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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Gray Area Festival\u003c/strong>: There’s a lot to love about this year’s festival exploring the intersection of art and technology. But the star attraction is the ISM Hexadome, an immersive Buckminster Fuller-like dome of music and visuals, with pieces by Thom Yorke, Holly Herndon, Suzanne Ciani, Ben Frost and more. It runs Thursday–Sunday, July 25–28, at the Gray Area Theater and Pier 70. \u003ca href=\"https://grayareafestival.io/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Dead Nuts: A Search for the Ultimate Machined Object’\u003c/strong>: What is the ultimate machined object? Something so accurate in its design, so aesthetically pleasing and functional that it rises to the top? This fun, satisfying exhibit includes simple items like the ball bearing alongside highly complicated feats of engineering, like airplane engines and analog microprocessors. It opens Saturday, July 27, at the Museum of Craft and Design. \u003ca href=\"https://sfmcd.org/deadnuts/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>KMEL Summer Jam 2019\u003c/strong>: The Oracle Arena’s been quiet since the Warriors left, but it’s about to get loud again with this annual party featuring rap stars YG, Lil Baby, City Girls and more. But by far the main attraction is Megan Thee Stallion, a sex-positive rising star whose talent and dynamism are poised to outlast the current “hot girl summer” meme she inspired. That’s Sunday, July 28, at the Oracle Arena. \u003ca href=\"https://kmel.iheart.com/featured/kmel-summer-jam/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘The Neverending Story’\u003c/strong>: Our cheap North Bay date this week is this 1980s fantasy classic, presented in a Petaluma theater that’s over 100 years old. When it comes to reliving the adventures of Atreyu and Falkor, you can’t go wrong for just $8. It screens Friday, Aug. 2, at the Mystic Theatre. \u003ca href=\"https://mystictheatre.tunestub.com/event.cfm?id=301834\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Kelly Stoltz\u003c/strong>: You might recognize Kelly Stoltz from working behind the counter at the Market Street record store Grooves, where hundreds of musical influences regularly seep into his ears. While his music itself is a pleasing blend of the familiar and the new, we’re also recommending this show for the beautiful outdoor setting in a redwood grove. Stoltz performs, with Magic in the Other opening, on Thursday, Aug. 1, at the UC Botanical Garden. \u003ca href=\"https://botanicalgarden.berkeley.edu/summer-concerts-2019/august-1-2019\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"title": "Ken Burns Visits San Quentin to Preview 'Country Music' Documentary For Inmates",
"headTitle": "Ken Burns Visits San Quentin to Preview ‘Country Music’ Documentary For Inmates | KQED",
"content": "\u003cp>Ken Burns, the prolific documentary filmmaker, addressed roughly 100 inmates at San Quentin State Prison on Wednesday with a message about redemption, destigmatizing incarceration and country music.\u003c/p>\n\u003cp>Country star Merle Haggard, Burns explained, was once reluctant to acknowledge his stint at prisons including San Quentin, fearful it would hurt his professional reputation. But Johnny Cash, well-known for concert recordings at Folsom State Prison and San Quentin, urged Haggard to be open about his time behind bars, and to draw on his experiences.\u003c/p>\n\u003cp>What Cash knew, and country music affirms, Burns said, is that “the value of a human being does not end when you walk in the front door of a place like this,” adding, “I know I’m preaching to the choir.”\u003c/p>\n\u003cfigure id=\"attachment_13862094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862094\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1555-800x450.jpg\" alt=\"Rahsaan Thomas, Ear Hustle co-host and San Quentin News contributor, speaks with Ken Burns. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rahsaan Thomas, ‘Ear Hustle’ co-host and San Quentin News contributor, speaks with Ken Burns. \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The occasion was a preview of \u003cem>Country Music\u003c/em>, Burns’ forthcoming eight-part, 16-hour series on the “uniquely American art form.” He played clips from the series, focused on Cash and Haggard’s ties to California’s penal system, before fielding questions from Rahsaan Thomas, “inside” co-host of \u003cem>Ear Hustle\u003c/em> and a contributor to \u003cem>San Quentin News\u003c/em>, plus other incarcerated audience members. \u003cem>Country Music\u003c/em> airs on PBS stations, including KQED, from Sept. 15–25.\u003c/p>\n\u003cp>The event, which general population inmates attended voluntarily, occurred in a 373-capacity protestant chapel next to a neatly landscaped courtyard where men in blue denim mowed lawns. In addition to Cash, the prison has hosted musical acts including Metallica, Crime and, most recently, Queens of the Stone Age.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The clips, together running a half hour, followed Haggard from his impoverished Central Valley upbringing to his time in prison (he witnessed Cash’s performance at San Quentin in 1959, while an inmate), and the development of his “outlaw” persona. Cash, meanwhile, is seen struggling with methamphetamine addiction before the concert recordings at Folsom and San Quentin draw acclaim and restart his career.\u003c/p>\n\u003cfigure id=\"attachment_13862096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862096\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1720-800x450.jpg\" alt=\"Curly Ray Martin (L), who once shared a cell with Merle Haggard, sits next to Country Music writer and co-producer Dayton Duncan (R).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Curly Ray Martin (L), who once shared a cell with Merle Haggard, sits next to ‘Country Music’ writer and co-producer Dayton Duncan (R). \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dayton Duncan, \u003cem>Country Music\u003c/em>‘s writer and co-producer who took questions alongside Burns and co-producer Julie Dunfey, described San Quentin as central to Haggard’s story. “You know, how important was Valley Forge to George Washington?” he said.\u003c/p>\n\u003cp>Duncan, choking up, then acknowledged the presence of an 80-year-old inmate named Curly Ray Martin, who once shared a cell with Haggard. “Merle taught me how to play bass,” said Martin, who performed with West Coast artists such as Rose Maddox before being incarcerated 52 years ago. “Listenin’ to Merle in here, his songs, everybody knew he was destined to be a big star,” he said.\u003c/p>\n\u003cp>Thomas, who chatted with reporters about Robert Mueller’s congressional testimony that morning (“You’d be surprised by the political savvy on the yard,” he said), brought up Burns’ 2012 documentary \u003cem>The Central Park Five\u003c/em>, about five teenagers wrongly imprisoned after being coerced to confess to rape in 1989. Thomas asked the filmmaker about his views on criminal-justice reform.\u003c/p>\n\u003cfigure id=\"attachment_13862095\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862095\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1660-800x450.jpg\" alt=\"San Quentin News reporters interview Ken Burns.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Quentin News reporters interview Ken Burns. \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Burns responded that interrogation practices deserve scrutiny. Mentioning \u003cem>College Behind Bars\u003c/em>, a forthcoming Lynn Novick documentary he executive produced, Burns stressed the role of education in reducing recidivism. “This is the time,” he said, noting such reforms have bipartisan support. “It can’t come too soon.”\u003c/p>\n\u003cp>More than a dozen incarcerated audience members stepped up to a microphone to ask questions, almost all of them professing intimate knowledge of Burns’ work. (PBS is one of few channels available in prison.) One of them, a FirstWatch filmmaker, noted the “Ken Burns effect,” a style of panning and zooming, available to use through iMovie.\u003c/p>\n\u003cp>Laughing, Burns replied, “You have to thank Steve Jobs for that one.”\u003c/p>\n\u003cp>Anthony Evans, an inmate, asked how the film addresses the “symbiotic relationship between country and the blues.” Duncan responded that the documentary traces the international roots of country, and examines the former market division between “race” and “hillbilly” music. Burns similarly noted the debate over how to categorize Lil Nas X’s “Old Town Road” reflects how black people’s contributions to country have long been minimized or ignored.\u003c/p>\n\u003cp>“It’s appropriate we’re in a chapel,” Burns said. “I want to share with you the gospel of country music.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ken Burns, the prolific documentary filmmaker, addressed roughly 100 inmates at San Quentin State Prison on Wednesday with a message about redemption, destigmatizing incarceration and country music.\u003c/p>\n\u003cp>Country star Merle Haggard, Burns explained, was once reluctant to acknowledge his stint at prisons including San Quentin, fearful it would hurt his professional reputation. But Johnny Cash, well-known for concert recordings at Folsom State Prison and San Quentin, urged Haggard to be open about his time behind bars, and to draw on his experiences.\u003c/p>\n\u003cp>What Cash knew, and country music affirms, Burns said, is that “the value of a human being does not end when you walk in the front door of a place like this,” adding, “I know I’m preaching to the choir.”\u003c/p>\n\u003cfigure id=\"attachment_13862094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862094\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1555-800x450.jpg\" alt=\"Rahsaan Thomas, Ear Hustle co-host and San Quentin News contributor, speaks with Ken Burns. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rahsaan Thomas, ‘Ear Hustle’ co-host and San Quentin News contributor, speaks with Ken Burns. \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The occasion was a preview of \u003cem>Country Music\u003c/em>, Burns’ forthcoming eight-part, 16-hour series on the “uniquely American art form.” He played clips from the series, focused on Cash and Haggard’s ties to California’s penal system, before fielding questions from Rahsaan Thomas, “inside” co-host of \u003cem>Ear Hustle\u003c/em> and a contributor to \u003cem>San Quentin News\u003c/em>, plus other incarcerated audience members. \u003cem>Country Music\u003c/em> airs on PBS stations, including KQED, from Sept. 15–25.\u003c/p>\n\u003cp>The event, which general population inmates attended voluntarily, occurred in a 373-capacity protestant chapel next to a neatly landscaped courtyard where men in blue denim mowed lawns. In addition to Cash, the prison has hosted musical acts including Metallica, Crime and, most recently, Queens of the Stone Age.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The clips, together running a half hour, followed Haggard from his impoverished Central Valley upbringing to his time in prison (he witnessed Cash’s performance at San Quentin in 1959, while an inmate), and the development of his “outlaw” persona. Cash, meanwhile, is seen struggling with methamphetamine addiction before the concert recordings at Folsom and San Quentin draw acclaim and restart his career.