What most people don’t know is that a scrappy 1980s guerrilla music event called \u003ca href=\"https://www.desolationcenter.com/\" target=\"_blank\" rel=\"noopener\">Desolation Center \u003c/a>paved the way for these two behemoths. Prompted by the (now-infamous) overzealous policing of punk rock events in Los Angeles, bands simply trekked out to the desert and played there to avoid unwanted scrutiny. Faithful fans and scene kids followed.\u003c/p>\n\u003cp>Now Stuart Swezey, the man principally responsible for creating and organizing those underground, anarchic events, has directed, produced and written a documentary about them, featuring musicians from bands like Sonic Youth, Minutemen, Meat Puppets, Redd Kross and more.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=C1N_3THskMM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Desolation Center\u003c/em> will open at San Francisco’s \u003ca href=\"https://www.roxie.com/ai1ec_event/desolation-center/?instance_id=36303\" target=\"_blank\" rel=\"noopener\">Roxie Theater\u003c/a> and Berkeley’s \u003ca href=\"https://www.rialtocinemas.com/index.php?location=elmwood&film=2019_desolation\" target=\"_blank\" rel=\"noopener\">Realto Cinemas\u003c/a> on Friday, Sept. 20, playing for seven nights at both. The Sept. 20 screening at the Roxie will also include an after-show discussion moderated by LA journalist \u003ca href=\"https://twitter.com/jbienkahn?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener\">Joseph Bien-Kahn\u003c/a>, featuring Swezy, Burning Man co-founder \u003ca href=\"https://en.wikipedia.org/wiki/John_Law_(artist)\" target=\"_blank\" rel=\"noopener\">John Law\u003c/a>, Bay Area poet \u003ca href=\"https://www.nomadicpress.org/mawsheinwin\" target=\"_blank\" rel=\"noopener\">Maw Shein Win\u003c/a> and performance artist \u003ca href=\"https://en.wikipedia.org/wiki/Mark_Pauline\" target=\"_blank\" rel=\"noopener\">Mark Pauline\u003c/a>. V. Vale, of\u003ca href=\"https://en.wikipedia.org/wiki/V._Vale\" target=\"_blank\" rel=\"noopener\"> RE/Search Publications\u003c/a> will also appear after the screening on Thursday, Sept. 26.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Rae Alexandra\u003c/strong>\u003c/p>\n\u003cp>These days, as far as American music festivals go, you won’t find two more divisive than Coachella and Burning Man. These annual, much-anticipated events are, depending on your perspective, either essential and transformative or insufferably pretentious. Either way, they’ve both seeped into California culture so much that at this point, you’d be hard-pushed to find someone here who doesn’t have an opinion on both.\u003c/p>\n\u003cp>What most people don’t know is that a scrappy 1980s guerrilla music event called \u003ca href=\"https://www.desolationcenter.com/\" target=\"_blank\" rel=\"noopener\">Desolation Center \u003c/a>paved the way for these two behemoths. Prompted by the (now-infamous) overzealous policing of punk rock events in Los Angeles, bands simply trekked out to the desert and played there to avoid unwanted scrutiny. Faithful fans and scene kids followed.\u003c/p>\n\u003cp>Now Stuart Swezey, the man principally responsible for creating and organizing those underground, anarchic events, has directed, produced and written a documentary about them, featuring musicians from bands like Sonic Youth, Minutemen, Meat Puppets, Redd Kross and more.\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/C1N_3THskMM'\n title='//www.youtube.com/embed/C1N_3THskMM'\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>\u003c/p>\n\u003cp>\u003cem>Desolation Center\u003c/em> will open at San Francisco’s \u003ca href=\"https://www.roxie.com/ai1ec_event/desolation-center/?instance_id=36303\" target=\"_blank\" rel=\"noopener\">Roxie Theater\u003c/a> and Berkeley’s \u003ca href=\"https://www.rialtocinemas.com/index.php?location=elmwood&film=2019_desolation\" target=\"_blank\" rel=\"noopener\">Realto Cinemas\u003c/a> on Friday, Sept. 20, playing for seven nights at both. The Sept. 20 screening at the Roxie will also include an after-show discussion moderated by LA journalist \u003ca href=\"https://twitter.com/jbienkahn?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener\">Joseph Bien-Kahn\u003c/a>, featuring Swezy, Burning Man co-founder \u003ca href=\"https://en.wikipedia.org/wiki/John_Law_(artist)\" target=\"_blank\" rel=\"noopener\">John Law\u003c/a>, Bay Area poet \u003ca href=\"https://www.nomadicpress.org/mawsheinwin\" target=\"_blank\" rel=\"noopener\">Maw Shein Win\u003c/a> and performance artist \u003ca href=\"https://en.wikipedia.org/wiki/Mark_Pauline\" target=\"_blank\" rel=\"noopener\">Mark Pauline\u003c/a>. V. Vale, of\u003ca href=\"https://en.wikipedia.org/wiki/V._Vale\" target=\"_blank\" rel=\"noopener\"> RE/Search Publications\u003c/a> will also appear after the screening on Thursday, Sept. 26.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>\u003cem>Editor’s note:\u003c/em>\u003c/strong>\u003cem> This is an excerpt of \u003c/em>Planet Money\u003cem>‘s newsletter. You can \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/money\" target=\"_blank\" rel=\"noopener\">sign up here\u003c/a>. \u003c/p>\n\u003cp>The \u003cem>Planet Money \u003c/em>movie reviews desk is normally a pretty sleepy place. There aren’t a lot of blockbusters about economics. But we sure woke up when we recently watched \u003cem>American Factory\u003c/em>, now \u003ca href=\"https://www.netflix.com/title/81090071\" target=\"_blank\" rel=\"noopener\">streaming on Netflix\u003c/a>. It’s directed by Julia Reichert and Steven Bognar. Its backers include Participant Media and the Obamas’ Higher Ground Productions, which is a partner of Netflix.\u003c/p>\n\u003cp>\u003cem>American Factory \u003c/em>doesn’t sound like a barn burner. Disney probably doesn’t have an \u003cem>Avengers: American Factory\u003c/em> in the works. And, yes, \u003cem>American Factory\u003c/em> really is a documentary about a plant in Dayton, Ohio, that makes windshields. \u003c/p>\n\u003cp>But it’s a challenging, strange, eye-opening film. Here at \u003cem>Planet Money\u003c/em>, we’ve all been watching it. As our colleague Alex Goldmark said after he finished it, “My wife and I sat there and looked at each other, and we just didn’t know how to feel.” \u003c/p>\n\u003cp>https://youtu.be/m36QeKOJ2Fc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It would be easy to know how to feel about it if it were just the thing it looks like it set out to be, the usual sympathetic story about the American blue-collar worker, with the expected problems and questions: Factories are shutting down, the unions are in retreat, the bosses stay powerful and rich. These are important stories, but they quickly fall into a kind of pattern of hard work and hopelessness. We mostly know how to feel. \u003c/p>\n\u003cp>It looks like it’s going to be the same at the glass plant in Dayton. But then a Chinese company, Fuyao Glass America, shows up to reopen it. Chinese companies buy American companies all the time. At this point, that shouldn’t be that interesting, either. \u003c/p>\n\u003cp>But Fuyao let the filmmakers film everything. \u003c/p>\n\u003cp>And so \u003cem>American Factory\u003c/em> is only nominally a film about America. The part that is astonishing about \u003cem>American Factory\u003c/em> is seeing everything about the United States through the eyes of Chinese factory workers and managers arriving to reopen and restaff a plant in the rust belt. \u003cem>American Factory\u003c/em> is the view we never get. Americans know how they feel about competing with China. But we don’t know how China feels about working with America. \u003c/p>\n\u003cp>Just minutes in, two workers from China, a couple, stand on a ledge overlooking Dayton. They marvel at the houses, which seem like antique wonders to them. They think it’s beautiful. And on second watching, I took a moment to look at the view, too, and, yeah, Dayton may be an opportunity zone, but it’s underrated. \u003c/p>\n\u003cp>We eavesdrop as a manager tries to explain America to a cafeteria filled with Chinese workers at long white tables, eating food out of foam boxes and wearing neon yellow vests. He wants to help them acclimate. “America is a place to let your personality run free,” he says. “As long as you’re not doing anything illegal, you’re free to follow your heart. You can even joke about the president. Nobody will do anything to you.” He also notes that Americans are “very obvious” and that “everything is practical and realistic.” \u003c/p>\n\u003cp>Any jealousy over freedom of expression quickly gives way to a general disappointment in the Americans as workers. The chairman comes to visit, and a manager explains what the Americans are like as workers. “They’re pretty slow,” he explains. “They have fat fingers. We keep training them over and over.” Americans also like to take off weekends. \u003c/p>\n\u003cp>The chairman, Cho Tak Wong, is a forbidding presence, alternating between lofty language about character and serious complaints about unions. “The motherland is like a mother,” he says in one address to the Chinese staff. “This is eternal.” Noting that they aren’t there for the money but to represent their country, he tells them: “It’s down to every one of you here.” In the next scene, he’s on a plane, trying to figure out how to deal with labor. “I can’t manage them,” he complains. “When we try to manage them, they threaten to get help from the union.” \u003c/p>\n\u003cp>There is so much more to this movie. There’s a visit to headquarters in China, which starts with the executive staff singing the company anthem—”Noble sentiments are transparent / For the sake of transparency”—and it gets more unfamiliar from there. The directors take their loving time with process, too. This is a movie for activists but also for people who think it’s interesting to see how glass goes from hot sand to polished windows, and it spends a few moments on the challenges and pleasures of forklift driving. It’s not exactly an uplifting film, but it’s one of the most interesting ones to come along in a while. \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>\u003cstrong>\u003cem>Editor’s note:\u003c/em>\u003c/strong>\u003cem> This is an excerpt of \u003c/em>Planet Money\u003cem>‘s newsletter. You can \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/money\" target=\"_blank\" rel=\"noopener\">sign up here\u003c/a>. \u003c/p>\n\u003cp>The \u003cem>Planet Money \u003c/em>movie reviews desk is normally a pretty sleepy place. There aren’t a lot of blockbusters about economics. But we sure woke up when we recently watched \u003cem>American Factory\u003c/em>, now \u003ca href=\"https://www.netflix.com/title/81090071\" target=\"_blank\" rel=\"noopener\">streaming on Netflix\u003c/a>. It’s directed by Julia Reichert and Steven Bognar. Its backers include Participant Media and the Obamas’ Higher Ground Productions, which is a partner of Netflix.