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"content": "\u003cp>“HEAR ME, X-MEN! NO LONGER am I the woman you KNEW! I AM FIRE! I AM LIFE INCARNATE! Now and FOREVER … I AM PHOENIX!”\u003c/p>\n\u003cp>That’s how the character of Jean Grey, powerful telekinetic telepath and charter member of the X-Men, reintroduced herself to her teammates in 1976’s \u003cem>Uncanny X-Men #101\u003c/em>, shortly after she was seemingly killed by a solar flare while on a space mission. \u003c/p>\n\u003cp>Everything about that moment was swoony, operatic, larger-than-life: the energy that wreathed her body without consuming it (later revealed to be a cosmic entity of immeasurable power bonded to Jean’s body and mind); the way her long red hair billowed around her face as if the artist had caught her midway through her DryBar appointment; her eyes, now as disquietingly white as a Harold Bloom syllabus; the newly jagged shape of her word balloons (comics shorthand for “somethin’s hinky here”); her new superhero outfit, a green jumpsuit replete with shiny gold thigh boots, shiny gold evening gloves and, most Marvel-ously, a shiny gold sash tied at, and hanging with a kind of kicky insouciance from, her hip. \u003c/p>\n\u003cp>(The sash, you guys. The \u003cem>sash\u003c/em>.)\u003c/p>\n\u003cp>And then there was that dialogue, of course. At once chewily grandiloquent (“HEAR ME, X-MEN!”), vaguely redundant (“life incarnate,” really?), and also, in one important respect (“Now and FOREVER … I AM PHOENIX!”) factually wrong.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Because just 33 issues later, the character called Phoenix underwent a heel-turn, attacked her teammates, and announced a new, \u003cem>new \u003c/em>moniker (being careful to do so in the third person, as villains are so dang wont to do).\u003c/p>\n\u003cp>“Ask not for pity from DARK PHOENIX … There is none in her.”\u003c/p>\n\u003cp>So began the Dark Phoenix Saga, arguably superhero comics’ most beloved storyline. \u003c/p>\n\u003cp>Why? Well, for one thing: that \u003cem>sash tho.\u003c/em>\u003c/p>\n\u003cp>But sure, also it was full of angst and heartbreak and betrayals and tragedy and the kind of truly cosmic stakes that were still rare even for Marvel superhero comics (read: Dark Phoenix eats a sun—I’ll repeat that for those in the back—homegirl \u003cem>EATS\u003c/em> a damn \u003cem>SUN\u003c/em>, wiping out a planet of 5 million beings in the process).\u003c/p>\n\u003cp>It was a time, in comics, when both characters and narrators had grown particularly chatty; Chris Claremont’s word balloons and expository text so crowded John Byrne and Terry Austin’s panels you often felt like you had to crane your neck to make out what the hell was going on.\u003c/p>\n\u003cp>Even so: The Dark Phoenix Saga held, and holds, a powerful grip on comics readers’ hearts. It’s been reprinted and revisited often, on and off the four-color page. (Makes sense that the character would keep coming back: She’s called \u003cem>Phoenix\u003c/em>, fer pity’s sake, and superhero narratives would never leave a lily like that un-gilded.) The ’90s animated \u003cem>X-Men\u003c/em> series faithfully adapted her tragic tale, ensuring its narrative virus would invade a new generation of hosts. Brett Ratner’s messy 2006 \u003cem>X-Men: The Last Stand \u003c/em>watered it down to a thin, nearly unrecognizable gruel flecked across its 104-minute running time; in his hammy fists, what was once a stirring saga became hopelessly saggy. \u003c/p>\n\u003cp>X-Men properties work, to the extent they do, by adopting a mutants-as-metaphor approach to storytelling. Our heroes are outcasts, freaks, feared by “normal” humans, which tees them up quite tidily to serve as symbolic stand-ins for any Other you care to name. In the civil rights ’60s, X-Men stories resonated most strongly as racial allegories. Director Bryan Singer brought out their queer subtext (“Have you tried … \u003cem>not \u003c/em>being a mutant?”), but the Dark Phoenix Saga was written in the era of the ERA and functions as a broad, unmissable feminist metaphor for the struggle of women to achieve and exert control over their own destinies.\u003c/p>\n\u003cp>It’s not … an \u003cem>un\u003c/em>problematic one, on the surface at least. I mean: It’s about a woman who regularly loses control of herself and her emotions (geddit?), endangering the men and women (mostly men) around her. Also she’s becoming \u003cem>even more powerful than her male teammates \u003c/em>(gasp! horror!) so naturally she must be stopped, right? Turns out, the only thing that \u003cem>can \u003c/em>keep her in check is the unfathomable love (unfathomable as in: very deep, and also as in: difficult to fathom) she feels for Her Man, an emo jock hiding behind his ruby-quartz Foster Grants.\u003c/p>\n\u003cp>But there’s something else, something a bit deeper at work. Because the Dark Phoenix Saga ultimately revealed itself to be about Jean’s realization that she’d been the victim of psychic manipulation by two men—the evil Mastermind (see above, re: on-the-nose naming conventions) and the well-intentioned Professor Xavier. We learn that Jean’s power isn’t a result of her “losing control” exactly—rather, it stems from her rejecting patriarchal attempts to assume control over her by these two men, who wish to channel her power for their own reasons. She rejects them, and gets some satisfyingly nasty revenge on Mastermind, while giving Professor X, Cyclops and the rest of the X-Men a kind of cosmic hit-the-bricks. (Technically, she sacrifices herself to protect them from the dark entity inside her, but we’re talking \u003cem>overarching \u003c/em>metaphor, here.) \u003c/p>\n\u003cp>The Dark Phoenix Saga, folks: Over-the-top, swing-for-the-fences cosmic storytelling, full of purple prose and turgid dialogue and overwrought, gleefully melodramatic excess.\u003c/p>\n\u003cp>In other words: It’s quintessential X-Men.