\u003c/p>\n\u003cfigure id=\"attachment_13862096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862096\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1720-800x450.jpg\" alt=\"Curly Ray Martin (L), who once shared a cell with Merle Haggard, sits next to Country Music writer and co-producer Dayton Duncan (R).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Curly Ray Martin (L), who once shared a cell with Merle Haggard, sits next to ‘Country Music’ writer and co-producer Dayton Duncan (R). \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dayton Duncan, \u003cem>Country Music\u003c/em>‘s writer and co-producer who took questions alongside Burns and co-producer Julie Dunfey, described San Quentin as central to Haggard’s story. “You know, how important was Valley Forge to George Washington?” he said.\u003c/p>\n\u003cp>Duncan, choking up, then acknowledged the presence of an 80-year-old inmate named Curly Ray Martin, who once shared a cell with Haggard. “Merle taught me how to play bass,” said Martin, who performed with West Coast artists such as Rose Maddox before being incarcerated 52 years ago. “Listenin’ to Merle in here, his songs, everybody knew he was destined to be a big star,” he said.\u003c/p>\n\u003cp>Thomas, who chatted with reporters about Robert Mueller’s congressional testimony that morning (“You’d be surprised by the political savvy on the yard,” he said), brought up Burns’ 2012 documentary \u003cem>The Central Park Five\u003c/em>, about five teenagers wrongly imprisoned after being coerced to confess to rape in 1989. Thomas asked the filmmaker about his views on criminal-justice reform.\u003c/p>\n\u003cfigure id=\"attachment_13862095\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862095\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1660-800x450.jpg\" alt=\"San Quentin News reporters interview Ken Burns.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Quentin News reporters interview Ken Burns. \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Burns responded that interrogation practices deserve scrutiny. Mentioning \u003cem>College Behind Bars\u003c/em>, a forthcoming Lynn Novick documentary he executive produced, Burns stressed the role of education in reducing recidivism. “This is the time,” he said, noting such reforms have bipartisan support. “It can’t come too soon.”\u003c/p>\n\u003cp>More than a dozen incarcerated audience members stepped up to a microphone to ask questions, almost all of them professing intimate knowledge of Burns’ work. (PBS is one of few channels available in prison.) One of them, a FirstWatch filmmaker, noted the “Ken Burns effect,” a style of panning and zooming, available to use through iMovie.\u003c/p>\n\u003cp>Laughing, Burns replied, “You have to thank Steve Jobs for that one.”\u003c/p>\n\u003cp>Anthony Evans, an inmate, asked how the film addresses the “symbiotic relationship between country and the blues.” Duncan responded that the documentary traces the international roots of country, and examines the former market division between “race” and “hillbilly” music. Burns similarly noted the debate over how to categorize Lil Nas X’s “Old Town Road” reflects how black people’s contributions to country have long been minimized or ignored.\u003c/p>\n\u003cp>“It’s appropriate we’re in a chapel,” Burns said. “I want to share with you the gospel of country music.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! ‘Overwhelm the Sky’ Probes SF Mystery at the Roxie",
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"content": "\u003cp>Daniel Kremer’s endlessly intriguing independent feature, \u003cem>Overwhelm the Sky\u003c/em>, probes and plays with the entwined myths that drove San Francisco’s romantic reputation for much of the 20th century: An open-handed, open-minded haven for creative, quasi-intellectual seekers and seers, and a gateway to the wild-open West for restless wanderers and self-sufficient loners.\u003c/p>\n\u003cp>Eddie Huntly, recently arrived from the other coast, inherits an acquaintance’s job hosting a late-night interview and call-in program. The show’s fringey guests, who appeal to an audience of insomniacs, and the characters that Eddie encounters on his walks in Golden Gate Park, are oddballs and outsiders of one variety or another.\u003c/p>\n\u003cp>Like a noir hero—or victim—of yore, Huntly lives in a world of handwritten letters, LPs, landlines and pay phones. And, appropriately, evocative black-and-white cinematography, courtesy of DP Aaron Hollander. I probably don’t have to tell you that Eddy is also haunted—by the death of his close friend (a tech entrepreneur, in a nod to the world \u003cem>we\u003c/em> live in) in a mugging in our great park. \u003c/p>\n\u003cfigure id=\"attachment_13861918\" class=\"wp-caption aligncenter\" style=\"max-width: 1250px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/OverwhelmTheSky.jpg\" alt=\"Still from 'Overwhelm the Sky.'\" width=\"1250\" height=\"600\" class=\"size-full wp-image-13861918\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/OverwhelmTheSky.jpg 1250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/OverwhelmTheSky-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/OverwhelmTheSky-800x384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/OverwhelmTheSky-768x369.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/OverwhelmTheSky-1020x490.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/OverwhelmTheSky-1200x576.jpg 1200w\" sizes=\"(max-width: 1250px) 100vw, 1250px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Overwhelm the Sky.’ \u003ccite>(Courtesy of Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kremer and Hollander were inspired by Charles Brockden Brown’s 1899 novel \u003cem>Edgar Huntly, or Memories of a Sleepwalker\u003c/em>, and they have crafted, in collaboration with lead Alexander Hero and a cast of well-grounded, improvisation-oriented actors, a breezily enigmatic yarn that hangs out in the unincorporated territory between waking and dreaming, and reality and paranoia.\u003c/p>\n\u003cp>\u003cem>Overwhelm the Sky\u003c/em> is inevitably descended from a host of San Francisco touchstones, which in this case adds to one’s viewing pleasure. The ill-fated protagonist of Frank Norris’ \u003cem>McTeague\u003c/em> comes to mind, especially if you recall his deluded, desperate trip to the desert in \u003cem>Greed\u003c/em>, Erich Von Stroheim’s timeless silent screen adaptation. The restless urban energy of the Beats, the nocturnal yearnings of local filmmaker Rob Nilsson’s tough-luck characters (he makes a too-short cameo in \u003cem>Overwhelm the Sky\u003c/em>), the hard edge of American-style capitalism that underlies and sabotages relationships in Jon Jost’s films—it’s there if you want to see it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Overwhelm the Sky\u003c/em> plays one night only, July 28 at the \u003ca href=\"https://www.roxie.com/ai1ec_event/overwhelm-the-sky/?instance_id=35187\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a>, in a dressed-up, 1960s-era roadshow format that includes an overture, intermission, entr’acte, printed programs (!) and more. Daniel Kremer does not lack for ambition, persistence, bravery and talent, and his work deserves a wider audience. \u003ci>—Michael Fox\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Daniel Kremer’s endlessly intriguing independent feature, \u003cem>Overwhelm the Sky\u003c/em>, probes and plays with the entwined myths that drove San Francisco’s romantic reputation for much of the 20th century: An open-handed, open-minded haven for creative, quasi-intellectual seekers and seers, and a gateway to the wild-open West for restless wanderers and self-sufficient loners.\u003c/p>\n\u003cp>Eddie Huntly, recently arrived from the other coast, inherits an acquaintance’s job hosting a late-night interview and call-in program. The show’s fringey guests, who appeal to an audience of insomniacs, and the characters that Eddie encounters on his walks in Golden Gate Park, are oddballs and outsiders of one variety or another.\u003c/p>\n\u003cp>Like a noir hero—or victim—of yore, Huntly lives in a world of handwritten letters, LPs, landlines and pay phones. And, appropriately, evocative black-and-white cinematography, courtesy of DP Aaron Hollander. I probably don’t have to tell you that Eddy is also haunted—by the death of his close friend (a tech entrepreneur, in a nod to the world \u003cem>we\u003c/em> live in) in a mugging in our great park. \u003c/p>\n\u003cfigure id=\"attachment_13861918\" class=\"wp-caption aligncenter\" style=\"max-width: 1250px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/OverwhelmTheSky.jpg\" alt=\"Still from 'Overwhelm the Sky.'\" width=\"1250\" height=\"600\" class=\"size-full wp-image-13861918\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/OverwhelmTheSky.jpg 1250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/OverwhelmTheSky-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/OverwhelmTheSky-800x384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/OverwhelmTheSky-768x369.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/OverwhelmTheSky-1020x490.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/OverwhelmTheSky-1200x576.jpg 1200w\" sizes=\"(max-width: 1250px) 100vw, 1250px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Overwhelm the Sky.’ \u003ccite>(Courtesy of Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kremer and Hollander were inspired by Charles Brockden Brown’s 1899 novel \u003cem>Edgar Huntly, or Memories of a Sleepwalker\u003c/em>, and they have crafted, in collaboration with lead Alexander Hero and a cast of well-grounded, improvisation-oriented actors, a breezily enigmatic yarn that hangs out in the unincorporated territory between waking and dreaming, and reality and paranoia.\u003c/p>\n\u003cp>\u003cem>Overwhelm the Sky\u003c/em> is inevitably descended from a host of San Francisco touchstones, which in this case adds to one’s viewing pleasure. The ill-fated protagonist of Frank Norris’ \u003cem>McTeague\u003c/em> comes to mind, especially if you recall his deluded, desperate trip to the desert in \u003cem>Greed\u003c/em>, Erich Von Stroheim’s timeless silent screen adaptation. The restless urban energy of the Beats, the nocturnal yearnings of local filmmaker Rob Nilsson’s tough-luck characters (he makes a too-short cameo in \u003cem>Overwhelm the Sky\u003c/em>), the hard edge of American-style capitalism that underlies and sabotages relationships in Jon Jost’s films—it’s there if you want to see it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Well, if Tom Hanks playing Mr. Rogers doesn’t get your week off to the right start, I don’t know what will.\u003c/p>\n\u003cp>In the trailer for \u003cem>A Beautiful Day in the Neighborhood\u003c/em>, released this morning, Hanks plays Fred Rogers in all his wholesome glory—complimenting strangers on the subway, discussing the complexity of feelings, and yes, tossing his shoe from one hand to the other.