\u003c/p>\n\u003cp>\u003cem>American Factory \u003c/em>doesn’t sound like a barn burner. Disney probably doesn’t have an \u003cem>Avengers: American Factory\u003c/em> in the works. And, yes, \u003cem>American Factory\u003c/em> really is a documentary about a plant in Dayton, Ohio, that makes windshields. \u003c/p>\n\u003cp>But it’s a challenging, strange, eye-opening film. Here at \u003cem>Planet Money\u003c/em>, we’ve all been watching it. As our colleague Alex Goldmark said after he finished it, “My wife and I sat there and looked at each other, and we just didn’t know how to feel.” \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/m36QeKOJ2Fc'\n title='//www.youtube.com/embed/m36QeKOJ2Fc'\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>It would be easy to know how to feel about it if it were just the thing it looks like it set out to be, the usual sympathetic story about the American blue-collar worker, with the expected problems and questions: Factories are shutting down, the unions are in retreat, the bosses stay powerful and rich. These are important stories, but they quickly fall into a kind of pattern of hard work and hopelessness. We mostly know how to feel. \u003c/p>\n\u003cp>It looks like it’s going to be the same at the glass plant in Dayton. But then a Chinese company, Fuyao Glass America, shows up to reopen it. Chinese companies buy American companies all the time. At this point, that shouldn’t be that interesting, either. \u003c/p>\n\u003cp>But Fuyao let the filmmakers film everything. \u003c/p>\n\u003cp>And so \u003cem>American Factory\u003c/em> is only nominally a film about America. The part that is astonishing about \u003cem>American Factory\u003c/em> is seeing everything about the United States through the eyes of Chinese factory workers and managers arriving to reopen and restaff a plant in the rust belt. \u003cem>American Factory\u003c/em> is the view we never get. Americans know how they feel about competing with China. But we don’t know how China feels about working with America. \u003c/p>\n\u003cp>Just minutes in, two workers from China, a couple, stand on a ledge overlooking Dayton. They marvel at the houses, which seem like antique wonders to them. They think it’s beautiful. And on second watching, I took a moment to look at the view, too, and, yeah, Dayton may be an opportunity zone, but it’s underrated. \u003c/p>\n\u003cp>We eavesdrop as a manager tries to explain America to a cafeteria filled with Chinese workers at long white tables, eating food out of foam boxes and wearing neon yellow vests. He wants to help them acclimate. “America is a place to let your personality run free,” he says. “As long as you’re not doing anything illegal, you’re free to follow your heart. You can even joke about the president. Nobody will do anything to you.” He also notes that Americans are “very obvious” and that “everything is practical and realistic.” \u003c/p>\n\u003cp>Any jealousy over freedom of expression quickly gives way to a general disappointment in the Americans as workers. The chairman comes to visit, and a manager explains what the Americans are like as workers. “They’re pretty slow,” he explains. “They have fat fingers. We keep training them over and over.” Americans also like to take off weekends. \u003c/p>\n\u003cp>The chairman, Cho Tak Wong, is a forbidding presence, alternating between lofty language about character and serious complaints about unions. “The motherland is like a mother,” he says in one address to the Chinese staff. “This is eternal.” Noting that they aren’t there for the money but to represent their country, he tells them: “It’s down to every one of you here.” In the next scene, he’s on a plane, trying to figure out how to deal with labor. “I can’t manage them,” he complains. “When we try to manage them, they threaten to get help from the union.” \u003c/p>\n\u003cp>There is so much more to this movie. There’s a visit to headquarters in China, which starts with the executive staff singing the company anthem—”Noble sentiments are transparent / For the sake of transparency”—and it gets more unfamiliar from there. The directors take their loving time with process, too. This is a movie for activists but also for people who think it’s interesting to see how glass goes from hot sand to polished windows, and it spends a few moments on the challenges and pleasures of forklift driving. It’s not exactly an uplifting film, but it’s one of the most interesting ones to come along in a while. \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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"title": "17th Annual Oakland International Film Fest Offers Rare Screenings",
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"content": "\u003cp>\u003cstrong>By Pendarvis Harshaw\u003c/strong>\u003c/p>\n\u003cp>The 17th annual Oakland International Film Festival is happening Sept. 19–Sept. 29, with 25 rare, independent films screening at various venues around town, including Regal Jack London, the Grand Lake Theater, Holy Names University, the Oakland Asian Cultural Center and an outdoor venue that’s yet to be announced.\u003c/p>\n\u003cp>There’s a wide array of films. I’ve watched a few of them, and from what I’ve seen, let me tell you: bring a tissue.\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/title/tt7075240/\" target=\"_blank\" rel=\"noopener\">\u003cem>Lalo’s House\u003c/em>\u003c/a> by Kelley Kali was one of the festival’s heavier films. Although hard to watch because of the subject matter—people posing as missionaries while sex-trafficking children in Haiti—it was nonetheless a good movie. It was so well shot, and the plot was short but gave enough to the audience to draw them in. That, coupled with engaging acting, provoked my frustration as I wrapped my mind around the injustices playing out on screen. And I finished the film, one that, given the subject matter, I’d usually turn away from.\u003c/p>\n\u003cp>Another heavy topic, the oppression of African Americans, was a central theme in Froi Cuesta’s film \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=G7ayZyGMc8Q\" target=\"_blank\" rel=\"noopener\">Unalienable Rights\u003c/a>, \u003c/em>an animated tale that looks back at the confrontation between the MOVE Organization and the Philadelphia Police Department in 1978. That event served as a precursor to another incident in 1985, in which authorities dropped a bomb on a house where members of MOVE were barricaded.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Leon Lozano’s film, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt10028182/\" target=\"_blank\" rel=\"noopener\">My Father Belize\u003c/a>, \u003c/em>was too much for me. Not because of the heavy subject matter, but because it was a heavy-handed approach to telling a story about ending the cycle of fathers stepping out on their kids. The overall message was cool, but the delivery wasn’t believable. Too many plot twists in too short a time.\u003c/p>\n\u003cfigure id=\"attachment_13865970\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13865970 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/0-2-800x509.jpg\" alt=\"\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/0-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/0-2-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/0-2-768x489.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from the film ‘Decade of Fire’ (directed by Gretchen Hildebran and Vivian Vazquez), which screens at the Oakland International Film Festival\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan class=\"css-901oao css-16my406 css-bfa6kz r-jwli3a r-1qd0xha r-1vr29t4 r-ad9z0x r-bcqeeo r-3s2u2q r-qvutc0\">\u003cspan class=\"css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0\">Lucas Guilkey’s\u003c/span>\u003c/span> documentary \u003ca href=\"https://www.facebook.com/watch/?v=467879927385650\" target=\"_blank\" rel=\"noopener\">\u003cem>What\u003c/em>\u003c/a>\u003ci>\u003ca href=\"https://www.facebook.com/watch/?v=467879927385650\" target=\"_blank\" rel=\"noopener\"> Happened to Dujuan Armstrong?\u003c/a> \u003c/i>hit me the hardest. I’ve been following Armstrong’s story for some time: he was a young man from Oakland who was found dead in Santa Rita jail in June of last year. I even did \u003ca href=\"https://www.kqed.org/arts/13860615/rightnowish-urban-peace-movements-effort-to-combat-injustices-in-alameda-county\" target=\"_blank\" rel=\"noopener\">a radio piece\u003c/a> a few months ago focused on a group of young people working to bring attention to his case.\u003c/p>\n\u003cp>I knew a bit about how Armstrong had arrived at Santa Rita: he was looking to serve a weekend and ended up dead before Sunday. I knew the coroner ruled that\u003ca href=\"https://www.eastbayexpress.com/oakland/santa-rita-inmate-suffocated-from-restraints-used-by-deputies/Content?oid=26891586\" target=\"_blank\" rel=\"noopener\"> asphyxiation was the cause of death\u003c/a>.\u003c/p>\n\u003cp>I also knew that Armstrong was just one of the \u003ca href=\"https://www.eastbayexpress.com/oakland/the-most-dangerous-place-in-alameda-county/Content?oid=26245173\" target=\"_blank\" rel=\"noopener\">35-plus inmates\u003c/a> who’ve died in custody at an Alameda County jail in the past five years.\u003c/p>\n\u003cp>But there’s a lot I didn’t know, like the fact \u003ca href=\"https://www.alamedacountysheriff.org/dc_srj.php\" target=\"_blank\" rel=\"noopener\">Santa Rita is the 5th largest jail\u003c/a> in the country. What?\u003c/p>\n\u003cp>And I didn’t know Dujuan Armstrong’s mother, Barbara Doss, is still looking for answers about what transpired on the weekend that her son died.\u003c/p>\n\u003cp>Again, if you’re going to this film festival, be ready to be moved, be ready to learn and be ready to use a tissue or two. It gets heavy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Leon Lozano’s film, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt10028182/\" target=\"_blank\" rel=\"noopener\">My Father Belize\u003c/a>, \u003c/em>was too much for me. Not because of the heavy subject matter, but because it was a heavy-handed approach to telling a story about ending the cycle of fathers stepping out on their kids. The overall message was cool, but the delivery wasn’t believable. Too many plot twists in too short a time.\u003c/p>\n\u003cfigure id=\"attachment_13865970\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13865970 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/0-2-800x509.jpg\" alt=\"\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/0-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/0-2-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/0-2-768x489.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from the film ‘Decade of Fire’ (directed by Gretchen Hildebran and Vivian Vazquez), which screens at the Oakland International Film Festival\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan class=\"css-901oao css-16my406 css-bfa6kz r-jwli3a r-1qd0xha r-1vr29t4 r-ad9z0x r-bcqeeo r-3s2u2q r-qvutc0\">\u003cspan class=\"css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0\">Lucas Guilkey’s\u003c/span>\u003c/span> documentary \u003ca href=\"https://www.facebook.com/watch/?v=467879927385650\" target=\"_blank\" rel=\"noopener\">\u003cem>What\u003c/em>\u003c/a>\u003ci>\u003ca href=\"https://www.facebook.com/watch/?v=467879927385650\" target=\"_blank\" rel=\"noopener\"> Happened to Dujuan Armstrong?\u003c/a> \u003c/i>hit me the hardest. I’ve been following Armstrong’s story for some time: he was a young man from Oakland who was found dead in Santa Rita jail in June of last year. I even did \u003ca href=\"https://www.kqed.org/arts/13860615/rightnowish-urban-peace-movements-effort-to-combat-injustices-in-alameda-county\" target=\"_blank\" rel=\"noopener\">a radio piece\u003c/a> a few months ago focused on a group of young people working to bring attention to his case.\u003c/p>\n\u003cp>I knew a bit about how Armstrong had arrived at Santa Rita: he was looking to serve a weekend and ended up dead before Sunday. I knew the coroner ruled that\u003ca href=\"https://www.eastbayexpress.com/oakland/santa-rita-inmate-suffocated-from-restraints-used-by-deputies/Content?oid=26891586\" target=\"_blank\" rel=\"noopener\"> asphyxiation was the cause of death\u003c/a>.\u003c/p>\n\u003cp>I also knew that Armstrong was just one of the \u003ca href=\"https://www.eastbayexpress.com/oakland/the-most-dangerous-place-in-alameda-county/Content?oid=26245173\" target=\"_blank\" rel=\"noopener\">35-plus inmates\u003c/a> who’ve died in custody at an Alameda County jail in the past five years.\u003c/p>\n\u003cp>But there’s a lot I didn’t know, like the fact \u003ca href=\"https://www.alamedacountysheriff.org/dc_srj.php\" target=\"_blank\" rel=\"noopener\">Santa Rita is the 5th largest jail\u003c/a> in the country. What?\u003c/p>\n\u003cp>And I didn’t know Dujuan Armstrong’s mother, Barbara Doss, is still looking for answers about what transpired on the weekend that her son died.\u003c/p>\n\u003cp>Again, if you’re going to this film festival, be ready to be moved, be ready to learn and be ready to use a tissue or two. It gets heavy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Good, the Bad and the Godawful: Paul Scheer Takes on the Movies (in Podcast Form)",
"headTitle": "The Good, the Bad and the Godawful: Paul Scheer Takes on the Movies (in Podcast Form) | KQED",