\u003c/p>\n\u003cp>https://youtu.be/azvR__GRQic\u003c/p>\n\u003cp>Which brings us, finally, to the film \u003cem>Dark Phoenix\u003c/em>. Appropriately enough, in a movie named for a bird that features largely in ancient myth, it’s a swan song, of sorts. Barring the long-delayed \u003cem>New Mutants \u003c/em>(currently slated for April of next year), \u003cem>Dark Phoenix\u003c/em> would seem to be the film that turns out the lights and locks the doors on Twentieth Century Fox’s corner of the Marvel universe. And what better way to do so than with a story full of hubris and tragedy and sundry finalities, big and small.\u003c/p>\n\u003cp>Yeah, well.\u003c/p>\n\u003cp>Remember how I said how the Dark Phoenix Saga in the comics (and to a lesser extent, the animated series), was marked by overwrought, gleefully melodramatic excess?\u003c/p>\n\u003cp>\u003cem>Dark Phoenix\u003c/em> gets it half right. It’s overwrought. It’s melodramatic. And X-Men being X-Men, that’s actually two marks in the win column.\u003c/p>\n\u003cp>But there’s no swoony excess here, and \u003cem>certainly \u003c/em>nothing gleeful. \u003cem>Dour Phoenix\u003c/em>, more like.\u003c/p>\n\u003cp>As written and directed by Simon Kinberg, who’s co-written and produced a few X-films before this, it feels sized down to the scale of the first prequel, \u003cem>X-Men: First Class\u003c/em>. That’s not a bad thing: That stylish little 2011 film gave the franchise a much-needed clean bill of health by cutting out the bloat of \u003cem>X-Men: Last Stand\u003c/em> and introducing James McAvoy and Michael Fassbender as Charles “Professor X” Xavier and Erik “Magneto” Lehnsherr. McAvoy was charming, Fassbender wore a crisp white shirt and killed Nazis. Talk about gleeful.\u003c/p>\n\u003cp>But the bloat seeped back into the franchise gradually, and with Singer’s disastrous, puzzling \u003cem>X-Men: Apocalypse\u003c/em>, it threatened to kill the patient. \u003cem>Dark Phoenix\u003c/em>—smartly, I think—keeps the cosmic action of the comics largely earthbound. Even smartly-er, it comes in at under two hours. We lose the saga’s sweep and scope, and when it comes to Jean’s ultimate culpability in this Dark Phoenix’s (much much more modest) body count, the film cheats a bit—but then, so did the comics, after the fact. \u003c/p>\n\u003cp>Characters turn against one another in ways that the comics had ample time to lay plenty of track for, but that the film can’t and doesn’t. The dialogue is clunky, and at times it turns so deeply purple you expect it to break into “Smoke on the Water”—but hey, it’s X-Men. The closest thing we get to a joke is a scene in which McAvoy gets to call up the surprising smarminess he brought to the Xavier character in \u003cem>First Class\u003c/em>, as he soaks up the adulation of a grateful nation at an event in the White House. \u003c/p>\n\u003cp>\u003cem>Days of Future Past,\u003c/em> as you may recall, featured an assured, innovative set-piece involving the speedster Quicksilver (Evan Peters) running around a room so fast it appeared the world had stopped around him. There’s nothing that matches that bracing newness here, and in fact the only truly memorable set-piece occurs aboard a train at the film’s climax. The special effects are so matter-of-factly mapped onto the world of the film that they soon cease to register as special—which is the goal, after all. \u003c/p>\n\u003cp>Nowadays we’re inundated with films that teem with characters who hurl plasma bolts or unleash psychic blasts or channel magnetic waves or whatever. Teams of CGI professionals are tasked with animating those uncanny forces so convincingly we temporarily forget that these movies often just come down to two or more obscenely paid, classically trained actors standing stock-still in the middle of a soundstage while grimacing at each other.\u003c/p>\n\u003cp>(We \u003cem>do \u003c/em>get some heroes battling other heroes on the streets of Manhattan, as any true-believin’ Marvel fan expects and demands.)\u003c/p>\n\u003cp>The smartest and best thing about \u003cem>Dark Phoenix \u003c/em>is its willingness to directly engage with, and update, the metaphorical work the original saga began; the film is much more clearly concerned with Jean’s empowerment and triumph over patriarchal meddling. The stand-in for the evil Mastermind here (Jessica Chastain in an Edgar Winter wig) instead urges her to reject the roles imposed on her by men. Mystique (Jennifer Lawrence) repeatedly calls McAvoy’s Xavier on the carpet for his motivations in general and his manipulation of Jean in particular. \u003c/p>\n\u003cp>They may be the only two distinct female voices in the movie, but they both happen to be exactly right. That’s not nothing. \u003c/p>\n\u003cp>It’s … \u003cem>close\u003c/em> to nothing, but it’s not nothing.\u003c/p>\n\u003cp>A film that exactingly reproduced the Dark Phoenix Saga of the comics would never have worked—it’s impossible to collapse years of comics storytelling, especially the verbose, Byzantine comics storytelling of that particular era, into a two- or even three-hour movie. I understand that.\u003c/p>\n\u003cp>I understand, too, that Phoenix’s garish comic-book costume, wildly impractical as it was, would never translate to film. (Gold evening gloves? Honey, are you challenging someone to \u003cem>arin’n haelar\u003c/em>, the Shi’ar Duel of Honor That Cannot Be Refused, or are you headed to Studio 54?)\u003c/p>\n\u003cp>So I understand why the film instead fits our doughty heroes into matchy-matchy black leather jackets emblazoned with bright yellow X-s. It’s practical, it’s butch and it’s way more functional than that jauntily tied but completely superfluous hip-sash.\u003c/p>\n\u003cp>I miss the hip-sash, though, and I always will. It would have been nice to leave this small, dark, weird corner of the Marvel Universe with an adaptation of a story beloved by millions of fans that managed to stick the dismount. But that’s not what we get here. \u003c/p>\n\u003cp>If it’s truly better to burn out than fade away, \u003cem>Dark Phoenix\u003c/em> contents itself with the latter.