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-VLEPhfEN2M\u003c/p>\n\u003cp>The film is released Thanksgiving 2019. In the meantime, catch up on \u003ca href=\"https://www.kqed.org/news/11756665/5-things-you-didnt-know-about-tom-hanks-east-bay-roots\" rel=\"noopener\" target=\"_blank\">all of Tom Hanks’ East Bay roots\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their critic’s picks for this weekend at the audio link above, or read about each event below. \u003c/p>\n\u003cp>\u003cstrong>BBQ’in While Black\u003c/strong>: The huge celebration at Lake Merritt returns on Sunday, July 21, even bigger than ever to reclaim black space along the shoreline. (Read KQED columnist \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" rel=\"noopener\" target=\"_blank\">Pendarvis Harshaw on last year’s celebration\u003c/a>.) \u003ca href=\"https://www.kqed.org/arts/13861227/grill-against-gentrification-at-bbqn-while-black\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The San Francisco Art Book Fair\u003c/strong>: Three days, over 100 exhibitors, and thousands upon thousands of art books, zines, periodicals, monographs—it’s nuts. Friday–Sunday, July 19–21, at Minnesota Street Project in San Francsico. \u003ca href=\"https://sfartbookfair.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Rates of Disappearance’\u003c/strong>: Artist Marshall Elliott’s sculpture about radioactivity, international signal codes, measurement and submarines at an apartment gallery in Vallejo is our small, out-of-the-way pick for the week. Opening reception is Saturday, July 20, at Brittany Gallery. \u003ca href=\"https://www.instagram.com/brittany.vallejo.art/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Hellman Summer Stomp\u003c/strong>: A fun, anything-goes band dedicated to the life and music of Warren Hellman, who made a pile of money in finance and used it to \u003ca href=\"https://www.kqed.org/arts/13810342/where-have-all-the-warren-hellmans-gone\" rel=\"noopener\" target=\"_blank\">found the Hardly Strictly Bluegrass Festival\u003c/a> in San Francisco—a free, non-corporate event for the people. Expect plenty of pickin’ and grinnin’ on Sunday, July 21, at the Sweetwater Music Hall in Mill Valley. \u003ca href=\"https://www.sweetwatermusichall.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Haunted: Gothic Tales by Women’\u003c/strong>: SFMOMA’s Modern Cinema series returns with a slate of films based on gothic stories by women. Our recommendation is \u003cem>Interview With the Vampire\u003c/em>, which screens on Saturday, July 20, and stars the holy trinity of ’90s idols: Christian Slater, Tom Cruise, and Brad Pitt. \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-gothic-film/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>40th Street Block Party\u003c/strong>: Who are The Coverups, you ask? The headlining band at this Oakland block party in Temescal is a kinda-secret side project of Billie Joe Armstrong from Green Day, playing classic punk and rock songs—the Replacements, the Misfits, David Bowie and many, many others. After \u003ca href=\"https://twitter.com/gmeline/status/972013256545001473\" rel=\"noopener\" target=\"_blank\">a string of shows at tiny, sweaty bars\u003c/a>, this is their first big outdoor show. That’s Saturday, July 20, in Oakland. \u003ca href=\"https://temescaldistrict.org/events/40th-street-block-party-2019/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their critic’s picks for this weekend at the audio link above, or read about each event below. \u003c/p>\n\u003cp>\u003cstrong>BBQ’in While Black\u003c/strong>: The huge celebration at Lake Merritt returns on Sunday, July 21, even bigger than ever to reclaim black space along the shoreline. (Read KQED columnist \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" rel=\"noopener\" target=\"_blank\">Pendarvis Harshaw on last year’s celebration\u003c/a>.) \u003ca href=\"https://www.kqed.org/arts/13861227/grill-against-gentrification-at-bbqn-while-black\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The San Francisco Art Book Fair\u003c/strong>: Three days, over 100 exhibitors, and thousands upon thousands of art books, zines, periodicals, monographs—it’s nuts. Friday–Sunday, July 19–21, at Minnesota Street Project in San Francsico. \u003ca href=\"https://sfartbookfair.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Rates of Disappearance’\u003c/strong>: Artist Marshall Elliott’s sculpture about radioactivity, international signal codes, measurement and submarines at an apartment gallery in Vallejo is our small, out-of-the-way pick for the week. Opening reception is Saturday, July 20, at Brittany Gallery. \u003ca href=\"https://www.instagram.com/brittany.vallejo.art/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Hellman Summer Stomp\u003c/strong>: A fun, anything-goes band dedicated to the life and music of Warren Hellman, who made a pile of money in finance and used it to \u003ca href=\"https://www.kqed.org/arts/13810342/where-have-all-the-warren-hellmans-gone\" rel=\"noopener\" target=\"_blank\">found the Hardly Strictly Bluegrass Festival\u003c/a> in San Francisco—a free, non-corporate event for the people. Expect plenty of pickin’ and grinnin’ on Sunday, July 21, at the Sweetwater Music Hall in Mill Valley. \u003ca href=\"https://www.sweetwatermusichall.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Haunted: Gothic Tales by Women’\u003c/strong>: SFMOMA’s Modern Cinema series returns with a slate of films based on gothic stories by women. Our recommendation is \u003cem>Interview With the Vampire\u003c/em>, which screens on Saturday, July 20, and stars the holy trinity of ’90s idols: Christian Slater, Tom Cruise, and Brad Pitt. \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-gothic-film/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>40th Street Block Party\u003c/strong>: Who are The Coverups, you ask? The headlining band at this Oakland block party in Temescal is a kinda-secret side project of Billie Joe Armstrong from Green Day, playing classic punk and rock songs—the Replacements, the Misfits, David Bowie and many, many others. After \u003ca href=\"https://twitter.com/gmeline/status/972013256545001473\" rel=\"noopener\" target=\"_blank\">a string of shows at tiny, sweaty bars\u003c/a>, this is their first big outdoor show. That’s Saturday, July 20, in Oakland. \u003ca href=\"https://temescaldistrict.org/events/40th-street-block-party-2019/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Linda Ronstadt, Michael Tilson Thomas Among Kennedy Center 2019 Honorees",
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"content": "\u003cp>The band Earth, Wind & Fire, actress Sally Field, singer Linda Ronstadt, television program \u003cem>Sesame Street\u003c/em> and conductor Michael Tilson Thomas are the next recipients of one of the most prestigious U.S. awards for lifetime artistic achievement: the Kennedy Center Honors. The John F. Kennedy Center for the Performing Arts made the announcement today.\u003c/p>\n\u003cp>The Bay Area is represented in two of the honorees: Michael Tilson Thomas, music director and conductor of the San Francisco Symphony, and Linda Ronstadt, longtime resident of Pacific Heights.\u003c/p>\n\u003cp>“The Kennedy Center Honors celebrates icons who, through their artistry, have left an indelible stamp on our collective cultural consciousness,” Kennedy Center Chairman David M. Rubenstein said in a prepared statement. Later in that statement, the institution stated that its Honors are not limited by art form or category of achievement: “The primary criterion in the selection process is excellence.”\u003c/p>\n\u003cp>This year’s class of honorees, the 42nd annual since 1978, is eclectic as usual. \u003c/p>\n\u003cp>Founded in 1969, the group \u003ca href=\"https://www.npr.org/artists/15402896/earth-wind-fire\">Earth, Wind & Fire\u003c/a> created a deeply grooving and horn-driven sound at the intersection of many strands of black-origin popular music: funk, R&B, soul, disco, rock, jazz and more. Known for an elaborate stage show, its major recorded hits still have currency on the dance floor — \u003ca href=\"https://www.npr.org/2014/09/19/349621429/the-song-that-never-ends-why-earth-wind-fires-september-sustains\">“September,”\u003c/a> “Shining Star” and “Let’s Groove” among them. Following the 2016 death of founder Maurice White, the award will be presented to singer Philip Bailey, bassist Verdine White and percussionist Ralph Johnson.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I remember when Verdine and Maurice came over to the house and asked me to be a part of the group,” Johnson \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4944398\">said to NPR’s Ed Gordon\u003c/a> in 2005. “I did mention to them, I says, ‘You know what? There’s one thing. I want to have the best band in the whole world.’ And they looked at each other, smiled and said, ‘You’re in.’ We all had that same common goal, and it wasn’t about the bling — it was about the music.”\u003c/p>\n\u003cp>The vocalist \u003ca href=\"https://www.npr.org/artists/15335239/linda-ronstadt\">Linda Ronstadt\u003c/a> also worked across genres for decades, including country, rock, musical theater and traditional Mexican music. Also like EWF, she’s a member of the Rock and Roll Hall of Fame, and boasts a long list of hits such as “You’re No Good,” “Long Long Time,” “When Will I Be Loved,” “Don’t Know Much” (with Aaron Neville) and “Blue Bayou.” At one time among the biggest draws in popular music, Ronstadt has retired from performing due to what she later learned was Parkinson’s disease, but has written a memoir and toured a one-woman show.\u003c/p>\n\u003cp>“I had a long turn at the trough,” \u003ca href=\"https://www.npr.org/2013/09/17/223172521/in-memoir-linda-ronstadt-describes-her-simple-dreams\">she said to Terry Gross\u003c/a> on \u003cem>Fresh Air\u003c/em> in 2013. “You know, I’m grateful for the time I had. I got to live a lot of my dreams, and I feel lucky about it.”\u003c/p>\n\u003cfigure id=\"attachment_13861651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13861651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1920x1274.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The John F. Kennedy Center for the Performing Arts, pictured here in 2014, has announced this year’s class of Kennedy Center Honors recipients.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15806461/michael-tilson-thomas\">Michael Tilson Thomas\u003c/a> is best known as the music director of the San Francisco Symphony, where he has championed modern American composers alongside established European masters. Previously, he conducted several orchestras (including the London Symphony Orchestra, where he is conductor laureate), and he has composed work for orchestra and small ensembles.\u003c/p>\n\u003cp>He also co-founded and remains artistic director of the New World Symphony, a Miami-based fellowship program for up-and-coming classical performers. In 2004, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4176932\">he told NPR’s Ari Shapiro\u003c/a> that he was happy to pass on other prestigious opportunities in favor of guiding the next generation of musicians. “I used to, with great frustration, say, ‘Oh, well, it will have to be in the next lifetime,'” Thomas said. “Now it’s with great peace, resignation and relief that I say, ‘Oh, it’ll have to be the next lifetime.'”\u003c/p>\n\u003cp>Throughout a career that began in the 1960s, actress Sally Field has accumulated a long list of major roles. Once known for playing wholesome characters in sitcoms, she says she fought typecasting to break into film; she’s now remembered for complex titular roles on the miniseries \u003cem>Sybil \u003c/em>and the feature film \u003cem>Norma Rae\u003c/em>. Those are among the projects which won her two Oscars and three Emmys (and a Tony nomination to boot).