"content": "\u003cp>Wherever you get your podcasts, there’s no shortage of movie shows. But\u003ca href=\"http://www.paulscheer.com/\"> Paul Scheer\u003c/a> may be the only man with one podcast dedicated to the very worst movies, and \u003cem>another\u003c/em> exploring the very best.\u003c/p>\n\u003cp>Thanks to a 20-year career in front of the camera in a variety of roles, comic Paul Scheer—who’s also a writer and director—has become a familiar face in film and TV, with roles in \u003cem>The League\u003c/em>,\u003cem> Fresh Off the Boat\u003c/em> and most recently Amazon’s \u003cem>Black Monday\u003c/em>. In the podcast world however, he’s best known not just as the host of the cult comedy show \u003ca href=\"https://www.earwolf.com/show/how-did-this-get-made/\">\u003cem>How Did This Get Made?\u003c/em>\u003c/a>—now in its ninth year, and \u003ca href=\"https://www.hdtgminfo.com/index/#tour\">bringing its live tour to Berkeley\u003c/a> this week—but also for \u003ca href=\"https://www.earwolf.com/show/unspooled/\">\u003cem>Unspooled\u003c/em>\u003c/a>, his podcast examining whether the classics still deserve their acclaim in 2019.\u003c/p>\n\u003cp>A show which Scheer says is “based on an energy of \u003cem>loving\u003c/em> movies” despite their dubious quality, \u003cem>How Did This Get Made\u003c/em> (\u003cem>HDTGM\u003c/em>) has dissected the very worst of Hollywood’s output for comic effect since 2011. Hosted by Scheer, June Diane Raphael and Jason Mantzoukas, what started as an exploration of how movies as dreadful as \u003cem>Battlefield Earth\u003c/em> or\u003cem> Speed 2: Cruise Control\u003c/em> actually get produced evolved into a hybrid of comedic conversation and affectionate criticism of the enjoyably ludicrous, with special guests like Charlize Theron and raucous sold-out live shows. \u003c/p>\n\u003cp>(Since the show’s early days, for example, \u003cem>Parks and Recreation\u003c/em> actor Adam Scott has returned for every single \u003cem>Fast and the Furious\u003c/em> live taping, a recurring role that increasingly styles him as a kind of sincere Professor Emeritus of Vin Diesel movies.)\u003c/p>\n\u003cfigure id=\"attachment_13866316\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866316\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/HDTGM_1200.jpg\" alt=\"Jason Mantzoukas, June Diane Raphael and Paul Scheer host the podcast 'How Did This Get Made.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jason Mantzoukas, June Diane Raphael and Paul Scheer host the podcast ‘How Did This Get Made.’ \u003ccite>(Courtesy of Earwolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Laughing that it’s “a very lofty answer,” Scheer attributes part of the popularity of the \u003cem>HDGTM\u003c/em> live shows to how they physically connect thousands of fans around one (terrible) movie. “We’re in a world where everything kind of goes so quickly, and you’re so isolated by your own opinions,” says Scheer. “It feels like this kind of electric moment.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And it’s true: In a landscape where fans are more likely to congregate over something good, an \u003cem>HDTGM\u003c/em> live show will be the first and only time thousands of people have gathered to marvel at how a movie like \u003cem>Drop Dead Fred\u003c/em> ever got made. (The chosen movie for the \u003ca href=\"https://www1.ticketmaster.com/event/1C0056BDF09E915E\">sold-out Berkeley show\u003c/a>, by the way: 1986’s \u003cem>Friday the 13th Part VI\u003c/em>. “My dream,” Scheer says, “would be to come out to that audience that night and see everybody in hockey masks.”)\u003c/p>\n\u003cp>\u003cem>HDTGM\u003c/em> began by warmly skewering legitimately atrocious movies (Jennifer Lopez’s \u003cem>Gigli\u003c/em>, Nic Cage’s \u003cem>Wicker Man\u003c/em> remake), but soon transitioned to encompass enjoyably overblown blockbusters like \u003cem>The Meg\u003c/em>. Scheer’s reasoning for this is that genuinely bad movies are often no actual fun to watch. As franchises like the \u003cem>Fast and the Furious\u003c/em> strain for increasingly crazy heights in an effort to outdo themselves with each passing year, ridiculously enjoyable blockbusters can start to feel like ridiculously bad movies in how they elicit the same kind of giddy “confusion and confoundment.”\u003c/p>\n\u003cp>In the soup of an internet culture where lowbrow rubs along with highbrow, and semi-ironic veneration of a bad movie is just as likely to hit your feed as praise for something genuinely acclaimed, no wonder the lines get blurred!\u003c/p>\n\u003cp>One of the central jokes of \u003cem>HDGTM\u003c/em> is how the show lavishes the same attention to detail on gloriously bad movies that you’d normally reserve for the very best ones. This, of course, is where Scheer’s other movie podcast \u003cem>Unspooled\u003c/em> comes in, birthed in 2018 out of another impulse that unites many film fans: The Canon.\u003c/p>\n\u003cfigure id=\"attachment_13866319\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866319\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Unspooled_1200.jpg\" alt=\"Paul Scheer and film critic Amy Nicholson take on the AFI's Top 100 list on the podcast 'Unspooled.'\" width=\"1200\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200-1020x1020.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Paul Scheer and film critic Amy Nicholson take on the AFI’s Top 100 list on the podcast ‘Unspooled.’ \u003ccite>(Courtesy of Earwolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Movie fans are notorious list-makers, especially when it comes to the idea of The Canon, and it was Scheer’s own realization that he’d never seen many of the films on \u003ca href=\"https://www.afi.com/afis-100-years-100-movies-10th-anniversary-edition/\">the American Film Institute (AFI)’s Top 100 Movies list\u003c/a> that spurred him to invite film critic \u003ca href=\"https://twitter.com/TheAmyNicholson\">Amy Nicholson\u003c/a> to get together and take them on in podcast form.\u003c/p>\n\u003cp>As Scheer sees it, “I’m basically hosting this book club where we’re watching movies once a week.” He casts himself as the audience representative—even film fans feel like they haven’t seen enough of the so-called classics.\u003c/p>\n\u003cp>Coupled with Nicholson’s unpretentious critical style, the fact that \u003cem>Unspooled\u003c/em> stemmed from Scheer’s own desire to address the gaps in his knowledge lends the show its tone of warm, enthusiastic inclusiveness. He says he wants \u003cem>Unspooled\u003c/em> to feel like “fun film school”—and in contrast to his other podcast’s veneration of the so-bad-it’s-good guilty pleasure popcorn experience, \u003cem>Unspooled\u003c/em>’s clear-eyed take on the classics can act as a balm for those who might feel like ‘bad’ film fans for sometimes preferring to watch \u003cem>Commando\u003c/em> on a Saturday night over \u003cem>Citizen Kane\u003c/em>.\u003c/p>\n\u003cp>If \u003cem>HDTGM\u003c/em> is where bad movies go to get the affectionate ribbing they deserve, \u003cem>Unspooled\u003c/em> is where film’s sacred cows receive the critical re-appraisal they may well need. Elements in these movies that are difficult, troubling or problematic by today’s standards—\u003cem>The Deer Hunter\u003c/em>’s racial politics, transphobia in \u003cem>The Silence of the Lambs\u003c/em>—aren’t glossed over, but instead unraveled thoughtfully and expertly, thanks in large part of Nicholson’s deep knowledge of her field. (“I just love the way her mind thinks,” says Scheer of his cohost.)\u003c/p>\n\u003cp>Whether knowingly or not, film fans can often strain for ‘insider status’ when discussing the movie business, in the industry jargon we adopt or that illusory accessibility we feel toward our favorite filmmakers makers and stars. Yet Scheer occupies the rare position of being a movie commentator who actually is an industry insider himself.\u003c/p>\n\u003cp>As an actor, writer and director, he’s frequently bracingly honest about the rigors of the business on both his podcasts—not least when mentioning in asides the movies he unsuccessfully auditioned for. And in a head-spinningly meta piece of casting, Scheer and \u003cem>HDGTM\u003c/em> co-hosts Jason Mantzoukas and June Diane Raphael all appeared in \u003cem>The Disaster Artist\u003c/em>, James Franco’s 2018 movie about the making of Tommy Wiseau’s cult film \u003cem>The Room\u003c/em>—frequently “hailed” as one of the worst movies ever made.\u003c/p>\n\u003cp>For a guy who now hosts two movie podcasts, Scheer says he never saw himself becoming a de facto film critic. He started his comedy career in the world of improvisation—inspired in part, he says, by a childhood love of talk radio. In contrast to the acting, writing and editing he does elsewhere, Scheer says he’s parlaying some of improv’s freeing ephemerality into his podcasting. Taping conversational podcasts like \u003cem>HDTGM\u003c/em> and \u003cem>Unspooled\u003c/em>, he says, is “the closest I can get to doing improv—without doing improv.”\u003c/p>\n\u003cp>Fittingly for the host of one hit show about badly-received movies, and another based on re-evaluating a critical canon, Scheer’s a believer in the value of not pleasing everyone, especially in a podcast industry where “there’s always going to be someone out there doing what you’re doing.” He paraphrases a recent conversation he had with filmmaker Nicholas Winding Refn: “If everyone likes it, there’s a problem with it.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Ultimately, the only thing a creator really has control over, Scheer says, “is your own voice… and not everyone’s going to like it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wherever you get your podcasts, there’s no shortage of movie shows. But\u003ca href=\"http://www.paulscheer.com/\"> Paul Scheer\u003c/a> may be the only man with one podcast dedicated to the very worst movies, and \u003cem>another\u003c/em> exploring the very best.\u003c/p>\n\u003cp>Thanks to a 20-year career in front of the camera in a variety of roles, comic Paul Scheer—who’s also a writer and director—has become a familiar face in film and TV, with roles in \u003cem>The League\u003c/em>,\u003cem> Fresh Off the Boat\u003c/em> and most recently Amazon’s \u003cem>Black Monday\u003c/em>. In the podcast world however, he’s best known not just as the host of the cult comedy show \u003ca href=\"https://www.earwolf.com/show/how-did-this-get-made/\">\u003cem>How Did This Get Made?\u003c/em>\u003c/a>—now in its ninth year, and \u003ca href=\"https://www.hdtgminfo.com/index/#tour\">bringing its live tour to Berkeley\u003c/a> this week—but also for \u003ca href=\"https://www.earwolf.com/show/unspooled/\">\u003cem>Unspooled\u003c/em>\u003c/a>, his podcast examining whether the classics still deserve their acclaim in 2019.\u003c/p>\n\u003cp>A show which Scheer says is “based on an energy of \u003cem>loving\u003c/em> movies” despite their dubious quality, \u003cem>How Did This Get Made\u003c/em> (\u003cem>HDTGM\u003c/em>) has dissected the very worst of Hollywood’s output for comic effect since 2011. Hosted by Scheer, June Diane Raphael and Jason Mantzoukas, what started as an exploration of how movies as dreadful as \u003cem>Battlefield Earth\u003c/em> or\u003cem> Speed 2: Cruise Control\u003c/em> actually get produced evolved into a hybrid of comedic conversation and affectionate criticism of the enjoyably ludicrous, with special guests like Charlize Theron and raucous sold-out live shows. \u003c/p>\n\u003cp>(Since the show’s early days, for example, \u003cem>Parks and Recreation\u003c/em> actor Adam Scott has returned for every single \u003cem>Fast and the Furious\u003c/em> live taping, a recurring role that increasingly styles him as a kind of sincere Professor Emeritus of Vin Diesel movies.)\u003c/p>\n\u003cfigure id=\"attachment_13866316\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866316\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/HDTGM_1200.jpg\" alt=\"Jason Mantzoukas, June Diane Raphael and Paul Scheer host the podcast 'How Did This Get Made.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jason Mantzoukas, June Diane Raphael and Paul Scheer host the podcast ‘How Did This Get Made.’ \u003ccite>(Courtesy of Earwolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Laughing that it’s “a very lofty answer,” Scheer attributes part of the popularity of the \u003cem>HDGTM\u003c/em> live shows to how they physically connect thousands of fans around one (terrible) movie. “We’re in a world where everything kind of goes so quickly, and you’re so isolated by your own opinions,” says Scheer. “It feels like this kind of electric moment.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And it’s true: In a landscape where fans are more likely to congregate over something good, an \u003cem>HDTGM\u003c/em> live show will be the first and only time thousands of people have gathered to marvel at how a movie like \u003cem>Drop Dead Fred\u003c/em> ever got made. (The chosen movie for the \u003ca href=\"https://www1.ticketmaster.com/event/1C0056BDF09E915E\">sold-out Berkeley show\u003c/a>, by the way: 1986’s \u003cem>Friday the 13th Part VI\u003c/em>. “My dream,” Scheer says, “would be to come out to that audience that night and see everybody in hockey masks.”)