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org/\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Because just 33 issues later, the character called Phoenix underwent a heel-turn, attacked her teammates, and announced a new, \u003cem>new \u003c/em>moniker (being careful to do so in the third person, as villains are so dang wont to do).\u003c/p>\n\u003cp>“Ask not for pity from DARK PHOENIX … There is none in her.”\u003c/p>\n\u003cp>So began the Dark Phoenix Saga, arguably superhero comics’ most beloved storyline. \u003c/p>\n\u003cp>Why? Well, for one thing: that \u003cem>sash tho.\u003c/em>\u003c/p>\n\u003cp>But sure, also it was full of angst and heartbreak and betrayals and tragedy and the kind of truly cosmic stakes that were still rare even for Marvel superhero comics (read: Dark Phoenix eats a sun—I’ll repeat that for those in the back—homegirl \u003cem>EATS\u003c/em> a damn \u003cem>SUN\u003c/em>, wiping out a planet of 5 million beings in the process).\u003c/p>\n\u003cp>It was a time, in comics, when both characters and narrators had grown particularly chatty; Chris Claremont’s word balloons and expository text so crowded John Byrne and Terry Austin’s panels you often felt like you had to crane your neck to make out what the hell was going on.\u003c/p>\n\u003cp>Even so: The Dark Phoenix Saga held, and holds, a powerful grip on comics readers’ hearts. It’s been reprinted and revisited often, on and off the four-color page. (Makes sense that the character would keep coming back: She’s called \u003cem>Phoenix\u003c/em>, fer pity’s sake, and superhero narratives would never leave a lily like that un-gilded.) The ’90s animated \u003cem>X-Men\u003c/em> series faithfully adapted her tragic tale, ensuring its narrative virus would invade a new generation of hosts. Brett Ratner’s messy 2006 \u003cem>X-Men: The Last Stand \u003c/em>watered it down to a thin, nearly unrecognizable gruel flecked across its 104-minute running time; in his hammy fists, what was once a stirring saga became hopelessly saggy. \u003c/p>\n\u003cp>X-Men properties work, to the extent they do, by adopting a mutants-as-metaphor approach to storytelling. Our heroes are outcasts, freaks, feared by “normal” humans, which tees them up quite tidily to serve as symbolic stand-ins for any Other you care to name. In the civil rights ’60s, X-Men stories resonated most strongly as racial allegories. Director Bryan Singer brought out their queer subtext (“Have you tried … \u003cem>not \u003c/em>being a mutant?”), but the Dark Phoenix Saga was written in the era of the ERA and functions as a broad, unmissable feminist metaphor for the struggle of women to achieve and exert control over their own destinies.\u003c/p>\n\u003cp>It’s not … an \u003cem>un\u003c/em>problematic one, on the surface at least. I mean: It’s about a woman who regularly loses control of herself and her emotions (geddit?), endangering the men and women (mostly men) around her. Also she’s becoming \u003cem>even more powerful than her male teammates \u003c/em>(gasp! horror!) so naturally she must be stopped, right? Turns out, the only thing that \u003cem>can \u003c/em>keep her in check is the unfathomable love (unfathomable as in: very deep, and also as in: difficult to fathom) she feels for Her Man, an emo jock hiding behind his ruby-quartz Foster Grants.\u003c/p>\n\u003cp>But there’s something else, something a bit deeper at work. Because the Dark Phoenix Saga ultimately revealed itself to be about Jean’s realization that she’d been the victim of psychic manipulation by two men—the evil Mastermind (see above, re: on-the-nose naming conventions) and the well-intentioned Professor Xavier. We learn that Jean’s power isn’t a result of her “losing control” exactly—rather, it stems from her rejecting patriarchal attempts to assume control over her by these two men, who wish to channel her power for their own reasons. She rejects them, and gets some satisfyingly nasty revenge on Mastermind, while giving Professor X, Cyclops and the rest of the X-Men a kind of cosmic hit-the-bricks. (Technically, she sacrifices herself to protect them from the dark entity inside her, but we’re talking \u003cem>overarching \u003c/em>metaphor, here.) \u003c/p>\n\u003cp>The Dark Phoenix Saga, folks: Over-the-top, swing-for-the-fences cosmic storytelling, full of purple prose and turgid dialogue and overwrought, gleefully melodramatic excess.\u003c/p>\n\u003cp>In other words: It’s quintessential X-Men.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/azvR__GRQic'\n title='//www.youtube.com/embed/azvR__GRQic'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Which brings us, finally, to the film \u003cem>Dark Phoenix\u003c/em>. Appropriately enough, in a movie named for a bird that features largely in ancient myth, it’s a swan song, of sorts. Barring the long-delayed \u003cem>New Mutants \u003c/em>(currently slated for April of next year), \u003cem>Dark Phoenix\u003c/em> would seem to be the film that turns out the lights and locks the doors on Twentieth Century Fox’s corner of the Marvel universe. And what better way to do so than with a story full of hubris and tragedy and sundry finalities, big and small.\u003c/p>\n\u003cp>Yeah, well.\u003c/p>\n\u003cp>Remember how I said how the Dark Phoenix Saga in the comics (and to a lesser extent, the animated series), was marked by overwrought, gleefully melodramatic excess?\u003c/p>\n\u003cp>\u003cem>Dark Phoenix\u003c/em> gets it half right. It’s overwrought. It’s melodramatic. And X-Men being X-Men, that’s actually two marks in the win column.\u003c/p>\n\u003cp>But there’s no swoony excess here, and \u003cem>certainly \u003c/em>nothing gleeful. \u003cem>Dour Phoenix\u003c/em>, more like.