\u003c/p>\n\u003cp>“Do I still have that gnawing, hair-on-fire feeling of needing more and wanting to reach out for something that’s just outside of my grasp?” \u003ca href=\"https://www.npr.org/2018/09/11/646723297/sally-field-wasnt-sure-shed-have-the-guts-to-publish-her-new-memoir\">she said to NPR’s Ari Shapiro\u003c/a> after publishing her memoir in 2018. “Yes, totally. Yes. But can I now look back and feel the length that I’ve traveled? Yes. And I couldn’t do that before.”\u003c/p>\n\u003cp>The children’s television program \u003cem>Sesame Street\u003c/em> was launched in 1969 to answer the question: Could children learn from television? After 50 years of Big Bird, Oscar the Grouch, Bert and Ernie, the answer seems to be yes. The co-founders of the show, Joan Ganz Cooney and Lloyd Morrisett, will accept the award on behalf of the program and the nonprofit organization behind it, Sesame Workshop. The cast recently visited NPR for a \u003ca href=\"https://www.npr.org/2019/06/10/730381700/sesame-street-tiny-desk-concert\">Tiny Desk Concert\u003c/a>.\u003c/p>\n\u003cp>All the recipients released statements thanking the Kennedy Center for the recognition. Cooney and Morrisett of Sesame Workshop said that the honor is a testament to all who help carry out their mission to make children “smarter, stronger and kinder.”\u003c/p>\n\u003cp>The awards are presented in a gala performance at the Kennedy Center on Sunday, Dec. 8, and filmed by CBS for a primetime special airing Sunday, Dec. 15 at 8 p.m. ET. Major stars of music, film, theater and other performing arts are often present to give tribute performances and speeches.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Traditionally, the sitting U.S. president attends the gala, barring pressing international travel. However, President Trump has now \u003ca href=\"https://www.npr.org/2018/11/15/668207540/trumps-plan-to-skip-kennedy-center-honors-again\">declined to attend two years in a row\u003c/a>, making him the first president to have missed the event twice. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kennedy+Center+Announces+2019+Honorees&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The band Earth, Wind & Fire, actress Sally Field, singer Linda Ronstadt, television program \u003cem>Sesame Street\u003c/em> and conductor Michael Tilson Thomas are the next recipients of one of the most prestigious U.S. awards for lifetime artistic achievement: the Kennedy Center Honors. The John F. Kennedy Center for the Performing Arts made the announcement today.\u003c/p>\n\u003cp>The Bay Area is represented in two of the honorees: Michael Tilson Thomas, music director and conductor of the San Francisco Symphony, and Linda Ronstadt, longtime resident of Pacific Heights.\u003c/p>\n\u003cp>“The Kennedy Center Honors celebrates icons who, through their artistry, have left an indelible stamp on our collective cultural consciousness,” Kennedy Center Chairman David M. Rubenstein said in a prepared statement. Later in that statement, the institution stated that its Honors are not limited by art form or category of achievement: “The primary criterion in the selection process is excellence.”\u003c/p>\n\u003cp>This year’s class of honorees, the 42nd annual since 1978, is eclectic as usual. \u003c/p>\n\u003cp>Founded in 1969, the group \u003ca href=\"https://www.npr.org/artists/15402896/earth-wind-fire\">Earth, Wind & Fire\u003c/a> created a deeply grooving and horn-driven sound at the intersection of many strands of black-origin popular music: funk, R&B, soul, disco, rock, jazz and more. Known for an elaborate stage show, its major recorded hits still have currency on the dance floor — \u003ca href=\"https://www.npr.org/2014/09/19/349621429/the-song-that-never-ends-why-earth-wind-fires-september-sustains\">“September,”\u003c/a> “Shining Star” and “Let’s Groove” among them. Following the 2016 death of founder Maurice White, the award will be presented to singer Philip Bailey, bassist Verdine White and percussionist Ralph Johnson.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I remember when Verdine and Maurice came over to the house and asked me to be a part of the group,” Johnson \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4944398\">said to NPR’s Ed Gordon\u003c/a> in 2005. “I did mention to them, I says, ‘You know what? There’s one thing. I want to have the best band in the whole world.’ And they looked at each other, smiled and said, ‘You’re in.’ We all had that same common goal, and it wasn’t about the bling — it was about the music.”\u003c/p>\n\u003cp>The vocalist \u003ca href=\"https://www.npr.org/artists/15335239/linda-ronstadt\">Linda Ronstadt\u003c/a> also worked across genres for decades, including country, rock, musical theater and traditional Mexican music. Also like EWF, she’s a member of the Rock and Roll Hall of Fame, and boasts a long list of hits such as “You’re No Good,” “Long Long Time,” “When Will I Be Loved,” “Don’t Know Much” (with Aaron Neville) and “Blue Bayou.” At one time among the biggest draws in popular music, Ronstadt has retired from performing due to what she later learned was Parkinson’s disease, but has written a memoir and toured a one-woman show.\u003c/p>\n\u003cp>“I had a long turn at the trough,” \u003ca href=\"https://www.npr.org/2013/09/17/223172521/in-memoir-linda-ronstadt-describes-her-simple-dreams\">she said to Terry Gross\u003c/a> on \u003cem>Fresh Air\u003c/em> in 2013. “You know, I’m grateful for the time I had. I got to live a lot of my dreams, and I feel lucky about it.”\u003c/p>\n\u003cfigure id=\"attachment_13861651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13861651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1920x1274.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The John F. Kennedy Center for the Performing Arts, pictured here in 2014, has announced this year’s class of Kennedy Center Honors recipients.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15806461/michael-tilson-thomas\">Michael Tilson Thomas\u003c/a> is best known as the music director of the San Francisco Symphony, where he has championed modern American composers alongside established European masters. Previously, he conducted several orchestras (including the London Symphony Orchestra, where he is conductor laureate), and he has composed work for orchestra and small ensembles.\u003c/p>\n\u003cp>He also co-founded and remains artistic director of the New World Symphony, a Miami-based fellowship program for up-and-coming classical performers. In 2004, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4176932\">he told NPR’s Ari Shapiro\u003c/a> that he was happy to pass on other prestigious opportunities in favor of guiding the next generation of musicians. “I used to, with great frustration, say, ‘Oh, well, it will have to be in the next lifetime,'” Thomas said. “Now it’s with great peace, resignation and relief that I say, ‘Oh, it’ll have to be the next lifetime.'”\u003c/p>\n\u003cp>Throughout a career that began in the 1960s, actress Sally Field has accumulated a long list of major roles. Once known for playing wholesome characters in sitcoms, she says she fought typecasting to break into film; she’s now remembered for complex titular roles on the miniseries \u003cem>Sybil \u003c/em>and the feature film \u003cem>Norma Rae\u003c/em>. Those are among the projects which won her two Oscars and three Emmys (and a Tony nomination to boot).\u003c/p>\n\u003cp>“Do I still have that gnawing, hair-on-fire feeling of needing more and wanting to reach out for something that’s just outside of my grasp?” \u003ca href=\"https://www.npr.org/2018/09/11/646723297/sally-field-wasnt-sure-shed-have-the-guts-to-publish-her-new-memoir\">she said to NPR’s Ari Shapiro\u003c/a> after publishing her memoir in 2018. “Yes, totally. Yes. But can I now look back and feel the length that I’ve traveled? Yes. And I couldn’t do that before.”\u003c/p>\n\u003cp>The children’s television program \u003cem>Sesame Street\u003c/em> was launched in 1969 to answer the question: Could children learn from television? After 50 years of Big Bird, Oscar the Grouch, Bert and Ernie, the answer seems to be yes. The co-founders of the show, Joan Ganz Cooney and Lloyd Morrisett, will accept the award on behalf of the program and the nonprofit organization behind it, Sesame Workshop. The cast recently visited NPR for a \u003ca href=\"https://www.npr.org/2019/06/10/730381700/sesame-street-tiny-desk-concert\">Tiny Desk Concert\u003c/a>.\u003c/p>\n\u003cp>All the recipients released statements thanking the Kennedy Center for the recognition. Cooney and Morrisett of Sesame Workshop said that the honor is a testament to all who help carry out their mission to make children “smarter, stronger and kinder.”\u003c/p>\n\u003cp>The awards are presented in a gala performance at the Kennedy Center on Sunday, Dec. 8, and filmed by CBS for a primetime special airing Sunday, Dec. 15 at 8 p.m. ET. Major stars of music, film, theater and other performing arts are often present to give tribute performances and speeches.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Traditionally, the sitting U.S. president attends the gala, barring pressing international travel. However, President Trump has now \u003ca href=\"https://www.npr.org/2018/11/15/668207540/trumps-plan-to-skip-kennedy-center-honors-again\">declined to attend two years in a row\u003c/a>, making him the first president to have missed the event twice. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kennedy+Center+Announces+2019+Honorees&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Lots Of Love And One Big Lie — 'The Farewell' Reminds Us Time Is Short",
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"content": "\u003cp>\u003cem>The Farewell \u003c/em>opens with five cheeky words: “based on an actual lie.” This funny, melancholy ensemble drama was inspired by an experience that the writer-director Lulu Wang and her family went through years ago, when they were told that Wang’s grandmother was terminally ill. They decided to keep her in the dark about her diagnosis, hoping to spare her unnecessary fear and anxiety — an extreme decision, perhaps, but one that the movie suggests is hardly unheard of among Chinese families.\u003c/p>\n\u003cp>Wang’s on-screen alter ego is Billi, a broke, unemployed New Yorker in her early 30s, played superbly by Awkwafina. Billi moved to the U.S. with her parents when she was 6, but she has fond memories of her early years in the northern Chinese city of Changchun, and she retains a close bond with her paternal grandmother — that’s “Nai Nai” in Chinese.\u003c/p>\n\u003cp>One day she’s visiting her parents, played by Tzi Ma and Diana Lin, and they tell her that Nai Nai has only a few months to live. Billi’s parents go on to explain that the family has decided not to tell Nai Nai her prognosis. Instead, a phony wedding is being thrown for her cousin in China as a hasty excuse for a family reunion.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Farewell | Official Trailer HD | A24\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/RofpAjqwMa8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Billi is urged not to come, as everyone fears that she’ll spill the beans. But she buys a plane ticket anyway, catching her parents and other relatives off-guard. Billi disapproves of the family’s dishonesty, and although she goes along with it, she tries to persuade them to tell Nai Nai the truth. But they dismiss her attitude as typical of her youthful naivete and her self-centered American upbringing. Westerners may grieve with hugs and tears, but in their view, the most profound expressions of love and devotion are the ones that remain unspoken.