\u003c/p>\n\u003cp>\u003cem>HDTGM\u003c/em> began by warmly skewering legitimately atrocious movies (Jennifer Lopez’s \u003cem>Gigli\u003c/em>, Nic Cage’s \u003cem>Wicker Man\u003c/em> remake), but soon transitioned to encompass enjoyably overblown blockbusters like \u003cem>The Meg\u003c/em>. Scheer’s reasoning for this is that genuinely bad movies are often no actual fun to watch. As franchises like the \u003cem>Fast and the Furious\u003c/em> strain for increasingly crazy heights in an effort to outdo themselves with each passing year, ridiculously enjoyable blockbusters can start to feel like ridiculously bad movies in how they elicit the same kind of giddy “confusion and confoundment.”\u003c/p>\n\u003cp>In the soup of an internet culture where lowbrow rubs along with highbrow, and semi-ironic veneration of a bad movie is just as likely to hit your feed as praise for something genuinely acclaimed, no wonder the lines get blurred!\u003c/p>\n\u003cp>One of the central jokes of \u003cem>HDGTM\u003c/em> is how the show lavishes the same attention to detail on gloriously bad movies that you’d normally reserve for the very best ones. This, of course, is where Scheer’s other movie podcast \u003cem>Unspooled\u003c/em> comes in, birthed in 2018 out of another impulse that unites many film fans: The Canon.\u003c/p>\n\u003cfigure id=\"attachment_13866319\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866319\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Unspooled_1200.jpg\" alt=\"Paul Scheer and film critic Amy Nicholson take on the AFI's Top 100 list on the podcast 'Unspooled.'\" width=\"1200\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200-1020x1020.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Paul Scheer and film critic Amy Nicholson take on the AFI’s Top 100 list on the podcast ‘Unspooled.’ \u003ccite>(Courtesy of Earwolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Movie fans are notorious list-makers, especially when it comes to the idea of The Canon, and it was Scheer’s own realization that he’d never seen many of the films on \u003ca href=\"https://www.afi.com/afis-100-years-100-movies-10th-anniversary-edition/\">the American Film Institute (AFI)’s Top 100 Movies list\u003c/a> that spurred him to invite film critic \u003ca href=\"https://twitter.com/TheAmyNicholson\">Amy Nicholson\u003c/a> to get together and take them on in podcast form.\u003c/p>\n\u003cp>As Scheer sees it, “I’m basically hosting this book club where we’re watching movies once a week.” He casts himself as the audience representative—even film fans feel like they haven’t seen enough of the so-called classics.\u003c/p>\n\u003cp>Coupled with Nicholson’s unpretentious critical style, the fact that \u003cem>Unspooled\u003c/em> stemmed from Scheer’s own desire to address the gaps in his knowledge lends the show its tone of warm, enthusiastic inclusiveness. He says he wants \u003cem>Unspooled\u003c/em> to feel like “fun film school”—and in contrast to his other podcast’s veneration of the so-bad-it’s-good guilty pleasure popcorn experience, \u003cem>Unspooled\u003c/em>’s clear-eyed take on the classics can act as a balm for those who might feel like ‘bad’ film fans for sometimes preferring to watch \u003cem>Commando\u003c/em> on a Saturday night over \u003cem>Citizen Kane\u003c/em>.\u003c/p>\n\u003cp>If \u003cem>HDTGM\u003c/em> is where bad movies go to get the affectionate ribbing they deserve, \u003cem>Unspooled\u003c/em> is where film’s sacred cows receive the critical re-appraisal they may well need. Elements in these movies that are difficult, troubling or problematic by today’s standards—\u003cem>The Deer Hunter\u003c/em>’s racial politics, transphobia in \u003cem>The Silence of the Lambs\u003c/em>—aren’t glossed over, but instead unraveled thoughtfully and expertly, thanks in large part of Nicholson’s deep knowledge of her field. (“I just love the way her mind thinks,” says Scheer of his cohost.)\u003c/p>\n\u003cp>Whether knowingly or not, film fans can often strain for ‘insider status’ when discussing the movie business, in the industry jargon we adopt or that illusory accessibility we feel toward our favorite filmmakers makers and stars. Yet Scheer occupies the rare position of being a movie commentator who actually is an industry insider himself.\u003c/p>\n\u003cp>As an actor, writer and director, he’s frequently bracingly honest about the rigors of the business on both his podcasts—not least when mentioning in asides the movies he unsuccessfully auditioned for. And in a head-spinningly meta piece of casting, Scheer and \u003cem>HDGTM\u003c/em> co-hosts Jason Mantzoukas and June Diane Raphael all appeared in \u003cem>The Disaster Artist\u003c/em>, James Franco’s 2018 movie about the making of Tommy Wiseau’s cult film \u003cem>The Room\u003c/em>—frequently “hailed” as one of the worst movies ever made.\u003c/p>\n\u003cp>For a guy who now hosts two movie podcasts, Scheer says he never saw himself becoming a de facto film critic. He started his comedy career in the world of improvisation—inspired in part, he says, by a childhood love of talk radio. In contrast to the acting, writing and editing he does elsewhere, Scheer says he’s parlaying some of improv’s freeing ephemerality into his podcasting. Taping conversational podcasts like \u003cem>HDTGM\u003c/em> and \u003cem>Unspooled\u003c/em>, he says, is “the closest I can get to doing improv—without doing improv.”\u003c/p>\n\u003cp>Fittingly for the host of one hit show about badly-received movies, and another based on re-evaluating a critical canon, Scheer’s a believer in the value of not pleasing everyone, especially in a podcast industry where “there’s always going to be someone out there doing what you’re doing.” He paraphrases a recent conversation he had with filmmaker Nicholas Winding Refn: “If everyone likes it, there’s a problem with it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ultimately, the only thing a creator really has control over, Scheer says, “is your own voice… and not everyone’s going to like it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Nicole Miller’s ‘To the Stars’ Lights the Path to Greatness (With Lasers!)",
"headTitle": "Nicole Miller’s ‘To the Stars’ Lights the Path to Greatness (With Lasers!) | KQED",
"content": "\u003cp>On the ground floor of the San Francisco Museum of Modern Art, tucked away in the Phyllis Wattis Theater, middle and high school groups are watching laser light shows. No, the museum is not hosting raves, nor are they playing Pink Floyd’s \u003ci>The Wall\u003c/i>.\u003c/p>\n\u003cp>Those lasers are part of Southern California artist \u003ca href=\"http://koenigandclinton.com/artists/nicole-miller/\" target=\"_blank\" rel=\"noopener\">Nicole Miller\u003c/a>’s \u003ci>\u003ca href=\"https://www.sfmoma.org/event/series/nicole-miller-commission/\" target=\"_blank\" rel=\"noopener\">To the Stars\u003c/a>\u003c/i>, an hour-long piece commissioned by SFMOMA with their junior-high audiences in mind. Her non-narrative video combines clips of exceptionally talented people of color (mezzo-soprano \u003ca href=\"https://jnaibridgesmezzo.com/\" target=\"_blank\" rel=\"noopener\">J’Nai Bridges\u003c/a>, NASA astronaut \u003ca href=\"https://en.wikipedia.org/wiki/Yvonne_Cagle\" target=\"_blank\" rel=\"noopener\">Dr. Yvonne Cagle\u003c/a>, violinist \u003ca href=\"https://www.jessicamcjunkins.com/\" target=\"_blank\" rel=\"noopener\">Jessica McJunkins\u003c/a>, \u003ca href=\"https://linesballet.org/\" target=\"_blank\" rel=\"noopener\">Alonzo King\u003c/a> and his dancers) alongside interviews with San Francisco middle school students. Intermittent sequences of laser animations and synth-heavy sound create breaks between the often gut-wrenching stories told by the participating kids.\u003c/p>\n\u003cp>For Miller, this piece is all about potential.\u003c/p>\n\u003cp>The distance between the students and these accomplished adults is years of support, opportunity and practice. Seeing how much is possible, Miller’s piece argues, why shouldn’t those children achieve such heights? Why do we have such a hard time seeing young people—specifically young people of color—as full of potential?\u003c/p>\n\u003cp>Fittingly, much of \u003ci>To the Stars\u003c/i>’ hour is given over to mesmerizing shots of Alonzo King LINES Ballet members working on \u003ci>SUTRA\u003c/i>, a spring 2018 performance set to the music of composer Zakir Hussain. Their bodies move in ways most of us only wish we could; they bend the laws of gravity. In the studio, King provides advice and commentary to his dancers (less rigid, more fluid), translating ideas about birth, connection and movement into words and gestures.\u003c/p>\n\u003cfigure id=\"attachment_13866238\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866238\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Bridges_1200.jpg\" alt=\"Nicole Miller, 'To the Stars' (still of opera singer J’Nai Bridges), 2019.\" width=\"1200\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Bridges_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Bridges_1200-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Bridges_1200-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Bridges_1200-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Bridges_1200-1020x510.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nicole Miller, ‘To the Stars’ (still of opera singer J’Nai Bridges), 2019. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Showing people in rehearsals, discussing creative problems and hashing out artistic impulses, Miller says, makes such levels of performance seem more attainable. Bridges sings three pieces in \u003ci>To the Stars\u003c/i>: a cradle song to a black child, \u003ca href=\"https://www.kqed.org/arts/13860265/jnai-bridges-shines-as-carmen-at-san-francisco-opera\" target=\"_blank\" rel=\"noopener\">the “Habanera” aria\u003c/a> from \u003ci>Carmen\u003c/i> and the black spiritual “He’s Got the Whole World in His Hands.” But before and after those beautiful renditions, she jokes with her piano accompanist and cops to making mistakes. Beneath the polished virtuoso we see on the stage, she’s human, relatable—and it looks like she’s having a great time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Similarly, Cagle’s eloquent monologues about space travel, the human body and her dreams for the future show her standing before historical displays of space travel and defunct machinery. Technology hasn’t always matched our aspirations, but visionaries like Cagle push us towards further advancements and discoveries.\u003c/p>\n\u003cp>In contrast to the adults’ smooth, assured delivery, the middle school students in \u003ci>To the Stars\u003c/i> are learning how to communicate in fits and starts. “They just told me what they wanted to tell me,” Miller explains. The participating students watched her 2016 piece \u003ci>\u003ca href=\"https://caamuseum.org/exhibitions/2018/nicole-miller-athens-california\" target=\"_blank\" rel=\"noopener\">Athens, California\u003c/a>\u003c/i>, which captures the lives of high school students from Athens, an unincorporated community in southern Los Angeles County. They’re all students at Washington Prep High School—teenagers deeply affected by racial segregation and gang violence. After the screening, Miller talked with the San Francisco students about what it means to tell others stories from your own life.\u003c/p>\n\u003cp>As the \u003ci>To the Stars\u003c/i> progresses, the camera stays with the students and their stories for longer and longer stretches of time. In one clip, a girl breaks down talking about the discrimination she’s faced for being mixed race and how hard it is to see her older brother’s struggles with depression. Another girl talks about caring for her baby brother when her father went to jail, her mother couldn’t be counted on and her grandmother was working long hours to support the family. She was only 10 at the time.\u003c/p>\n\u003cfigure id=\"attachment_13866240\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866240\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Dance_1200.jpg\" alt=\"Nicole Miller, 'To the Stars' (still of Alonzo King LINES ballet dancers), 2019. \" width=\"1200\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dance_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dance_1200-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dance_1200-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dance_1200-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dance_1200-1020x510.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nicole Miller, ‘To the Stars’ (still of Alonzo King LINES ballet dancers), 2019. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, Miller strings together clips of the students simply announcing their ages. One girl is a head taller than her companion—both are 12. One girl, nervous, says she’s “11, no 12, no 13!” and bursts into giggles. These are very young people, many of them the same age as the school groups who will view \u003ci>To the Stars\u003c/i>, and they’re just starting to figure out how to arrange their faces, process their emotions and tell their stories.