\u003c/p>\n\u003cp>As written and directed by Simon Kinberg, who’s co-written and produced a few X-films before this, it feels sized down to the scale of the first prequel, \u003cem>X-Men: First Class\u003c/em>. That’s not a bad thing: That stylish little 2011 film gave the franchise a much-needed clean bill of health by cutting out the bloat of \u003cem>X-Men: Last Stand\u003c/em> and introducing James McAvoy and Michael Fassbender as Charles “Professor X” Xavier and Erik “Magneto” Lehnsherr. McAvoy was charming, Fassbender wore a crisp white shirt and killed Nazis. Talk about gleeful.\u003c/p>\n\u003cp>But the bloat seeped back into the franchise gradually, and with Singer’s disastrous, puzzling \u003cem>X-Men: Apocalypse\u003c/em>, it threatened to kill the patient. \u003cem>Dark Phoenix\u003c/em>—smartly, I think—keeps the cosmic action of the comics largely earthbound. Even smartly-er, it comes in at under two hours. We lose the saga’s sweep and scope, and when it comes to Jean’s ultimate culpability in this Dark Phoenix’s (much much more modest) body count, the film cheats a bit—but then, so did the comics, after the fact. \u003c/p>\n\u003cp>Characters turn against one another in ways that the comics had ample time to lay plenty of track for, but that the film can’t and doesn’t. The dialogue is clunky, and at times it turns so deeply purple you expect it to break into “Smoke on the Water”—but hey, it’s X-Men. The closest thing we get to a joke is a scene in which McAvoy gets to call up the surprising smarminess he brought to the Xavier character in \u003cem>First Class\u003c/em>, as he soaks up the adulation of a grateful nation at an event in the White House. \u003c/p>\n\u003cp>\u003cem>Days of Future Past,\u003c/em> as you may recall, featured an assured, innovative set-piece involving the speedster Quicksilver (Evan Peters) running around a room so fast it appeared the world had stopped around him. There’s nothing that matches that bracing newness here, and in fact the only truly memorable set-piece occurs aboard a train at the film’s climax. The special effects are so matter-of-factly mapped onto the world of the film that they soon cease to register as special—which is the goal, after all. \u003c/p>\n\u003cp>Nowadays we’re inundated with films that teem with characters who hurl plasma bolts or unleash psychic blasts or channel magnetic waves or whatever. Teams of CGI professionals are tasked with animating those uncanny forces so convincingly we temporarily forget that these movies often just come down to two or more obscenely paid, classically trained actors standing stock-still in the middle of a soundstage while grimacing at each other.\u003c/p>\n\u003cp>(We \u003cem>do \u003c/em>get some heroes battling other heroes on the streets of Manhattan, as any true-believin’ Marvel fan expects and demands.)\u003c/p>\n\u003cp>The smartest and best thing about \u003cem>Dark Phoenix \u003c/em>is its willingness to directly engage with, and update, the metaphorical work the original saga began; the film is much more clearly concerned with Jean’s empowerment and triumph over patriarchal meddling. The stand-in for the evil Mastermind here (Jessica Chastain in an Edgar Winter wig) instead urges her to reject the roles imposed on her by men. Mystique (Jennifer Lawrence) repeatedly calls McAvoy’s Xavier on the carpet for his motivations in general and his manipulation of Jean in particular. \u003c/p>\n\u003cp>They may be the only two distinct female voices in the movie, but they both happen to be exactly right. That’s not nothing. \u003c/p>\n\u003cp>It’s … \u003cem>close\u003c/em> to nothing, but it’s not nothing.\u003c/p>\n\u003cp>A film that exactingly reproduced the Dark Phoenix Saga of the comics would never have worked—it’s impossible to collapse years of comics storytelling, especially the verbose, Byzantine comics storytelling of that particular era, into a two- or even three-hour movie. I understand that.\u003c/p>\n\u003cp>I understand, too, that Phoenix’s garish comic-book costume, wildly impractical as it was, would never translate to film. (Gold evening gloves? Honey, are you challenging someone to \u003cem>arin’n haelar\u003c/em>, the Shi’ar Duel of Honor That Cannot Be Refused, or are you headed to Studio 54?)\u003c/p>\n\u003cp>So I understand why the film instead fits our doughty heroes into matchy-matchy black leather jackets emblazoned with bright yellow X-s. It’s practical, it’s butch and it’s way more functional than that jauntily tied but completely superfluous hip-sash.\u003c/p>\n\u003cp>I miss the hip-sash, though, and I always will. It would have been nice to leave this small, dark, weird corner of the Marvel Universe with an adaptation of a story beloved by millions of fans that managed to stick the dismount. But that’s not what we get here. \u003c/p>\n\u003cp>If it’s truly better to burn out than fade away, \u003cem>Dark Phoenix\u003c/em> contents itself with the latter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org/\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Last Black Man’ Joins a Short List of Films that Gets San Francisco Right",
"headTitle": "‘Last Black Man’ Joins a Short List of Films that Gets San Francisco Right | KQED",
"content": "\u003cp>Joe Talbot and Jimmie Fails’ ambitious, soulful and clear-eyed debut feature, \u003cem>The Last Black Man in San Francisco\u003c/em>, offers new evidence of a longstanding truth: Nobody sees this city, and the determined nonconformists who make it their home for a while or forever, like the independent filmmakers who live here.\u003c/p>\n\u003cp>Sure, \u003cem>Vertigo\u003c/em> and \u003cem>Mrs. Doubtfire\u003c/em> will always epitomize San Francisco for the masses. But low-budget indies like \u003cem>Heat and Sunlight\u003c/em> (1987), \u003cem>Steal America\u003c/em> (1992), \u003cem>Dream with the Fishes\u003c/em> (1997), \u003cem>North Beach\u003c/em> (2000), \u003cem>Haiku Tunnel\u003c/em> (2001), \u003cem>Medicine for Melancholy\u003c/em> (2008) and \u003cem>Centaur\u003c/em> (2011) captured the zeitgeist of the moment by etching outcasts and artists (not to mention blocks and neighborhoods) more familiar to residents than tourists.