\u003c/p>\n\u003cp>Wang has a thing for stories about death and deception: She made her feature directing debut with \u003cem>Posthumous\u003c/em>, a 2014 comedy about an artist who fakes his own suicide. In \u003cem>The Farewell\u003c/em>, she mines a lot of humor from the family’s scheme, from the last-minute wedding preparations to the manipulation of Nai Nai’s medical test results. Wang and her actors capture the anxiety of a celebration where no one is really in a celebratory mood, and one false word or move could spell disaster.\u003c/p>\n\u003cp>But \u003cem>The Farewell \u003c/em>doesn’t need a lot of farcical complications to pull us in. Wang knows that it’s fascinating enough to be a fly on the wall at this family gathering. I was reminded of the dim-sum lunches and lavish dinner banquets that took up a good chunk of my Chinese American youth. And yes, I was reminded of my own indomitable grandmother, who, just like Billi’s Nai Nai, knows that the truest way to say “I love you” is to heap food onto your plate, whether you asked for it or not.\u003c/p>\n\u003cp>Billi’s grandmother is played in a pitch-perfect performance by Zhao Shuzhen, who all but glows with stubbornness, exasperation and pride. The bond between grandmother and granddaughter is lovely to behold, and Awkwafina, such a memorable scene stealer in last year’s \u003cem>Crazy Rich Asians\u003c/em>, is a marvel in her first dramatic starring role. Speaking mostly in fluent but slightly faltering Mandarin, she plays Billi as a young woman trapped between two worlds, having never fully recovered from the loneliness of leaving China as a young girl.\u003c/p>\n\u003cp>Billi isn’t the only character wrestling with her cultural identity. The strongest scene is a verbal sparring match involving her parents, aunts and uncles: Some of them cling proudly to their Chinese identity, while others acknowledge the better opportunities they’ve found in America and elsewhere abroad. Wang leaves these arguments unresolved, which is not to say she’s wholly ambivalent. She drops in small, isolated moments of social critique, glimpses of a modern China whose much-touted prosperity has come at an undeniable human cost.\u003c/p>\n\u003cp>As personal as this material must be for Wang, it’s her emotional restraint that paradoxically makes the film so moving. Occasionally she’ll go in for a closeup, but most of the time she likes to frame her characters in group shots, as though asserting the importance of everyone’s point of view. \u003cem>The Farewell \u003c/em>left me thinking about the beautiful imperfection of every family, and the importance of treating our loved ones with decency and humility every chance we get. Our time together is too short, whether we know it or not.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\n\u003cp>[ad fullwidth]\u003c/p>\n\u003c/div>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Farewell \u003c/em>opens with five cheeky words: “based on an actual lie.” This funny, melancholy ensemble drama was inspired by an experience that the writer-director Lulu Wang and her family went through years ago, when they were told that Wang’s grandmother was terminally ill. They decided to keep her in the dark about her diagnosis, hoping to spare her unnecessary fear and anxiety — an extreme decision, perhaps, but one that the movie suggests is hardly unheard of among Chinese families.\u003c/p>\n\u003cp>Wang’s on-screen alter ego is Billi, a broke, unemployed New Yorker in her early 30s, played superbly by Awkwafina. Billi moved to the U.S. with her parents when she was 6, but she has fond memories of her early years in the northern Chinese city of Changchun, and she retains a close bond with her paternal grandmother — that’s “Nai Nai” in Chinese.\u003c/p>\n\u003cp>One day she’s visiting her parents, played by Tzi Ma and Diana Lin, and they tell her that Nai Nai has only a few months to live. Billi’s parents go on to explain that the family has decided not to tell Nai Nai her prognosis. Instead, a phony wedding is being thrown for her cousin in China as a hasty excuse for a family reunion.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Farewell | Official Trailer HD | A24\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/RofpAjqwMa8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Billi is urged not to come, as everyone fears that she’ll spill the beans. But she buys a plane ticket anyway, catching her parents and other relatives off-guard. Billi disapproves of the family’s dishonesty, and although she goes along with it, she tries to persuade them to tell Nai Nai the truth. But they dismiss her attitude as typical of her youthful naivete and her self-centered American upbringing. Westerners may grieve with hugs and tears, but in their view, the most profound expressions of love and devotion are the ones that remain unspoken.\u003c/p>\n\u003cp>Wang has a thing for stories about death and deception: She made her feature directing debut with \u003cem>Posthumous\u003c/em>, a 2014 comedy about an artist who fakes his own suicide. In \u003cem>The Farewell\u003c/em>, she mines a lot of humor from the family’s scheme, from the last-minute wedding preparations to the manipulation of Nai Nai’s medical test results. Wang and her actors capture the anxiety of a celebration where no one is really in a celebratory mood, and one false word or move could spell disaster.\u003c/p>\n\u003cp>But \u003cem>The Farewell \u003c/em>doesn’t need a lot of farcical complications to pull us in. Wang knows that it’s fascinating enough to be a fly on the wall at this family gathering. I was reminded of the dim-sum lunches and lavish dinner banquets that took up a good chunk of my Chinese American youth. And yes, I was reminded of my own indomitable grandmother, who, just like Billi’s Nai Nai, knows that the truest way to say “I love you” is to heap food onto your plate, whether you asked for it or not.\u003c/p>\n\u003cp>Billi’s grandmother is played in a pitch-perfect performance by Zhao Shuzhen, who all but glows with stubbornness, exasperation and pride. The bond between grandmother and granddaughter is lovely to behold, and Awkwafina, such a memorable scene stealer in last year’s \u003cem>Crazy Rich Asians\u003c/em>, is a marvel in her first dramatic starring role. Speaking mostly in fluent but slightly faltering Mandarin, she plays Billi as a young woman trapped between two worlds, having never fully recovered from the loneliness of leaving China as a young girl.\u003c/p>\n\u003cp>Billi isn’t the only character wrestling with her cultural identity. The strongest scene is a verbal sparring match involving her parents, aunts and uncles: Some of them cling proudly to their Chinese identity, while others acknowledge the better opportunities they’ve found in America and elsewhere abroad. Wang leaves these arguments unresolved, which is not to say she’s wholly ambivalent. She drops in small, isolated moments of social critique, glimpses of a modern China whose much-touted prosperity has come at an undeniable human cost.\u003c/p>\n\u003cp>As personal as this material must be for Wang, it’s her emotional restraint that paradoxically makes the film so moving. Occasionally she’ll go in for a closeup, but most of the time she likes to frame her characters in group shots, as though asserting the importance of everyone’s point of view. \u003cem>The Farewell \u003c/em>left me thinking about the beautiful imperfection of every family, and the importance of treating our loved ones with decency and humility every chance we get. Our time together is too short, whether we know it or not.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>For those of us who weren’t alive in the 1930s and are not remotely nostalgic about that globally menacing period, the current moment is deeply disturbing. Look at it this way: In the 39 years that the \u003ca href=\"https://jfi.org/sfjff-2019\" rel=\"noopener\" target=\"_blank\">S.F. Jewish Film Festival\u003c/a> (July 18–Aug. 4) has existed, no other local festival has shown as many films about the ’30s. Those cautionary historical parables and visceral documentaries, for all their resonance, didn’t reflect present-day events. Now they do.\u003c/p>\n\u003cp>The autumnal palette and ominous rumblings (on the radio and in the streets) with which veteran Austrian director Nikolaus Lautner infuses his adaptation of \u003cem>The Tobacconist\u003c/em>, Robert Seethaler’s novel about a village teenager’s sexual and moral awakening in 1937 Vienna, provide an undercurrent of dread to what, in another time and place, would be “just” a bittersweet coming-of-age story.\u003c/p>\n\u003cp>Franz’s youthful perspective is limited, of course, but he has the good sense to pursue an acquaintanceship with wise old Sigmund Freud (Bruno Ganz, in one of his final roles), a regular customer at the small tobacco shop where he works. Freud encourages Franz to write down his dreams—which Lautner depicts beautifully, if not subtly, and which tap into the undercurrents of Franz’s confusion as well as Austria’s collective unconscious as it bubbles to the surface.\u003c/p>\n\u003cp>To be sure, the SFJFF program encompasses every genre of filmmaking on a host of subjects. The Holocaust, its roots and ongoing repercussions, retains its attraction to filmmakers, and remains one of the SFJFF’s central themes. The comforting distance between the past and the present seems to have evaporated, however, and that’s an unsettling feeling. \u003ci>—Michael Fox\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For those of us who weren’t alive in the 1930s and are not remotely nostalgic about that globally menacing period, the current moment is deeply disturbing. Look at it this way: In the 39 years that the \u003ca href=\"https://jfi.org/sfjff-2019\" rel=\"noopener\" target=\"_blank\">S.F. Jewish Film Festival\u003c/a> (July 18–Aug. 4) has existed, no other local festival has shown as many films about the ’30s. Those cautionary historical parables and visceral documentaries, for all their resonance, didn’t reflect present-day events. Now they do.\u003c/p>\n\u003cp>The autumnal palette and ominous rumblings (on the radio and in the streets) with which veteran Austrian director Nikolaus Lautner infuses his adaptation of \u003cem>The Tobacconist\u003c/em>, Robert Seethaler’s novel about a village teenager’s sexual and moral awakening in 1937 Vienna, provide an undercurrent of dread to what, in another time and place, would be “just” a bittersweet coming-of-age story.\u003c/p>\n\u003cp>Franz’s youthful perspective is limited, of course, but he has the good sense to pursue an acquaintanceship with wise old Sigmund Freud (Bruno Ganz, in one of his final roles), a regular customer at the small tobacco shop where he works. Freud encourages Franz to write down his dreams—which Lautner depicts beautifully, if not subtly, and which tap into the undercurrents of Franz’s confusion as well as Austria’s collective unconscious as it bubbles to the surface.\u003c/p>\n\u003cp>To be sure, the SFJFF program encompasses every genre of filmmaking on a host of subjects. The Holocaust, its roots and ongoing repercussions, retains its attraction to filmmakers, and remains one of the SFJFF’s central themes. The comforting distance between the past and the present seems to have evaporated, however, and that’s an unsettling feeling. \u003ci>—Michael Fox\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>BISBEE, Ariz. (AP) — The darkest, most violent chapter in the history of Bisbee was an open secret for decades in the funky old Arizona copper town 7 miles (11 kilometers) north of the U.S.