\u003c/p>\n\u003cp>Periodically throughout the piece, a dappling of rainbow hues resembling an aurora waves across the screen, giving everything a magical tinge. The lasers pulse in spirographic undulations and spell out, in various fonts and colors, “ad astra” (Latin for “to the stars”), “prelude” and ultimately, “the end.” There’s a fairly simple technology behind these dazzling effects: an analog synthesizer, mirrors and five-watt lasers. But Miller points out it’s the closest we can get to a synesthetic experience. They’re light shaped by sound.\u003c/p>\n\u003cp>The lasers, too, are full of potential: to transport audiences beyond the theater setting and the expectation of a “straight” documentary experience; to morph into whatever shape sound waves will allow; to wow. It’s hard to know how \u003ci>To the Stars\u003c/i>’ target audience will appreciate or react to the piece. I caught myself thinking about preteen attention spans during some of the extended dance sequences. But in that reaction, too, is potential: to challenge and eclipse adult assumptions.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘To the Stars’ is on view for school groups visiting SFMOMA through the 2019–2020 school year. Public screenings are currently scheduled for Sept. 22 and 24, 11am and 2pm. \u003ca href=\"https://www.sfmoma.org/event/series/nicole-miller-commission/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the ground floor of the San Francisco Museum of Modern Art, tucked away in the Phyllis Wattis Theater, middle and high school groups are watching laser light shows. No, the museum is not hosting raves, nor are they playing Pink Floyd’s \u003ci>The Wall\u003c/i>.\u003c/p>\n\u003cp>Those lasers are part of Southern California artist \u003ca href=\"http://koenigandclinton.com/artists/nicole-miller/\" target=\"_blank\" rel=\"noopener\">Nicole Miller\u003c/a>’s \u003ci>\u003ca href=\"https://www.sfmoma.org/event/series/nicole-miller-commission/\" target=\"_blank\" rel=\"noopener\">To the Stars\u003c/a>\u003c/i>, an hour-long piece commissioned by SFMOMA with their junior-high audiences in mind. Her non-narrative video combines clips of exceptionally talented people of color (mezzo-soprano \u003ca href=\"https://jnaibridgesmezzo.com/\" target=\"_blank\" rel=\"noopener\">J’Nai Bridges\u003c/a>, NASA astronaut \u003ca href=\"https://en.wikipedia.org/wiki/Yvonne_Cagle\" target=\"_blank\" rel=\"noopener\">Dr. Yvonne Cagle\u003c/a>, violinist \u003ca href=\"https://www.jessicamcjunkins.com/\" target=\"_blank\" rel=\"noopener\">Jessica McJunkins\u003c/a>, \u003ca href=\"https://linesballet.org/\" target=\"_blank\" rel=\"noopener\">Alonzo King\u003c/a> and his dancers) alongside interviews with San Francisco middle school students. Intermittent sequences of laser animations and synth-heavy sound create breaks between the often gut-wrenching stories told by the participating kids.\u003c/p>\n\u003cp>For Miller, this piece is all about potential.\u003c/p>\n\u003cp>The distance between the students and these accomplished adults is years of support, opportunity and practice. Seeing how much is possible, Miller’s piece argues, why shouldn’t those children achieve such heights? Why do we have such a hard time seeing young people—specifically young people of color—as full of potential?\u003c/p>\n\u003cp>Fittingly, much of \u003ci>To the Stars\u003c/i>’ hour is given over to mesmerizing shots of Alonzo King LINES Ballet members working on \u003ci>SUTRA\u003c/i>, a spring 2018 performance set to the music of composer Zakir Hussain. Their bodies move in ways most of us only wish we could; they bend the laws of gravity. In the studio, King provides advice and commentary to his dancers (less rigid, more fluid), translating ideas about birth, connection and movement into words and gestures.\u003c/p>\n\u003cfigure id=\"attachment_13866238\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866238\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Bridges_1200.jpg\" alt=\"Nicole Miller, 'To the Stars' (still of opera singer J’Nai Bridges), 2019.\" width=\"1200\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Bridges_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Bridges_1200-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Bridges_1200-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Bridges_1200-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Bridges_1200-1020x510.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nicole Miller, ‘To the Stars’ (still of opera singer J’Nai Bridges), 2019. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Showing people in rehearsals, discussing creative problems and hashing out artistic impulses, Miller says, makes such levels of performance seem more attainable. Bridges sings three pieces in \u003ci>To the Stars\u003c/i>: a cradle song to a black child, \u003ca href=\"https://www.kqed.org/arts/13860265/jnai-bridges-shines-as-carmen-at-san-francisco-opera\" target=\"_blank\" rel=\"noopener\">the “Habanera” aria\u003c/a> from \u003ci>Carmen\u003c/i> and the black spiritual “He’s Got the Whole World in His Hands.” But before and after those beautiful renditions, she jokes with her piano accompanist and cops to making mistakes. Beneath the polished virtuoso we see on the stage, she’s human, relatable—and it looks like she’s having a great time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Similarly, Cagle’s eloquent monologues about space travel, the human body and her dreams for the future show her standing before historical displays of space travel and defunct machinery. Technology hasn’t always matched our aspirations, but visionaries like Cagle push us towards further advancements and discoveries.\u003c/p>\n\u003cp>In contrast to the adults’ smooth, assured delivery, the middle school students in \u003ci>To the Stars\u003c/i> are learning how to communicate in fits and starts. “They just told me what they wanted to tell me,” Miller explains. The participating students watched her 2016 piece \u003ci>\u003ca href=\"https://caamuseum.org/exhibitions/2018/nicole-miller-athens-california\" target=\"_blank\" rel=\"noopener\">Athens, California\u003c/a>\u003c/i>, which captures the lives of high school students from Athens, an unincorporated community in southern Los Angeles County. They’re all students at Washington Prep High School—teenagers deeply affected by racial segregation and gang violence. After the screening, Miller talked with the San Francisco students about what it means to tell others stories from your own life.\u003c/p>\n\u003cp>As the \u003ci>To the Stars\u003c/i> progresses, the camera stays with the students and their stories for longer and longer stretches of time. In one clip, a girl breaks down talking about the discrimination she’s faced for being mixed race and how hard it is to see her older brother’s struggles with depression. Another girl talks about caring for her baby brother when her father went to jail, her mother couldn’t be counted on and her grandmother was working long hours to support the family. She was only 10 at the time.\u003c/p>\n\u003cfigure id=\"attachment_13866240\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866240\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Dance_1200.jpg\" alt=\"Nicole Miller, 'To the Stars' (still of Alonzo King LINES ballet dancers), 2019. \" width=\"1200\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dance_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dance_1200-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dance_1200-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dance_1200-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dance_1200-1020x510.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nicole Miller, ‘To the Stars’ (still of Alonzo King LINES ballet dancers), 2019. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, Miller strings together clips of the students simply announcing their ages. One girl is a head taller than her companion—both are 12. One girl, nervous, says she’s “11, no 12, no 13!” and bursts into giggles. These are very young people, many of them the same age as the school groups who will view \u003ci>To the Stars\u003c/i>, and they’re just starting to figure out how to arrange their faces, process their emotions and tell their stories.\u003c/p>\n\u003cp>Periodically throughout the piece, a dappling of rainbow hues resembling an aurora waves across the screen, giving everything a magical tinge. The lasers pulse in spirographic undulations and spell out, in various fonts and colors, “ad astra” (Latin for “to the stars”), “prelude” and ultimately, “the end.” There’s a fairly simple technology behind these dazzling effects: an analog synthesizer, mirrors and five-watt lasers. But Miller points out it’s the closest we can get to a synesthetic experience. They’re light shaped by sound.\u003c/p>\n\u003cp>The lasers, too, are full of potential: to transport audiences beyond the theater setting and the expectation of a “straight” documentary experience; to morph into whatever shape sound waves will allow; to wow. It’s hard to know how \u003ci>To the Stars\u003c/i>’ target audience will appreciate or react to the piece. I caught myself thinking about preteen attention spans during some of the extended dance sequences. But in that reaction, too, is potential: to challenge and eclipse adult assumptions.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘To the Stars’ is on view for school groups visiting SFMOMA through the 2019–2020 school year. Public screenings are currently scheduled for Sept. 22 and 24, 11am and 2pm. \u003ca href=\"https://www.sfmoma.org/event/series/nicole-miller-commission/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Alliance Metals, a recycling center in the Dogtown neighborhood of West Oakland, collected bottles and cans from hundreds of walk-up clients daily, providing meager but steady sums to the homeless and poor, until the City of Oakland strongarmed the business to close in 2016. \u003c/p>\n\u003cp>Amir Soltani’s 2015 documentary \u003cem>Dogtown Redemption\u003c/em> offered a sympathetic portrait of recyclers orbiting Alliance including the methodical Jason Witt, former minister Landon Goodwin and former underground musician Hayok Kay (who suffered a fatal assault after production). It also covered tension between recyclers and other West Oakland residents whose complaints of Alliance encouraging blight and petty crime led to its closure soon after the feature’s release. \u003c/p>\n\u003cp>The documentary—screening Sunday, Sept. 22 at the Berkeley Art Museum and Pacific Film Archive as a part of a \u003ca href=\"https://bampfa.org/program/berkeley-film-foundation-celebrating-ten-years-local-filmmaking\">fall program\u003c/a> spotlighting the Berkeley Film Foundation—remains a stirring, emotionally textured picture of poverty amid gentrification. After five years, it’s also a reminder of how little punitive measures pursued against recyclers did to alleviate homelessness and its symptoms in West Oakland, which have only grown more pronounced.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alliance Metals, a recycling center in the Dogtown neighborhood of West Oakland, collected bottles and cans from hundreds of walk-up clients daily, providing meager but steady sums to the homeless and poor, until the City of Oakland strongarmed the business to close in 2016. \u003c/p>\n\u003cp>Amir Soltani’s 2015 documentary \u003cem>Dogtown Redemption\u003c/em> offered a sympathetic portrait of recyclers orbiting Alliance including the methodical Jason Witt, former minister Landon Goodwin and former underground musician Hayok Kay (who suffered a fatal assault after production). It also covered tension between recyclers and other West Oakland residents whose complaints of Alliance encouraging blight and petty crime led to its closure soon after the feature’s release. \u003c/p>\n\u003cp>The documentary—screening Sunday, Sept. 22 at the Berkeley Art Museum and Pacific Film Archive as a part of a \u003ca href=\"https://bampfa.org/program/berkeley-film-foundation-celebrating-ten-years-local-filmmaking\">fall program\u003c/a> spotlighting the Berkeley Film Foundation—remains a stirring, emotionally textured picture of poverty amid gentrification. After five years, it’s also a reminder of how little punitive measures pursued against recyclers did to alleviate homelessness and its symptoms in West Oakland, which have only grown more pronounced.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "This High School's 'Avengers'-Themed Pep Rally Will Boost Your School Spirit",