\u003c/p>\n\u003cp>That should be a sufficient argument for \u003cem>The Last Black Man in San Francisco\u003c/em> (opening June 7) to be essential viewing for locals. Even better, it’s strewn with ideas without being show-offy, it’s earnest yet unsentimental, and penetrating without being moralistic. As a bonus, Talbot, Fails and their cohorts deftly integrate into the subtly multilayered and multigenerational plot subjects like Jefferson Airplane and Giants fandom, Hunters Point redevelopment and Chinatown fish stands, former Mabuhay Gardens punks and ’00s indie-film wannabe hipsters, interactions on Muni and the solitude of the Bay.\u003c/p>\n\u003cfigure id=\"attachment_13859146\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859146\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200.jpg\" alt=\"Danny Glover and Jonathan Majors in 'The Last Black Man in San Francisco,' 2019.\" width=\"1200\" height=\"724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200-1020x615.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Danny Glover and Jonathan Majors in ‘The Last Black Man in San Francisco,’ 2019. \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The plot, which draws on Fails’ life story, centers on a young black guy (played by Fails) with no permanent residence who’s fixated on the great Fillmore house where his family lived when Jimmy was a boy and which, his father endlessly recounted, his grandfather built. At the start of the story, Jimmy is crashing with best friend Mont (a would-be playwright, played by Jonathan Majors) and Mont’s blind grandfather (Danny Glover, delivering sardonic line readings and representing San Francisco’s once-thriving black middle class).\u003c/p>\n\u003cp>“Every draft had a lot going on from the beginning,” Talbot relates in an interview last week. “Lots of characters and locations that are supposed to evoke feelings of a certain San Francisco. The friendship. Jimmy being in both Hunters Point and the house in the Fillmore, and the different relationships he has in each area. If you lose the friendship, you lose the grounding force. If you lose the elements of the city, you lose what’s so special about San Francisco and why it’s worth fighting for. If you lose the house, you lose the love story. All those things are integral to the film and to Jimmy’s character.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The most obvious way to watch \u003cem>The Last Black Man in San Francisco\u003c/em> is as a parable of gentrification, and a lament for the people pushed out of their homes and ’hoods by economic pressures. That theme, along with the variety of sympathetic representations of black identity, give the movie a national relevance that allows it to travel (and succeed) far beyond its hometown.\u003c/p>\n\u003cfigure id=\"attachment_13859142\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859142\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200.jpg\" alt=\"Jimmie Fails and the house in 'The Last Black Man in San Francisco,' 2019.\" width=\"1200\" height=\"724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200-1020x615.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jimmie Fails and the house in ‘The Last Black Man in San Francisco,’ 2019. \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In cinema, you often see black men portrayed in a certain way,” Fails says. “Athlete, drug dealer, slave—if it’s a period piece. In a modern way, we just wanted to explore all the different types of black people there are—black men, especially, the different nuances and things that set them apart.”\u003c/p>\n\u003cp>A few minutes later, in another room of the Nob Hill hotel where the press day is being held, Rob Morgan (\u003cem>Mudbound\u003c/em>) reframes an overly polite question on the same subject. “How refreshing was it to see some real black men on screen, finally!” he declares with a loud laugh. Morgan plays Jimmy’s father as a suspicious, unbending and unexpectedly elegant man who’s nonetheless past his salad days. But he’s not a villain, which, in another movie, he could be. Or his character might be absent altogether.\u003c/p>\n\u003cp>“It’s been documented how networks and production companies strategically take out the black male presence of the father in movies and TV shows,” Morgan asserts, “and that reflects the society at the same time. Art reflects life; life reflects art. So for 50 years you just keep seeing movies with no black fathers, or he’s a deadbeat or behind on child support, he’s getting killed or he’s in prison. Something that’s just tired, because we see it all the time, and I think that informs society on how to respond to black men in a lot of ways.”\u003c/p>\n\u003cfigure id=\"attachment_13859145\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859145\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200.jpg\" alt=\"Rob Morgan and Jimmie Fails in 'The Last Black Man in San Francisco,' 2019.\" width=\"1200\" height=\"724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200-1020x615.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rob Morgan and Jimmie Fails in ‘The Last Black Man in San Francisco,’ 2019. \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tichina Arnold, a fellow New Yorker who plays Jimmie’s sharp, no-nonsense Aunt Wanda, nods and adds, “I hadn’t had a lot of films cross my path to audition for that were good. But this script resonated with me because it was poetic. And I’m one of the only female characters that the main character does love; he has no love interest. His love interest is that home.”\u003c/p>\n\u003cp>In addition to the script, Arnold was impelled to do the film because of the dynamic between Talbot and Fails. The Sundance jury picked up on it in the finished film, awarding a prize for creative collaboration along with best director.