-Mexico border.\u003c/p>\n\u003cp>But few residents knew the details of how about 1,200 miners, most of them immigrants, were pulled violently from their homes a century ago by a private police force and put on cattle cars for their deportation to a desolate area of New Mexico.\u003c/p>\n\u003cp>The filming of “Bisbee ’17,” a documentary about what happened July 12, 1917, was a history lesson for residents recruited to play historical figures in the production filmed exactly 100 years later that weds documentary and collective performance. It is, at turns, a Western, a musical and a ghost story.\u003c/p>\n\u003cp>https://youtu.be/XSs599e3yZ4\u003c/p>\n\u003cp>The film mixes the town’s past and present, the residents dressed in period clothing but moving through present-day Bisbee. Newly deputized strikebreakers with ancient guns stand in a classroom complete with an overhead projector and modern light figures. “Enjoy the AC while you’ve got it!” a man standing at the front of a modern bus tells residents dressed as miners as they travel to the rail cars for their deportation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After premiering last year at the Sundance Film Festival, “Bisbee ’17” will be nationally broadcast for the first time Monday night on the PBS documentary series POV. In Arizona, it will be shown at 9 p.m.\u003c/p>\n\u003cp>It’s the sixth film for director Robert Greene, filmmaker-in-chief for the Murray Center for Documentary Journalism at the University of Missouri. A previous film “Kate Plays Christine” won a Jury Award for Writing at Sundance 2016. “Owning The Weather,” his first documentary, was screened at the COP15 Climate Change Conference in Copenhagen.\u003c/p>\n\u003cp>Greene said he learned of the town of Bisbee around 15 years ago when he first visited southeastern Arizona to help his then-future mother-in-law fix up an old cabin.\u003c/p>\n\u003cp>“I completely fell in love with the town,” Greene said of the quirky community of old hippies, immigrants, biker mechanics and descendants of miners and company executives. The town today leans to the political left and has an active cultural scene that includes live theatre. It features Victorian-style houses built on hilly terrain, along with other architectural gems. The gaping hole at Bisbee’s edge that was once the Lavender Pit copper mine is a constant reminder the area’s mining history.\u003c/p>\n\u003cp>Greene said he started thinking of ways to make a film about the Bisbee deportation shortly after learning about it. As the 100th anniversary approached two years ago, he said, “we knew it was time.”\u003c/p>\n\u003cp>The documentary tells how the bosses at the Phelps Dodge copper mining operation feared a strike by miners who sympathized with the “Wobblies,” members of the radical Industrial Workers of the World.\u003c/p>\n\u003cfigure id=\"attachment_13861357\" class=\"wp-caption alignleft\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861357\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2.jpeg\" alt=\"Town residents dressed in period costume stand in a modern day classroom in "Bisbee '17," as they re-enact the deputizing of a private police force that broke up a brewing strike at a copper mine on July 12, 1917.\" width=\"1000\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2.jpeg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-768x432.jpeg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Town residents dressed in period costume stand in a modern day classroom in “Bisbee ’17,” as they re-enact the deputizing of a private police force that broke up a brewing strike at a copper mine on July 12, 1917. \u003ccite>(Jarred Alterman/4th Row Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The U.S. had just entered World War I, and company executives worried that foreign-born miners would try to hamper the war effort.\u003c/p>\n\u003cp>Working with mining bosses, the local sheriff hastily deputized about 2,000 strikebreakers to round up about 1,200 miners, mostly immigrants from Mexico and eastern Europe. They were led by gunpoint to the baseball field in the nearby community of Warren, locked inside train cars and shipped off to Hermanas, New Mexico.\u003c/p>\n\u003cp>The narrative emerges through the residents’ personal stories: a woman whose grandfather deported his brother; a former mining company boss who remains convinced the deportation was justified; and Fernando Serrano, 23, whose mother had been deported back to her native Mexico and jailed on drug charges.\u003c/p>\n\u003cp>Viewers watch Serrano undergo a political awakening as he plays the role of a Mexican miner, singing the Spanish-language version of the union anthem “Solidarity Forever” to the tune of the “Battle Hymn of the Republic.”\u003c/p>\n\u003cp>While exorcising the demons of Bisbee’s past, the townspeople make a statement about today’s treatment of marginalized people, the filmmaker said.\u003c/p>\n\u003cp>“You cannot keep from what is happening at the border when you watch the film,” said Greene, referring to the chaos that has erupted along the U.S.-Mexico border as the Trump administration seeks to keep out a wave of asylum-seekers, mostly from Central America.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It echoes other moments in our nation’s history when fear was used to motivate opposition,” he said.\u003c/p>\n\u003cdiv id=\"ntv1097657-0-14501\" class=\"FeedCard WireStory with-image ntv-feed ntv1097657-0-14501 ntvClickOut\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After premiering last year at the Sundance Film Festival, “Bisbee ’17” will be nationally broadcast for the first time Monday night on the PBS documentary series POV. In Arizona, it will be shown at 9 p.m.\u003c/p>\n\u003cp>It’s the sixth film for director Robert Greene, filmmaker-in-chief for the Murray Center for Documentary Journalism at the University of Missouri. A previous film “Kate Plays Christine” won a Jury Award for Writing at Sundance 2016. “Owning The Weather,” his first documentary, was screened at the COP15 Climate Change Conference in Copenhagen.\u003c/p>\n\u003cp>Greene said he learned of the town of Bisbee around 15 years ago when he first visited southeastern Arizona to help his then-future mother-in-law fix up an old cabin.\u003c/p>\n\u003cp>“I completely fell in love with the town,” Greene said of the quirky community of old hippies, immigrants, biker mechanics and descendants of miners and company executives. The town today leans to the political left and has an active cultural scene that includes live theatre. It features Victorian-style houses built on hilly terrain, along with other architectural gems. The gaping hole at Bisbee’s edge that was once the Lavender Pit copper mine is a constant reminder the area’s mining history.\u003c/p>\n\u003cp>Greene said he started thinking of ways to make a film about the Bisbee deportation shortly after learning about it. As the 100th anniversary approached two years ago, he said, “we knew it was time.”\u003c/p>\n\u003cp>The documentary tells how the bosses at the Phelps Dodge copper mining operation feared a strike by miners who sympathized with the “Wobblies,” members of the radical Industrial Workers of the World.\u003c/p>\n\u003cfigure id=\"attachment_13861357\" class=\"wp-caption alignleft\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861357\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2.jpeg\" alt=\"Town residents dressed in period costume stand in a modern day classroom in "Bisbee '17," as they re-enact the deputizing of a private police force that broke up a brewing strike at a copper mine on July 12, 1917.\" width=\"1000\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2.jpeg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-768x432.jpeg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Town residents dressed in period costume stand in a modern day classroom in “Bisbee ’17,” as they re-enact the deputizing of a private police force that broke up a brewing strike at a copper mine on July 12, 1917. \u003ccite>(Jarred Alterman/4th Row Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The U.S. had just entered World War I, and company executives worried that foreign-born miners would try to hamper the war effort.\u003c/p>\n\u003cp>Working with mining bosses, the local sheriff hastily deputized about 2,000 strikebreakers to round up about 1,200 miners, mostly immigrants from Mexico and eastern Europe. They were led by gunpoint to the baseball field in the nearby community of Warren, locked inside train cars and shipped off to Hermanas, New Mexico.\u003c/p>\n\u003cp>The narrative emerges through the residents’ personal stories: a woman whose grandfather deported his brother; a former mining company boss who remains convinced the deportation was justified; and Fernando Serrano, 23, whose mother had been deported back to her native Mexico and jailed on drug charges.\u003c/p>\n\u003cp>Viewers watch Serrano undergo a political awakening as he plays the role of a Mexican miner, singing the Spanish-language version of the union anthem “Solidarity Forever” to the tune of the “Battle Hymn of the Republic.”\u003c/p>\n\u003cp>While exorcising the demons of Bisbee’s past, the townspeople make a statement about today’s treatment of marginalized people, the filmmaker said.\u003c/p>\n\u003cp>“You cannot keep from what is happening at the border when you watch the film,” said Greene, referring to the chaos that has erupted along the U.S.-Mexico border as the Trump administration seeks to keep out a wave of asylum-seekers, mostly from Central America.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It echoes other moments in our nation’s history when fear was used to motivate opposition,” he said.\u003c/p>\n\u003cdiv id=\"ntv1097657-0-14501\" class=\"FeedCard WireStory with-image ntv-feed ntv1097657-0-14501 ntvClickOut\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>SFFILM’s annual survey of new movies from Asia’s erstwhile filmmaking capital, \u003ca href=\"https://sffilm.org/year-round-programming/2019-hong-kong-cinema/\" rel=\"noopener\" target=\"_blank\">Hong Kong Cinema\u003c/a> (July 12–14 at the Roxie, except for the opening night screening of \u003cem>Tracey\u003c/em> at New People Cinema), provides a fascinating snapshot of a national cinema in flux. Producers, directors and actors, understandably, are tempted to appeal to the immense Chinese market. But seeking favor in China can mean losing hometown fans, especially with Hong Kong’s youth flooding the streets to protest anti-democracy laws proposed by Chinese authorities.\u003c/p>\n\u003cp>How does an HK filmmaker maintain credibility \u003cem>and\u003c/em> a viable career? Artists are notoriously idiosyncratic, thankfully, so commercial films made in Hong Kong frequently play with mainstream conventions and assumptions. Lee Cheuk-pan’s celebrated debut feature, \u003cem>G Affairs\u003c/em>, sets out as a highly stylized murder mystery involving a corrupt cop and his high-achieving daughter, a world-weary prostitute and a high school cellist. The director constructs his cool exposure of a societal epidemic of self-interest via an array of details, objects and sound cues starting with the letter G.