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"content": "\u003cp>Last week, the idea that the three-hour epic that was \u003cem>Avengers: Endgame\u003c/em> could be sensibly condensed into less than ten minutes was laughable. As was the idea that a random group of high school students could ever be more committed to cosplay than even the most fervent Comic-Con attendees. That, however, was all before a video of students at Sahuarita, Arizona’s Walden Grove High School got together and put on an elaborate, perfectly choreographed Avengers-themed dance for their Homecoming pep rally.\u003c/p>\n\u003cp>The precision and attention to detail in this thing is so on point, it’s likely to make thousands of people re-think Halloween costume plans and start building a cardboard bus version of the Milano ship from \u003cem>Guardians of the Galaxy\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/channel/UCakqDxi56riNcLWnXbOm2KA\" target=\"_blank\" rel=\"noopener\">The Performing Arts Crew Dance Team\u003c/a> that put on the \u003cem>Avengers\u003c/em> routine has a history of greatness when it comes to viral assemblies, having previously garnered millions of views with \u003ca href=\"https://www.youtube.com/watch?v=iSEkI3Urmd4\" target=\"_blank\" rel=\"noopener\">Harry Potter\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=KBUnBY2oMWg\" target=\"_blank\" rel=\"noopener\">Pixar\u003c/a>-themed routines. (You may also remember them from \u003ca href=\"https://www.youtube.com/watch?v=IwKxx0tVVv4\" target=\"_blank\" rel=\"noopener\">Season 13 of \u003cem>America’s Got Talent\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>Turns out, though, nothing screams school spirit quite like a massive dance-fight with Thanos…\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=296&v=Kk9NkwFmDN4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, the idea that the three-hour epic that was \u003cem>Avengers: Endgame\u003c/em> could be sensibly condensed into less than ten minutes was laughable. As was the idea that a random group of high school students could ever be more committed to cosplay than even the most fervent Comic-Con attendees. That, however, was all before a video of students at Sahuarita, Arizona’s Walden Grove High School got together and put on an elaborate, perfectly choreographed Avengers-themed dance for their Homecoming pep rally.\u003c/p>\n\u003cp>The precision and attention to detail in this thing is so on point, it’s likely to make thousands of people re-think Halloween costume plans and start building a cardboard bus version of the Milano ship from \u003cem>Guardians of the Galaxy\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/channel/UCakqDxi56riNcLWnXbOm2KA\" target=\"_blank\" rel=\"noopener\">The Performing Arts Crew Dance Team\u003c/a> that put on the \u003cem>Avengers\u003c/em> routine has a history of greatness when it comes to viral assemblies, having previously garnered millions of views with \u003ca href=\"https://www.youtube.com/watch?v=iSEkI3Urmd4\" target=\"_blank\" rel=\"noopener\">Harry Potter\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=KBUnBY2oMWg\" target=\"_blank\" rel=\"noopener\">Pixar\u003c/a>-themed routines. (You may also remember them from \u003ca href=\"https://www.youtube.com/watch?v=IwKxx0tVVv4\" target=\"_blank\" rel=\"noopener\">Season 13 of \u003cem>America’s Got Talent\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>Turns out, though, nothing screams school spirit quite like a massive dance-fight with Thanos…\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/Kk9NkwFmDN4'\n title='//www.youtube.com/embed/Kk9NkwFmDN4'\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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"title": "Now Playing! Outdoor ‘Music’ Launches BAMPFA’s Berkeley Film Foundation Salute",
"headTitle": "Now Playing! Outdoor ‘Music’ Launches BAMPFA’s Berkeley Film Foundation Salute | KQED",
"content": "\u003cp>There’s a consensus among critics that the present moment is a “golden age” for documentaries. Theatrical releases are commonplace, to the point that docs are squeezing out foreign-language films. The pervasive home-based platforms (especially Netflix) actively back and promote current-events docs to the masses. On Oscar Night, an ever-increasing chunk of the viewing audience has heard of (if not seen) at least one of the doc nominees.\u003c/p>\n\u003cp>Speaking of viewers, a sizable segment recognizes that broadcast and cable television news divisions have abandoned investigative journalism altogether, and that doc filmmakers are the only ones stepping into the void. A subliminal yet important factor is the way digital tools have enabled consistently excellent production values regardless of budget, subject matter, location and recording conditions.\u003c/p>\n\u003cfigure id=\"attachment_13866066\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001.jpg\" alt=\"\" width=\"1600\" height=\"800\" class=\"size-full wp-image-13866066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-1200x600.jpg 1200w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">From ‘The Whistleblower of My Lai.’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a rosy picture, all right, expect for one thing: It’s still an arduous undertaking to raise the funds (from foundations, streaming platforms and/or crowd-funding initiatives) to make a documentary. Consider that the bargain-basement budget for the most-constrained one-hour doc is in the neighborhood of $300,000, and you see that the barriers to entry have not fully dissolved.\u003c/p>\n\u003cp>In 2009, some pragmatic yet ambitious folks created the \u003ca href=\"https://berkeleyfilmfoundation.org/\" rel=\"noopener\" target=\"_blank\">Berkeley Film Foundation\u003c/a> to raise and disburse money to Berkeley, Oakland, Emeryville, El Cerrito, Albany and Richmond filmmakers. (The world-renowned local doc scene has shifted significantly from San Francisco to the East Bay in the last 15 years.) \u003c/p>\n\u003cp>Over the ensuing decade, the BFF has handed out $1.7 million to 150 films, a result worth infinitely more than its weight in gold. What’s extraordinary about the BFF, by the way, is that it’s a public-private partnership between the city of Berkeley and a couple of Berkeley-based entities, the \u003ca href=\"https://www.zaentz.com/\" rel=\"noopener\" target=\"_blank\">Saul Zaentz Company\u003c/a> and \u003ca href=\"http://www.warehamdevelopment.com/\" rel=\"noopener\" target=\"_blank\">Wareham Development\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13866065\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200.jpg\" alt=\"Texas Bluesman Mance Lipscomb and Arhoolie Records founder Chris Strachwitz in 'This Ain't no Mouse Music!'\" width=\"1200\" height=\"762\" class=\"size-full wp-image-13866065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-1020x648.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Texas Bluesman Mance Lipscomb and Arhoolie Records founder Chris Strachwitz in ‘This Ain’t no Mouse Music!’ \u003ccite>(Courtesy of the filmmakers and BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://bampfa.org/program/berkeley-film-foundation-celebrating-ten-years-local-filmmaking\" rel=\"noopener\" target=\"_blank\">Berkeley Film Foundation: Celebrating Ten Years of Local Filmmaking\u003c/a>, a BAMPFA retrospective of six powerful recent films screening through Oct. 27, is a pointedly political affair—which is not surprising given the doc community’s venerable social-justice tradition. If they escaped your notice on original release, mark your calendar for \u003cem>Dogtown Redemption\u003c/em> (Sept. 22), \u003cem>Inequality for All\u003c/em> (a free outdoor show on Oct. 10), \u003cem>In the Image: Palestinian Women Capture the Occupation\u003c/em> (Oct. 13), \u003cem>The Whistleblower of My Lai\u003c/em> (Oct. 22) and \u003cem>The Pushouts\u003c/em> (Oct. 27).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The series opener, \u003cem>This Ain’t No Mouse Music!\u003c/em> (screening outdoors for free this Thursday, Sept. 12), isn’t what you’d call a political film, exactly. Maureen Gosling and Chris Simon’s exhilarating 2013 profile of self-effacing musicologist and Arhoolie Records founder Chris Strachwitz describes a man whose life work has also been a public service. Strachwitz embodies liberal values—pro-diversity, pro-immigration, pro-tolerance—but it’s hard to imagine anyone finding his example objectionable. To the contrary, \u003cem>This Ain’t No Mouse Music!\u003c/em> is a testament to following your bliss—and to the filmmakers with the determination and creativity to show us how it’s done.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a consensus among critics that the present moment is a “golden age” for documentaries. Theatrical releases are commonplace, to the point that docs are squeezing out foreign-language films. The pervasive home-based platforms (especially Netflix) actively back and promote current-events docs to the masses. On Oscar Night, an ever-increasing chunk of the viewing audience has heard of (if not seen) at least one of the doc nominees.\u003c/p>\n\u003cp>Speaking of viewers, a sizable segment recognizes that broadcast and cable television news divisions have abandoned investigative journalism altogether, and that doc filmmakers are the only ones stepping into the void. A subliminal yet important factor is the way digital tools have enabled consistently excellent production values regardless of budget, subject matter, location and recording conditions.\u003c/p>\n\u003cfigure id=\"attachment_13866066\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001.jpg\" alt=\"\" width=\"1600\" height=\"800\" class=\"size-full wp-image-13866066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-1200x600.jpg 1200w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">From ‘The Whistleblower of My Lai.’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a rosy picture, all right, expect for one thing: It’s still an arduous undertaking to raise the funds (from foundations, streaming platforms and/or crowd-funding initiatives) to make a documentary. Consider that the bargain-basement budget for the most-constrained one-hour doc is in the neighborhood of $300,000, and you see that the barriers to entry have not fully dissolved.\u003c/p>\n\u003cp>In 2009, some pragmatic yet ambitious folks created the \u003ca href=\"https://berkeleyfilmfoundation.org/\" rel=\"noopener\" target=\"_blank\">Berkeley Film Foundation\u003c/a> to raise and disburse money to Berkeley, Oakland, Emeryville, El Cerrito, Albany and Richmond filmmakers. (The world-renowned local doc scene has shifted significantly from San Francisco to the East Bay in the last 15 years.) \u003c/p>\n\u003cp>Over the ensuing decade, the BFF has handed out $1.7 million to 150 films, a result worth infinitely more than its weight in gold. What’s extraordinary about the BFF, by the way, is that it’s a public-private partnership between the city of Berkeley and a couple of Berkeley-based entities, the \u003ca href=\"https://www.zaentz.com/\" rel=\"noopener\" target=\"_blank\">Saul Zaentz Company\u003c/a> and \u003ca href=\"http://www.warehamdevelopment.com/\" rel=\"noopener\" target=\"_blank\">Wareham Development\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13866065\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200.jpg\" alt=\"Texas Bluesman Mance Lipscomb and Arhoolie Records founder Chris Strachwitz in 'This Ain't no Mouse Music!'\" width=\"1200\" height=\"762\" class=\"size-full wp-image-13866065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-1020x648.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Texas Bluesman Mance Lipscomb and Arhoolie Records founder Chris Strachwitz in ‘This Ain’t no Mouse Music!’ \u003ccite>(Courtesy of the filmmakers and BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://bampfa.org/program/berkeley-film-foundation-celebrating-ten-years-local-filmmaking\" rel=\"noopener\" target=\"_blank\">Berkeley Film Foundation: Celebrating Ten Years of Local Filmmaking\u003c/a>, a BAMPFA retrospective of six powerful recent films screening through Oct. 27, is a pointedly political affair—which is not surprising given the doc community’s venerable social-justice tradition. If they escaped your notice on original release, mark your calendar for \u003cem>Dogtown Redemption\u003c/em> (Sept. 22), \u003cem>Inequality for All\u003c/em> (a free outdoor show on Oct. 10), \u003cem>In the Image: Palestinian Women Capture the Occupation\u003c/em> (Oct. 13), \u003cem>The Whistleblower of My Lai\u003c/em> (Oct. 22) and \u003cem>The Pushouts\u003c/em> (Oct. 27).\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>The series opener, \u003cem>This Ain’t No Mouse Music!\u003c/em> (screening outdoors for free this Thursday, Sept. 12), isn’t what you’d call a political film, exactly. Maureen Gosling and Chris Simon’s exhilarating 2013 profile of self-effacing musicologist and Arhoolie Records founder Chris Strachwitz describes a man whose life work has also been a public service. Strachwitz embodies liberal values—pro-diversity, pro-immigration, pro-tolerance—but it’s hard to imagine anyone finding his example objectionable. To the contrary, \u003cem>This Ain’t No Mouse Music!\u003c/em> is a testament to following your bliss—and to the filmmakers with the determination and creativity to show us how it’s done.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Constance Wu On Sisterhood, 'Hustlers' and Her Unprecedented Career",