\u003c/p>\n\u003cp>Talbot notes, “I found a friend in Jimmy when we met [many years ago], and a creative collaborator, and someone who stars in pretty much everything I’ve ever made as a filmmaker.”\u003c/p>\n\u003cp>When they finally got into production, Fails discovered that playing himself—or a version of himself—was the strangest feeling. “It’s weird. Sometimes you don’t feel like you’re getting in the character, per se, you’re just getting into a space that you need to be in for this scene.”\u003c/p>\n\u003cfigure id=\"attachment_13859143\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859143\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200.jpg\" alt=\"Tichina Arnold in 'The Last Black Man in San Francisco,' 2019.\" width=\"1200\" height=\"724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200-1020x615.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Tichina Arnold in ‘The Last Black Man in San Francisco,’ 2019. \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His first and foremost passion was music, Fails says, and he admits he was transformed by the process of making \u003cem>The Last Black Man in San Francisco\u003c/em>. “I never saw acting as storytelling before, for some reason,” he confides. “I saw it as art, but I didn’t see it as storytelling. Now I see it as deeper than that, and I love to do it and I’m sticking with that now.”\u003c/p>\n\u003cp>For his part, Talbot says, “I don’t know that every actor has that ability to both perform and be analytical. That’s an incredible thing to be able to do.”\u003c/p>\n\u003cp>By the way, there’s another key Bay Area independent feature that is explicitly referenced in \u003cem>The Last Black Man in San Francisco\u003c/em>, and that’s Terry Zwigoff’s wonderful \u003cem>Ghost World\u003c/em> (2001). (I disqualified it from my list at the top because it was filmed in Southern California.)\u003c/p>\n\u003cp>Talbot saw Zwigoff’s adaptation of Daniel Clowes’ graphic novel in high school, and grew up not far from the director on Potrero Hill. Fans of \u003cem>Ghost World\u003c/em>—and \u003cem>The Last Black Man in San Francisco\u003c/em>—will appreciate the joke that Talbot and Thora Birch shared when he was casting her: “It’s kind of as if Enid moved to San Francisco and got a job she hated in tech and never got off the bus at the end of the movie.”\u003c/p>\n\u003cfigure id=\"attachment_13859144\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859144\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200.jpg\" alt=\"Jimmie Fails and Joe Talbot in San Francisco.\" width=\"1200\" height=\"796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200-1020x677.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jimmie Fails and Joe Talbot in San Francisco. \u003ccite>(Photo by Adam Newport-Berra; Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fails and Talbot are too reserved, and modest, to trumpet their achievement the way that filmmakers typically are happy to do. Talbot’s summation of the process that produced \u003ci>The Last Black Man in San Francisco\u003c/i> is revealing, and characteristic.\u003c/p>\n\u003cp>“I was involved in every facet of this thing, and people that know me say, ‘This movie feels a lot like you, Joe, in some ways.’ It also is true that a lot of the best moments came from conversations and other people’s brilliant ideas. And that collaborative nature we had on this film between Jimmy and I, and then our larger group of collaborators, I think is unusual. I think most movies aren’t created that way. In seeing how people are responding to it, and the detailed, meticulous nature of the movie, that’s because we have so much brainpower on it that extends beyond what you would usually have on a movie like this.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘The Last Black Man in San Francisco’ opens in theaters nationwide on June 7. \u003ca href=\"https://a24films.com/films/the-last-black-man-in-san-francisco\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Nobody sees this city—and the determined nonconformists who make it their home—like the independent filmmakers who live here.",
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"title": "‘Last Black Man’ Joins a Short List of Films that Gets San Francisco Right | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joe Talbot and Jimmie Fails’ ambitious, soulful and clear-eyed debut feature, \u003cem>The Last Black Man in San Francisco\u003c/em>, offers new evidence of a longstanding truth: Nobody sees this city, and the determined nonconformists who make it their home for a while or forever, like the independent filmmakers who live here.\u003c/p>\n\u003cp>Sure, \u003cem>Vertigo\u003c/em> and \u003cem>Mrs. Doubtfire\u003c/em> will always epitomize San Francisco for the masses. But low-budget indies like \u003cem>Heat and Sunlight\u003c/em> (1987), \u003cem>Steal America\u003c/em> (1992), \u003cem>Dream with the Fishes\u003c/em> (1997), \u003cem>North Beach\u003c/em> (2000), \u003cem>Haiku Tunnel\u003c/em> (2001), \u003cem>Medicine for Melancholy\u003c/em> (2008) and \u003cem>Centaur\u003c/em> (2011) captured the zeitgeist of the moment by etching outcasts and artists (not to mention blocks and neighborhoods) more familiar to residents than tourists.\u003c/p>\n\u003cp>That should be a sufficient argument for \u003cem>The Last Black Man in San Francisco\u003c/em> (opening June 7) to be essential viewing for locals. Even better, it’s strewn with ideas without being show-offy, it’s earnest yet unsentimental, and penetrating without being moralistic. As a bonus, Talbot, Fails and their cohorts deftly integrate into the subtly multilayered and multigenerational plot subjects like Jefferson Airplane and Giants fandom, Hunters Point redevelopment and Chinatown fish stands, former Mabuhay Gardens punks and ’00s indie-film wannabe hipsters, interactions on Muni and the solitude of the Bay.\u003c/p>\n\u003cfigure id=\"attachment_13859146\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859146\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200.jpg\" alt=\"Danny Glover and Jonathan Majors in 'The Last Black Man in San Francisco,' 2019.