\u003c/p>\n\u003cfigure id=\"attachment_13860882\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Missbehavior-1_1200.jpg\" alt=\"Still from 'Missbehavior.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13860882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Missbehavior-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Missbehavior-1_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Missbehavior-1_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Missbehavior-1_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Missbehavior-1_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Missbehavior.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jessy Tsang’s \u003cem>The Lady Improper\u003c/em> flaunts expectations through the distinctly adult performance of former teenage pop star Charlene Choi. Her character, a sexually repressed and newly divorced gynecological nurse (!), finds her muse, so to speak, in the virile chef hired to rescue her ailing father’s restaurant. Some of the sex and nudity was excised by the producers for the film’s domestic release; Hong Kong Cinema will show the uncut version.\u003c/p>\n\u003cp>Crowd-pleasing comedy is represented by Pang Ho-Cheung’s raunchy \u003cem>Missbehavior\u003c/em>, which breathlessly tracks the frenetic, citywide efforts of a desperate executive assistant and her pals to replace her boss’s breast milk (which said assistant unwittingly poured into a client’s coffee). \u003cem>Missbehavior\u003c/em> is satisfying lowbrow fun, which is to say a quasi-feminist pseudo-parable for the masses—\u003cem>wherever\u003c/em> they live.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>SFFILM’s annual survey of new movies from Asia’s erstwhile filmmaking capital, \u003ca href=\"https://sffilm.org/year-round-programming/2019-hong-kong-cinema/\" rel=\"noopener\" target=\"_blank\">Hong Kong Cinema\u003c/a> (July 12–14 at the Roxie, except for the opening night screening of \u003cem>Tracey\u003c/em> at New People Cinema), provides a fascinating snapshot of a national cinema in flux. Producers, directors and actors, understandably, are tempted to appeal to the immense Chinese market. But seeking favor in China can mean losing hometown fans, especially with Hong Kong’s youth flooding the streets to protest anti-democracy laws proposed by Chinese authorities.\u003c/p>\n\u003cp>How does an HK filmmaker maintain credibility \u003cem>and\u003c/em> a viable career? Artists are notoriously idiosyncratic, thankfully, so commercial films made in Hong Kong frequently play with mainstream conventions and assumptions. Lee Cheuk-pan’s celebrated debut feature, \u003cem>G Affairs\u003c/em>, sets out as a highly stylized murder mystery involving a corrupt cop and his high-achieving daughter, a world-weary prostitute and a high school cellist. The director constructs his cool exposure of a societal epidemic of self-interest via an array of details, objects and sound cues starting with the letter G.\u003c/p>\n\u003cfigure id=\"attachment_13860882\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Missbehavior-1_1200.jpg\" alt=\"Still from 'Missbehavior.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13860882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Missbehavior-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Missbehavior-1_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Missbehavior-1_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Missbehavior-1_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Missbehavior-1_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Missbehavior.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jessy Tsang’s \u003cem>The Lady Improper\u003c/em> flaunts expectations through the distinctly adult performance of former teenage pop star Charlene Choi. Her character, a sexually repressed and newly divorced gynecological nurse (!), finds her muse, so to speak, in the virile chef hired to rescue her ailing father’s restaurant. Some of the sex and nudity was excised by the producers for the film’s domestic release; Hong Kong Cinema will show the uncut version.\u003c/p>\n\u003cp>Crowd-pleasing comedy is represented by Pang Ho-Cheung’s raunchy \u003cem>Missbehavior\u003c/em>, which breathlessly tracks the frenetic, citywide efforts of a desperate executive assistant and her pals to replace her boss’s breast milk (which said assistant unwittingly poured into a client’s coffee). \u003cem>Missbehavior\u003c/em> is satisfying lowbrow fun, which is to say a quasi-feminist pseudo-parable for the masses—\u003cem>wherever\u003c/em> they live.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Marianne & Leonard: Words of Love\u003c/em>, a warmly absorbing new documentary by British filmmaker Nick Broomfield, opens with an image of a beautiful young Norwegian woman steering a sailboat off the sun-soaked Greek island of Hydra. The footage, which was shot by famed documentarian and Broomfield mentor D.A. Pennebaker on a visit to the island in the 1960s, recurs from slightly different angles throughout the film. But Marianne Ihlen — an early lover of Leonard Cohen and the subject of several of his most famous songs including “So Long Marianne” — doesn’t steer this moving, sympathetic, but ultimately frustrating tribute. Perhaps inevitably, Cohen does, via Broomfield’s fascination with the singer’s tortured relations with the many women he romanced.\u003c/p>\n\u003cp>Ihlen and Cohen met in 1960 on Hydra, which at that time was forming as a hub of literary hippies with full subscriptions to the sexual revolution. The two had in common uncommon physical beauty and a sense of themselves as refugees, she from an abusive partner, he from the Orthodox Jewish family that both confined and inspired him. They became lovers, and Ihlen sustained Cohen through the writing of his early novel \u003cem>Beautiful Losers\u003c/em>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"MARIANNE & LEONARD WORDS OF LOVE | Official Trailer | Roadside Attractions\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/LB6nIzPf9r8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Juggling a deftly edited mix of footage, the voices of Cohen and Ihlen, and well-chosen testimony from friends of both, Broomfield covers the often excruciating bouts of parting and reconnecting that marked their relationship. Theirs was a love match, everyone agrees, but a brief one with a long tail of grief for Marianne, who repeatedly put her own life (and, tragically, that of her son Axel) on hold to be there for Cohen. Once he found his voice and his fortune as a singer, Marianne gradually got left behind, though he supported her financially, and their liaison sputtered on between Greece, Norway, Montreal and New York as Cohen got fully on board for free love.\u003c/p>\n\u003cp>With his trademark blithe disregard for the boundaries between narrative and non-fiction, Broomfield has cheerfully inserted himself into a bunch of impish but keenly observed and compassionate portraits of, respectively, Hollywood madam Heidi Fleiss, rocker Courtney Love, serial killer Aileen Wuornos and Sarah Palin. Depending on how you feel about his resolutely non-ideological approach, \u003cem>Marianne & Leonard\u003c/em> is either the best thing he’s done or uncharacteristically circumspect, almost self-effacing. I say almost because Broomfield casually admits up front that he was, briefly, Marianne’s lover on Hydra, and the two remained friends until her death from leukemia in 2016.\u003c/p>\n\u003cp>The film is his least transgressive, but also most mature portrait of a woman who, by her own admission, suffered from crippling insecurities exacerbated by the claims to artistry of those she hung out with. Counterculture enclaves were rife with such women, and though Cohen waxes ecstatic onscreen about the movement’s gender parity, Broomfield (a bit of an Apollo in his youth too) gives the hippie moment its due while remaining admirably clear-eyed about the emotional wreckage and broken families that the sexual revolution left in its wake.\u003c/p>\n\u003cp>\u003cem>Marianne & Leonard\u003c/em> founders, though, in sticking Ihlen within the vexing label of muse, which in its mostly male iteration functions as code for a passive beauty who makes the meals and clears the terrain, makes no demands and sits — in Marianne’s case, quite literally — at the feet of genius. (She’d have needed heroic reserves of forbearance to cope with choice cuts of early Cohen-speak like this one: “When I got up in the morning I had to decide whether I was in a state of grace.”) Genius, in return, is full of worship until the muse wears out her welcome. We see Marianne only through the attenuating fog of her beauty and her equable nature, where she languishes as a placeholder for all the women Cohen loved (or at least obsessed over) and left.\u003c/p>\n\u003cp>Late in life Cohen is heard regretting his own heedlessness. It’s not that Broomfield has cooked the books of Marianne’s history with Cohen. Indeed to the degree that he ever takes sides he’s with her and, probably correctly, identifies her as a somewhat tragic casualty. But though his focus keeps veering away to Cohen, he allows another woman, the vivacious and psychologically astute Aviva Layton (who was married to Cohen’s friend and fellow writer Irving Layton and knows the price of taking up with a congenital escape artist) to provide crucial insight into Marianne’s plight, as well as the reasons why she was so widely beloved of men and women alike. Layton is perceptive, too, about Cohen’s symbiotic bond with his intense mother, from whom he inherited a lifelong struggle with depression, and about her influence on his inability to sustain relationships with women.\u003c/p>\n\u003cp>As she lay dying in a hospital, Ihlen asked a friend to contact Cohen. Close to death himself, he wrote her a widely publicized letter of farewell, only this time minus the grandiloquence. “So Long, Marianne” is a beautiful melody, but willy-nilly, Broomfield’s sensitive tribute to its subject — and object — makes crystal-clear why it was never her favorite of his songs.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Marianne & Leonard: Words of Love\u003c/em>, a warmly absorbing new documentary by British filmmaker Nick Broomfield, opens with an image of a beautiful young Norwegian woman steering a sailboat off the sun-soaked Greek island of Hydra. The footage, which was shot by famed documentarian and Broomfield mentor D.A. Pennebaker on a visit to the island in the 1960s, recurs from slightly different angles throughout the film. But Marianne Ihlen — an early lover of Leonard Cohen and the subject of several of his most famous songs including “So Long Marianne” — doesn’t steer this moving, sympathetic, but ultimately frustrating tribute. Perhaps inevitably, Cohen does, via Broomfield’s fascination with the singer’s tortured relations with the many women he romanced.