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"content": "\u003cp>When we meet Constance Wu’s character Destiny in the new movie \u003cem>Hustlers\u003c/em>, she’s the new dancer at a gentlemen’s club. She’s there because of economic circumstance, but we come to learn there’s more to her character.\u003c/p>\n\u003cp>“I think the deeper meaning of how she ends up in this job is that I think growing up, she and a lot of American girls are taught that their value and worth lies in their physical beauty and their sexuality,” Wu says. “And then it’s funny, because then when you exploit that value system to try to get by, to pay your rent, then you’re shamed for it. I mean, you think of what a stripper does: They’re using their bodies for entertainment. It’s exactly what an athlete does. But we more harshly judge one and shame one than the other.”\u003c/p>\n\u003cp>The movie, which is inspired by the true story of Jessica Pressler’s \u003cem>New York\u003c/em> magazine story \u003ca href=\"https://www.thecut.com/2015/12/robin-hood-strippers-scores-c-v-r.html\">“The Hustlers at Scores,”\u003c/a> sees Ramona (Jennifer Lopez) take Destiny under her wing. And when their club’s Wall Street clientele begins to dry up after the financial crisis of 2008, the strip club employees scheme up a way to keep the money coming in.\u003c/p>\n\u003cp>The rest of the cast features some big names (Cardi B, Lizzo) and rising stars (Keke Palmer, Lili Reinhart, Trace Lysette). It’s written and directed by Lorene Scafaria. And for Wu, it’s the latest big role in a career that has recently seen her take star turns in the ABC sitcom \u003cem>Fresh off the Boat\u003c/em> and the blockbuster movie \u003cem>Crazy Rich Asians\u003c/em>.\u003c/p>\n\u003cp>In an interview, Wu talked about what attracted her to the role, working on a female-driven movie, and the state of play for women and people of color in Hollywood today.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LUG2U-IxPx0\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On why she took the role\u003c/strong>\u003c/p>\n\u003cp>I was actually really seeking a project that was about loneliness. I think a lot of people, they think, “Oh, she must have wanted to do this sexy, cool, fun movie.” But it’s just about a woman who is deeply lonely, because she has abandonment issues because her own mother left her when she was very young; so she has trust issues, so she can’t let anybody in. And Ramona, the character played by Jennifer Lopez, becomes like a mother figure to her. And I chose it because it tackles loneliness, but it sort of gets it on all sides. It’s the beginning of it, and then struggling through it, and then finally not feeling alone in the world, and then when you lose that again. It really was just such a dynamic story arc. …\u003c/p>\n\u003cp>I wasn’t lonely at that period in my life. I was actually doing great. But I do think loneliness is kind of pervasive in America right now—and in a way that we’re not recognizing. I think because politically, we’re so polarized. And also, social media just makes people lonely in a way they don’t realize because they’re still getting some kind of social stimulation—but it’s not tactile. So I think one of the best things that films or stories can do for us is to make people feel less alone with their own feelings. We’re so used to looking at these Instagram feeds where everyone has a perfect life. And what \u003cem>Hustlers\u003c/em> really does is it shows that this woman who, yeah, she looks really flashy, she’s a dancer, all this on the outside; but inside, she’s really lonely and she just wants a real friend. And I think that’s—if we’re going to find any type of healing in this country, it’s going to be by interacting with each other, not villainizing and shaming each other.\u003c/p>\n\u003cp>\u003cstrong>On acting in a movie that doesn’t pit two women against each other\u003c/strong>\u003c/p>\n\u003cp>No catfights. And the thing that I’ve always said is that traditionally, in a patriarchal society, whether it’s in the boardroom or in an action movie, there’s usually only one or two women. And I think that it’s the fact there seem to be so few positions available that makes somebody competitive. It’s the scarcity, not the gender. And I think working on \u003cem>Hustlers\u003c/em> really proved that women are not inherently catty or competitive, because we, on \u003cem>Hustlers\u003c/em>, we were all women: woman director, woman writer. And it was our table, you know? It was not patriarchal—it was matriarchal, I guess. And it was so great because so many times when I’m in an environment that’s a lot of men, I feel like I have to either be cutesy or girly or sexy, or I have to act like I’m one of the guys to fit in. …\u003c/p>\n\u003cp>And so when we were all in locker room scenes of \u003cem>Hustlers\u003c/em>—all women, all shapes and sizes, all different ages, all ethnicities—nobody had to pretend like they were one of the guys. We didn’t have to act really sexy. We could openly talk about, like, “Ugh, this boob is bigger than the other,” whatever. Just these things that we could just be open about, because we weren’t being assessed by our appearance in order to be allowed in the space—because it was our space.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b6ZeMzDDlfo\u003c/p>\n\u003cp>\u003cstrong>On how her personal background affects her portrayal and career\u003c/strong>\u003c/p>\n\u003cp>I didn’t work in strip clubs back then, but I worked in restaurants a lot. I did bottle service for a club for a little bit. But yeah, I definitely related to the struggle that comes along, and the fear and scarcity complexes that come along, with not having a legacy in the place you grew up. Not growing up with privilege, but also just—there’s a psychological legacy that comes from knowing that you have ancestors, great-great-great-grandparents, who have been in this country and are of this country and have survived. I think it’s statistically proven that like if a kid has a parent who has gone to college, they’re more likely to go to college … I’ve said representation equals possibility, and sometimes the parents model that behavior.\u003c/p>\n\u003cp>But for me, I don’t have anybody in my family who ever entered show biz or the arts. And the path that I’ve sort of made for myself in this career is also something I haven’t really seen a model for, in terms of a role model for, exactly the way I’ve been trying to do it. So it can be scary, and it can ruffle feathers for sure. And I think that Destiny also doesn’t have the confidence of a legacy of lineage in the country, because her parents are immigrants, like mine were.\u003c/p>\n\u003cp>\u003cstrong>On living in the moment\u003c/strong>\u003c/p>\n\u003cp>I mean, I do this [acting] because I love it. … I think one of the best things an actor can have is sort of what they call being in the moment, which I naturally have—which is not always a good thing. So I think the reason I stayed in it is because I wasn’t thinking about the future. Because if I had systemically laid out all the possibilities and thought of the future, I don’t think I ever would have entered this profession at all.\u003c/p>\n\u003cp>And so to really live in the moment and not measure your words or actions based on anxieties of the future or worries of the past is a real fun gift to have when you’re acting. In life it has not always been so fun, because I can be really reactive and dramatic. So I’m just trying to honestly use this moment in this profession to learn more about myself and the kind of person I want to be and to forgive myself for mistakes.\u003c/p>\n\u003cp>\u003cstrong>On \u003c/strong>\u003ca href=\"https://deadline.com/2019/05/constance-wu-fresh-off-the-boat-abc-renewal-twitter-profanity-1202612321/\">\u003cstrong>her recent response\u003c/strong>\u003c/a>\u003cstrong> to \u003c/strong>\u003cstrong>\u003cem>Fresh off the Boat \u003c/em>\u003c/strong>\u003cstrong>being renewed for another season, which was initially judged out of context, she says\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Wu:\u003c/strong> It really broke my heart that my moment of heat, where I was just disappointed because I couldn’t do a play that I really wanted to do, that had an impact on the people who I love on this crew, and how some people might have perceived that it was a reflection of how I felt about the show. Which: nothing could be further from the truth, because I love the show and I love the people on it. I was just temporarily … I was just bummed because I’d been looking forward to doing this other project.\u003c/p>\n\u003cp>\u003cstrong>Garcia-Navarro:\u003c/strong> Do you think you got more of it because you’re a woman and a person of color?\u003c/p>\n\u003cp>\u003cstrong>Wu:\u003c/strong> What do you think? [laughing]\u003c/p>\n\u003cp>\u003cstrong>Garcia-Navarro:\u003c/strong> I don’t know. I thought I would ask the question and just put it there out there.\u003c/p>\n\u003cp>\u003cstrong>Wu:\u003c/strong> Yeah. I definitely think that there’s often harsher criticism … I think it was especially disturbing for some people because my career is kind of unprecedented. You know, I led the first Asian American network sitcom in Hollywood in over 20 years [\u003cem>Fresh off the Boat\u003c/em>], and then five years later I led the first all-Asian cast of a major studio Hollywood movie in 25 years [\u003cem>Crazy Rich Asians\u003c/em>]. But it’s funny—it’s like because I’ve gotten this position that wasn’t available at the table, I should never complain. …\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZQ-YX-5bAs0\u003c/p>\n\u003cp>I think a part of us should stop being grateful for scraps from the table and demand the whole table. Because it shouldn’t have been history that I was the first in that TV show or movie. It shouldn’t be historic that Hollywood made a story that gives an Asian American a full human experience. That should be regular.\u003c/p>\n\u003cp>\u003cstrong>On if Hollywood is trending in the right direction regarding women and people of color\u003c/strong>\u003c/p>\n\u003cp>I always compare it to exercising. It’s not like you can take one boot camp and then be fit for life. It’s a maintenance. So I think that we’ve gone through a bit of a boot camp in terms of understanding bias and institutional racism and stuff like that … and I think now you have to take the exercises you learned from boot camp, and apply them to your real choices in a way that makes you and everybody healthier.\u003c/p>\n\u003cp>I mean, it’s funny. I actually know a lot of guys who have been saying, like, “Oh, you know, it’s a great time in Hollywood for women.” And you know, male directors will say, like, “Oh, it’s really great to be a woman right now … I used to get all these jobs, and I can’t—it’s great, I’m glad” …\u003c/p>\n\u003cp>And there are many things to say to that. But one thing I would have liked to say is that it’s a great time for men. Because I think men are finally getting to hear these stories that they’ve been robbed of—these stories told from a woman’s point of view. And if you’re an artist, there’s nothing you want more than learning more about the human experience. So if you get to learn a perspective that you didn’t get growing up, how awesome. How awesome that you get that. But if you’re only worrying about me and my experience and what jobs I get, then: Well, there’s the problem. It’s like: The world is not centered in your experience. And the more experiences you get that are outside of your own are gonna improve your work. And then that will improve your integrity. And so I think it’s a great time for men because they have the opportunity to see and experience this content that they haven’t before.