\" width=\"1200\" height=\"724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200-1020x615.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Danny Glover and Jonathan Majors in ‘The Last Black Man in San Francisco,’ 2019. \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The plot, which draws on Fails’ life story, centers on a young black guy (played by Fails) with no permanent residence who’s fixated on the great Fillmore house where his family lived when Jimmy was a boy and which, his father endlessly recounted, his grandfather built. At the start of the story, Jimmy is crashing with best friend Mont (a would-be playwright, played by Jonathan Majors) and Mont’s blind grandfather (Danny Glover, delivering sardonic line readings and representing San Francisco’s once-thriving black middle class).\u003c/p>\n\u003cp>“Every draft had a lot going on from the beginning,” Talbot relates in an interview last week. “Lots of characters and locations that are supposed to evoke feelings of a certain San Francisco. The friendship. Jimmy being in both Hunters Point and the house in the Fillmore, and the different relationships he has in each area. If you lose the friendship, you lose the grounding force. If you lose the elements of the city, you lose what’s so special about San Francisco and why it’s worth fighting for. If you lose the house, you lose the love story. All those things are integral to the film and to Jimmy’s character.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The most obvious way to watch \u003cem>The Last Black Man in San Francisco\u003c/em> is as a parable of gentrification, and a lament for the people pushed out of their homes and ’hoods by economic pressures. That theme, along with the variety of sympathetic representations of black identity, give the movie a national relevance that allows it to travel (and succeed) far beyond its hometown.\u003c/p>\n\u003cfigure id=\"attachment_13859142\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859142\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200.jpg\" alt=\"Jimmie Fails and the house in 'The Last Black Man in San Francisco,' 2019.\" width=\"1200\" height=\"724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200-1020x615.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jimmie Fails and the house in ‘The Last Black Man in San Francisco,’ 2019. \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In cinema, you often see black men portrayed in a certain way,” Fails says. “Athlete, drug dealer, slave—if it’s a period piece. In a modern way, we just wanted to explore all the different types of black people there are—black men, especially, the different nuances and things that set them apart.”\u003c/p>\n\u003cp>A few minutes later, in another room of the Nob Hill hotel where the press day is being held, Rob Morgan (\u003cem>Mudbound\u003c/em>) reframes an overly polite question on the same subject. “How refreshing was it to see some real black men on screen, finally!” he declares with a loud laugh. Morgan plays Jimmy’s father as a suspicious, unbending and unexpectedly elegant man who’s nonetheless past his salad days. But he’s not a villain, which, in another movie, he could be. Or his character might be absent altogether.\u003c/p>\n\u003cp>“It’s been documented how networks and production companies strategically take out the black male presence of the father in movies and TV shows,” Morgan asserts, “and that reflects the society at the same time. Art reflects life; life reflects art. So for 50 years you just keep seeing movies with no black fathers, or he’s a deadbeat or behind on child support, he’s getting killed or he’s in prison. Something that’s just tired, because we see it all the time, and I think that informs society on how to respond to black men in a lot of ways.”\u003c/p>\n\u003cfigure id=\"attachment_13859145\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859145\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200.jpg\" alt=\"Rob Morgan and Jimmie Fails in 'The Last Black Man in San Francisco,' 2019.\" width=\"1200\" height=\"724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200-1020x615.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rob Morgan and Jimmie Fails in ‘The Last Black Man in San Francisco,’ 2019. \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tichina Arnold, a fellow New Yorker who plays Jimmie’s sharp, no-nonsense Aunt Wanda, nods and adds, “I hadn’t had a lot of films cross my path to audition for that were good. But this script resonated with me because it was poetic. And I’m one of the only female characters that the main character does love; he has no love interest. His love interest is that home.”\u003c/p>\n\u003cp>In addition to the script, Arnold was impelled to do the film because of the dynamic between Talbot and Fails. The Sundance jury picked up on it in the finished film, awarding a prize for creative collaboration along with best director.\u003c/p>\n\u003cp>Talbot notes, “I found a friend in Jimmy when we met [many years ago], and a creative collaborator, and someone who stars in pretty much everything I’ve ever made as a filmmaker.”\u003c/p>\n\u003cp>When they finally got into production, Fails discovered that playing himself—or a version of himself—was the strangest feeling. “It’s weird. Sometimes you don’t feel like you’re getting in the character, per se, you’re just getting into a space that you need to be in for this scene.”\u003c/p>\n\u003cfigure id=\"attachment_13859143\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859143\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200.jpg\" alt=\"Tichina Arnold in 'The Last Black Man in San Francisco,' 2019.\" width=\"1200\" height=\"724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200-1020x615.