\u003c/p>\n\u003cp>Ihlen and Cohen met in 1960 on Hydra, which at that time was forming as a hub of literary hippies with full subscriptions to the sexual revolution. The two had in common uncommon physical beauty and a sense of themselves as refugees, she from an abusive partner, he from the Orthodox Jewish family that both confined and inspired him. They became lovers, and Ihlen sustained Cohen through the writing of his early novel \u003cem>Beautiful Losers\u003c/em>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"MARIANNE & LEONARD WORDS OF LOVE | Official Trailer | Roadside Attractions\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/LB6nIzPf9r8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Juggling a deftly edited mix of footage, the voices of Cohen and Ihlen, and well-chosen testimony from friends of both, Broomfield covers the often excruciating bouts of parting and reconnecting that marked their relationship. Theirs was a love match, everyone agrees, but a brief one with a long tail of grief for Marianne, who repeatedly put her own life (and, tragically, that of her son Axel) on hold to be there for Cohen. Once he found his voice and his fortune as a singer, Marianne gradually got left behind, though he supported her financially, and their liaison sputtered on between Greece, Norway, Montreal and New York as Cohen got fully on board for free love.\u003c/p>\n\u003cp>With his trademark blithe disregard for the boundaries between narrative and non-fiction, Broomfield has cheerfully inserted himself into a bunch of impish but keenly observed and compassionate portraits of, respectively, Hollywood madam Heidi Fleiss, rocker Courtney Love, serial killer Aileen Wuornos and Sarah Palin. Depending on how you feel about his resolutely non-ideological approach, \u003cem>Marianne & Leonard\u003c/em> is either the best thing he’s done or uncharacteristically circumspect, almost self-effacing. I say almost because Broomfield casually admits up front that he was, briefly, Marianne’s lover on Hydra, and the two remained friends until her death from leukemia in 2016.\u003c/p>\n\u003cp>The film is his least transgressive, but also most mature portrait of a woman who, by her own admission, suffered from crippling insecurities exacerbated by the claims to artistry of those she hung out with. Counterculture enclaves were rife with such women, and though Cohen waxes ecstatic onscreen about the movement’s gender parity, Broomfield (a bit of an Apollo in his youth too) gives the hippie moment its due while remaining admirably clear-eyed about the emotional wreckage and broken families that the sexual revolution left in its wake.\u003c/p>\n\u003cp>\u003cem>Marianne & Leonard\u003c/em> founders, though, in sticking Ihlen within the vexing label of muse, which in its mostly male iteration functions as code for a passive beauty who makes the meals and clears the terrain, makes no demands and sits — in Marianne’s case, quite literally — at the feet of genius. (She’d have needed heroic reserves of forbearance to cope with choice cuts of early Cohen-speak like this one: “When I got up in the morning I had to decide whether I was in a state of grace.”) Genius, in return, is full of worship until the muse wears out her welcome. We see Marianne only through the attenuating fog of her beauty and her equable nature, where she languishes as a placeholder for all the women Cohen loved (or at least obsessed over) and left.\u003c/p>\n\u003cp>Late in life Cohen is heard regretting his own heedlessness. It’s not that Broomfield has cooked the books of Marianne’s history with Cohen. Indeed to the degree that he ever takes sides he’s with her and, probably correctly, identifies her as a somewhat tragic casualty. But though his focus keeps veering away to Cohen, he allows another woman, the vivacious and psychologically astute Aviva Layton (who was married to Cohen’s friend and fellow writer Irving Layton and knows the price of taking up with a congenital escape artist) to provide crucial insight into Marianne’s plight, as well as the reasons why she was so widely beloved of men and women alike. Layton is perceptive, too, about Cohen’s symbiotic bond with his intense mother, from whom he inherited a lifelong struggle with depression, and about her influence on his inability to sustain relationships with women.\u003c/p>\n\u003cp>As she lay dying in a hospital, Ihlen asked a friend to contact Cohen. Close to death himself, he wrote her a widely publicized letter of farewell, only this time minus the grandiloquence. “So Long, Marianne” is a beautiful melody, but willy-nilly, Broomfield’s sensitive tribute to its subject — and object — makes crystal-clear why it was never her favorite of his songs.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Midsommar' Shines: A Solstice Nightmare Unfolds In Broad Daylight",
"headTitle": "‘Midsommar’ Shines: A Solstice Nightmare Unfolds In Broad Daylight | KQED",
"content": "\u003cp>In the viscerally unnerving films of Ari Aster, there’s nothing more horrific than the reality of human grief. His haunted-house thriller, \u003ca href=\"https://www.npr.org/2018/06/06/617500062/a-family-moves-from-tragedy-to-terror-in-hereditary\" target=\"_blank\" rel=\"noopener\">\u003cem>Hereditary\u003c/em>\u003c/a>, followed a family rocked by traumas so devastating that the eventual scenes of devil-worshipping naked boogeymen almost came as a relief. Aster’s new movie, \u003cem>Midsommar\u003c/em>, doesn’t pack quite as terrifying a knockout punch, but it casts its own weirdly hypnotic spell. This is a slow-burning and deeply absorbing piece of filmmaking, full of strikingly beautiful images and driven less by shocks than ideas. It’s not interested in frightening you so much as seeping into your nervous system.\u003c/p>\n\u003cp>[aside postID='arts_13834624,pop_112213' label='Ari Aster, Auteur']\u003c/p>\n\u003cp>And like \u003cem>Hereditary\u003c/em>, \u003cem>Midsommar \u003c/em>is very much rooted in loss. It begins with a young American woman named Dani, played by the great English actress Florence Pugh, panicking over a family emergency that moves swiftly toward its worst possible outcome. As she tries to pick up the broken pieces of her life, Dani seeks solace from her boyfriend, Christian, and is surprised to learn that he’s about to go on a trip with some of his grad-school buddies. They’re headed to a remote Swedish commune that is holding a nine-day festival to observe the summer solstice. Dani presses him about why he didn’t tell her earlier, and an argument ensues.\u003c/p>\n\u003cp>The handsome Irish actor Jack Reynor clues you in to the selfishness beneath Christian’s quiet, sensitive-sounding demeanor. Dani doesn’t know that he was about to end their four-year relationship before tragedy struck, and he’s only staying with her now out of a sense of obligation. Christian reluctantly invites her to join him in Sweden, and she accepts, to the irritation of some of his friends, who don’t want his mopey girlfriend along to spoil their fun.\u003c/p>\n\u003cp>They fly to Sweden and, after a few hours’ drive, arrive at a remote, centuries-old village where they are greeted by about 60 men and women wearing white robes embroidered with mysterious symbols. They are known as the Hårga, and they invite their American guests to participate in each day’s festivities, which include lavish feasts, silent meditations, exhausting maypole dances and the consumption of various mind-altering drugs. Aster has a gift for dreaming up fictitious subcultures, and he visualizes these ancient customs and artifacts with an almost anthropological attention to detail. The Hårga seem benevolent enough at first, and there’s something comforting about their strange rituals and their intimate communion with nature.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/1Vnghdsjmd0\u003c/p>\n\u003cp>But then the mood takes a sinister turn and Dani and Christian’s traveling companions start to disappear. The story owes a clear debt to\u003cem> The Wicker Man\u003c/em>, Robin Hardy’s 1973 horror classic about a pagan fertility cult, but \u003cem>Midsommar \u003c/em>is more ambiguous and slower to come into focus. This is a nightmare that unfolds in broad daylight, under a midnight sun that bears down relentlessly on the landscape. The sun could almost be a metaphor for Dani’s grief, something ever-present and all-consuming, especially since Christian seems to take so little interest in consoling her.\u003c/p>\n\u003cp>Aster has said that he was inspired to write \u003cem>Midsommar \u003c/em>after the end of a long-term relationship, and that Dani’s experience is a fictionalized version of his own. Whatever the real-life details, he’s made the ultimate bad-boyfriend movie, a withering portrait of emotional neglect that has nothing nice to say about Christian, his petty-minded friends or, indeed, the state of contemporary American masculinity. \u003c/p>\n\u003cp>Among other things, \u003cem>Midsommar \u003c/em>is a wickedly funny movie about the clash between pagan traditions and the ways of the modern world. One of its more provocative notions is that Dani may in fact be better off with the Hårga, with their seemingly selfless, utopian way of life. Sex and death, a source of so much pain and anxiety in the outside world, are here just part of life’s unending cycle.\u003c/p>\n\u003cp>\u003cem>Midsommar \u003c/em>is in no rush to solve its many mysteries. The third act is full of surreal images of revelry and ritual sacrifice, plus a sex scene that’s as hilarious as it is appalling. What you remember most is Pugh’s quietly mesmerizing performance. Your sympathies are with Dani at every moment, and so are the movie’s. Toward the end she fixes the camera with an extraordinary look of terror and exultation, as she beholds the stunning fate that awaits her. Her story may begin in heartbreak and end in madness, but Aster ensures that she gets the last laugh. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener\">Fresh Air\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
"meta": {
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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}
},
"city-arts": {
"id": "city-arts",
"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",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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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
},
"link": "/podcasts/closealltabs",
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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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"link": "/radio/program/code-switch-life-kit",
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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": {
"site": "news",
"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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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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}
},
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"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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"link": "/radio/program/fresh-air",
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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": {
"id": "how-i-built-this",
"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",
"subscribe": {
"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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"rss": "https://feeds.npr.org/510313/podcast.xml"
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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",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"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",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"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",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"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/",
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