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sophia Alvarez Boyd and Melissa Gray produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\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=Lonely+In+The+Club%3A+Constance+Wu+On+%27Hustlers%27+And+Her+%27Unprecedented%27+Career&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When we meet Constance Wu’s character Destiny in the new movie \u003cem>Hustlers\u003c/em>, she’s the new dancer at a gentlemen’s club. She’s there because of economic circumstance, but we come to learn there’s more to her character.\u003c/p>\n\u003cp>“I think the deeper meaning of how she ends up in this job is that I think growing up, she and a lot of American girls are taught that their value and worth lies in their physical beauty and their sexuality,” Wu says. “And then it’s funny, because then when you exploit that value system to try to get by, to pay your rent, then you’re shamed for it. I mean, you think of what a stripper does: They’re using their bodies for entertainment. It’s exactly what an athlete does. But we more harshly judge one and shame one than the other.”\u003c/p>\n\u003cp>The movie, which is inspired by the true story of Jessica Pressler’s \u003cem>New York\u003c/em> magazine story \u003ca href=\"https://www.thecut.com/2015/12/robin-hood-strippers-scores-c-v-r.html\">“The Hustlers at Scores,”\u003c/a> sees Ramona (Jennifer Lopez) take Destiny under her wing. And when their club’s Wall Street clientele begins to dry up after the financial crisis of 2008, the strip club employees scheme up a way to keep the money coming in.\u003c/p>\n\u003cp>The rest of the cast features some big names (Cardi B, Lizzo) and rising stars (Keke Palmer, Lili Reinhart, Trace Lysette). It’s written and directed by Lorene Scafaria. And for Wu, it’s the latest big role in a career that has recently seen her take star turns in the ABC sitcom \u003cem>Fresh off the Boat\u003c/em> and the blockbuster movie \u003cem>Crazy Rich Asians\u003c/em>.\u003c/p>\n\u003cp>In an interview, Wu talked about what attracted her to the role, working on a female-driven movie, and the state of play for women and people of color in Hollywood today.\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/LUG2U-IxPx0'\n title='//www.youtube.com/embed/LUG2U-IxPx0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On why she took the role\u003c/strong>\u003c/p>\n\u003cp>I was actually really seeking a project that was about loneliness. I think a lot of people, they think, “Oh, she must have wanted to do this sexy, cool, fun movie.” But it’s just about a woman who is deeply lonely, because she has abandonment issues because her own mother left her when she was very young; so she has trust issues, so she can’t let anybody in. And Ramona, the character played by Jennifer Lopez, becomes like a mother figure to her. And I chose it because it tackles loneliness, but it sort of gets it on all sides. It’s the beginning of it, and then struggling through it, and then finally not feeling alone in the world, and then when you lose that again. It really was just such a dynamic story arc. …\u003c/p>\n\u003cp>I wasn’t lonely at that period in my life. I was actually doing great. But I do think loneliness is kind of pervasive in America right now—and in a way that we’re not recognizing. I think because politically, we’re so polarized. And also, social media just makes people lonely in a way they don’t realize because they’re still getting some kind of social stimulation—but it’s not tactile. So I think one of the best things that films or stories can do for us is to make people feel less alone with their own feelings. We’re so used to looking at these Instagram feeds where everyone has a perfect life. And what \u003cem>Hustlers\u003c/em> really does is it shows that this woman who, yeah, she looks really flashy, she’s a dancer, all this on the outside; but inside, she’s really lonely and she just wants a real friend. And I think that’s—if we’re going to find any type of healing in this country, it’s going to be by interacting with each other, not villainizing and shaming each other.\u003c/p>\n\u003cp>\u003cstrong>On acting in a movie that doesn’t pit two women against each other\u003c/strong>\u003c/p>\n\u003cp>No catfights. And the thing that I’ve always said is that traditionally, in a patriarchal society, whether it’s in the boardroom or in an action movie, there’s usually only one or two women. And I think that it’s the fact there seem to be so few positions available that makes somebody competitive. It’s the scarcity, not the gender. And I think working on \u003cem>Hustlers\u003c/em> really proved that women are not inherently catty or competitive, because we, on \u003cem>Hustlers\u003c/em>, we were all women: woman director, woman writer. And it was our table, you know? It was not patriarchal—it was matriarchal, I guess. And it was so great because so many times when I’m in an environment that’s a lot of men, I feel like I have to either be cutesy or girly or sexy, or I have to act like I’m one of the guys to fit in. …\u003c/p>\n\u003cp>And so when we were all in locker room scenes of \u003cem>Hustlers\u003c/em>—all women, all shapes and sizes, all different ages, all ethnicities—nobody had to pretend like they were one of the guys. We didn’t have to act really sexy. We could openly talk about, like, “Ugh, this boob is bigger than the other,” whatever. Just these things that we could just be open about, because we weren’t being assessed by our appearance in order to be allowed in the space—because it was our space.\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/b6ZeMzDDlfo'\n title='//www.youtube.com/embed/b6ZeMzDDlfo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On how her personal background affects her portrayal and career\u003c/strong>\u003c/p>\n\u003cp>I didn’t work in strip clubs back then, but I worked in restaurants a lot. I did bottle service for a club for a little bit. But yeah, I definitely related to the struggle that comes along, and the fear and scarcity complexes that come along, with not having a legacy in the place you grew up. Not growing up with privilege, but also just—there’s a psychological legacy that comes from knowing that you have ancestors, great-great-great-grandparents, who have been in this country and are of this country and have survived. I think it’s statistically proven that like if a kid has a parent who has gone to college, they’re more likely to go to college … I’ve said representation equals possibility, and sometimes the parents model that behavior.\u003c/p>\n\u003cp>But for me, I don’t have anybody in my family who ever entered show biz or the arts. And the path that I’ve sort of made for myself in this career is also something I haven’t really seen a model for, in terms of a role model for, exactly the way I’ve been trying to do it. So it can be scary, and it can ruffle feathers for sure. And I think that Destiny also doesn’t have the confidence of a legacy of lineage in the country, because her parents are immigrants, like mine were.\u003c/p>\n\u003cp>\u003cstrong>On living in the moment\u003c/strong>\u003c/p>\n\u003cp>I mean, I do this [acting] because I love it. … I think one of the best things an actor can have is sort of what they call being in the moment, which I naturally have—which is not always a good thing. So I think the reason I stayed in it is because I wasn’t thinking about the future. Because if I had systemically laid out all the possibilities and thought of the future, I don’t think I ever would have entered this profession at all.\u003c/p>\n\u003cp>And so to really live in the moment and not measure your words or actions based on anxieties of the future or worries of the past is a real fun gift to have when you’re acting. In life it has not always been so fun, because I can be really reactive and dramatic. So I’m just trying to honestly use this moment in this profession to learn more about myself and the kind of person I want to be and to forgive myself for mistakes.\u003c/p>\n\u003cp>\u003cstrong>On \u003c/strong>\u003ca href=\"https://deadline.com/2019/05/constance-wu-fresh-off-the-boat-abc-renewal-twitter-profanity-1202612321/\">\u003cstrong>her recent response\u003c/strong>\u003c/a>\u003cstrong> to \u003c/strong>\u003cstrong>\u003cem>Fresh off the Boat \u003c/em>\u003c/strong>\u003cstrong>being renewed for another season, which was initially judged out of context, she says\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Wu:\u003c/strong> It really broke my heart that my moment of heat, where I was just disappointed because I couldn’t do a play that I really wanted to do, that had an impact on the people who I love on this crew, and how some people might have perceived that it was a reflection of how I felt about the show. Which: nothing could be further from the truth, because I love the show and I love the people on it. I was just temporarily … I was just bummed because I’d been looking forward to doing this other project.\u003c/p>\n\u003cp>\u003cstrong>Garcia-Navarro:\u003c/strong> Do you think you got more of it because you’re a woman and a person of color?\u003c/p>\n\u003cp>\u003cstrong>Wu:\u003c/strong> What do you think? [laughing]\u003c/p>\n\u003cp>\u003cstrong>Garcia-Navarro:\u003c/strong> I don’t know. I thought I would ask the question and just put it there out there.\u003c/p>\n\u003cp>\u003cstrong>Wu:\u003c/strong> Yeah. I definitely think that there’s often harsher criticism … I think it was especially disturbing for some people because my career is kind of unprecedented. You know, I led the first Asian American network sitcom in Hollywood in over 20 years [\u003cem>Fresh off the Boat\u003c/em>], and then five years later I led the first all-Asian cast of a major studio Hollywood movie in 25 years [\u003cem>Crazy Rich Asians\u003c/em>]. But it’s funny—it’s like because I’ve gotten this position that wasn’t available at the table, I should never complain. …\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/ZQ-YX-5bAs0'\n title='//www.youtube.com/embed/ZQ-YX-5bAs0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I think a part of us should stop being grateful for scraps from the table and demand the whole table. Because it shouldn’t have been history that I was the first in that TV show or movie. It shouldn’t be historic that Hollywood made a story that gives an Asian American a full human experience. That should be regular.\u003c/p>\n\u003cp>\u003cstrong>On if Hollywood is trending in the right direction regarding women and people of color\u003c/strong>\u003c/p>\n\u003cp>I always compare it to exercising. It’s not like you can take one boot camp and then be fit for life. It’s a maintenance. So I think that we’ve gone through a bit of a boot camp in terms of understanding bias and institutional racism and stuff like that … and I think now you have to take the exercises you learned from boot camp, and apply them to your real choices in a way that makes you and everybody healthier.\u003c/p>\n\u003cp>I mean, it’s funny. I actually know a lot of guys who have been saying, like, “Oh, you know, it’s a great time in Hollywood for women.” And you know, male directors will say, like, “Oh, it’s really great to be a woman right now … I used to get all these jobs, and I can’t—it’s great, I’m glad” …\u003c/p>\n\u003cp>And there are many things to say to that. But one thing I would have liked to say is that it’s a great time for men. Because I think men are finally getting to hear these stories that they’ve been robbed of—these stories told from a woman’s point of view. And if you’re an artist, there’s nothing you want more than learning more about the human experience. So if you get to learn a perspective that you didn’t get growing up, how awesome. How awesome that you get that. But if you’re only worrying about me and my experience and what jobs I get, then: Well, there’s the problem. It’s like: The world is not centered in your experience. And the more experiences you get that are outside of your own are gonna improve your work. And then that will improve your integrity. And so I think it’s a great time for men because they have the opportunity to see and experience this content that they haven’t before.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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},
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"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
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