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Tichina Arnold in ‘The Last Black Man in San Francisco,’ 2019. \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His first and foremost passion was music, Fails says, and he admits he was transformed by the process of making \u003cem>The Last Black Man in San Francisco\u003c/em>. “I never saw acting as storytelling before, for some reason,” he confides. “I saw it as art, but I didn’t see it as storytelling. Now I see it as deeper than that, and I love to do it and I’m sticking with that now.”\u003c/p>\n\u003cp>For his part, Talbot says, “I don’t know that every actor has that ability to both perform and be analytical. That’s an incredible thing to be able to do.”\u003c/p>\n\u003cp>By the way, there’s another key Bay Area independent feature that is explicitly referenced in \u003cem>The Last Black Man in San Francisco\u003c/em>, and that’s Terry Zwigoff’s wonderful \u003cem>Ghost World\u003c/em> (2001). (I disqualified it from my list at the top because it was filmed in Southern California.)\u003c/p>\n\u003cp>Talbot saw Zwigoff’s adaptation of Daniel Clowes’ graphic novel in high school, and grew up not far from the director on Potrero Hill. Fans of \u003cem>Ghost World\u003c/em>—and \u003cem>The Last Black Man in San Francisco\u003c/em>—will appreciate the joke that Talbot and Thora Birch shared when he was casting her: “It’s kind of as if Enid moved to San Francisco and got a job she hated in tech and never got off the bus at the end of the movie.”\u003c/p>\n\u003cfigure id=\"attachment_13859144\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859144\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200.jpg\" alt=\"Jimmie Fails and Joe Talbot in San Francisco.\" width=\"1200\" height=\"796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200-1020x677.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jimmie Fails and Joe Talbot in San Francisco. \u003ccite>(Photo by Adam Newport-Berra; Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fails and Talbot are too reserved, and modest, to trumpet their achievement the way that filmmakers typically are happy to do. Talbot’s summation of the process that produced \u003ci>The Last Black Man in San Francisco\u003c/i> is revealing, and characteristic.\u003c/p>\n\u003cp>“I was involved in every facet of this thing, and people that know me say, ‘This movie feels a lot like you, Joe, in some ways.’ It also is true that a lot of the best moments came from conversations and other people’s brilliant ideas. And that collaborative nature we had on this film between Jimmy and I, and then our larger group of collaborators, I think is unusual. I think most movies aren’t created that way. In seeing how people are responding to it, and the detailed, meticulous nature of the movie, that’s because we have so much brainpower on it that extends beyond what you would usually have on a movie like this.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Last Black Man in San Francisco’ opens in theaters nationwide on June 7. \u003ca href=\"https://a24films.com/films/the-last-black-man-in-san-francisco\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Avant-Garde Masters Meet at S.F. Cinematheque’s Crossroads",
"headTitle": "Now Playing! Avant-Garde Masters Meet at S.F. Cinematheque’s Crossroads | KQED",
"content": "\u003cp>With apologies to Shakespeare, “There are more things in heaven and earth, Horatio, than are dreamt of in your narrative films.” Old Will might well have anticipated the ineffable beauty and pioneering necessity of avant-garde cinema—that is, works of personal expression that draw on the entire spectrum of aesthetics and techniques. But if there’s one thing we’ve learned from visionaries like Luis Buñuel, Max Fleischer, David Lynch and Terrence Malick, and from early MTV and some TV advertising, it’s that non-mainstream image-making doesn’t always mean inaccessible.\u003c/p>\n\u003cp>The tenth edition of \u003ca href=\"http://www.sfcinematheque.org/screenings/crossroads/\" target=\"_blank\" rel=\"noopener\">Crossroads\u003c/a>, Steve Polta of San Francisco Cinematheque’s sensational compilation of the best avant-garde work of the last year, raises one’s spirits in ways that only art for art’s sake can. Although many of the 56 artists represented across ten programs at SFMOMA from Friday through Sunday, June 7 to 9, are incensed at the state of the world, their creativity (not to mention their resistance) is life-affirming.\u003c/p>\n\u003cfigure id=\"attachment_13858943\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858943\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/epilogue-still_1200.jpg\" alt=\"Lydia Moyer, Still from 'The Forcing,' 2018.\" width=\"1200\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/epilogue-still_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/epilogue-still_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/epilogue-still_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/epilogue-still_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/epilogue-still_1200-1020x766.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lydia Moyer, Still from ‘The Forcing,’ 2018. \u003ccite>(Courtesy of SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lydia Moyer’s thematically ambitious \u003cem>The Forcing\u003c/em>, which anchors the Friday late-night program “\u003ca href=\"https://www.sfmoma.org/event/program-2-strange-weather/\" target=\"_blank\" rel=\"noopener\">strange weather\u003c/a>,” opens with a vast flock in flight, fleeing a sinister, red-tinted tornado. Recurring shots of melting glaciers and Western wildfires, of endangered butterflies and bees, are intercut with protesters blocking a highway and police violently breaking up an Occupy Wall Street encampment. Moyer presents the use of power against people of conscience, in the midst of global warming, as a failure of leadership. Yet the film isn’t so much a polemic as a question, suggested by Diane Cluck’s haunting “Red August” on the soundtrack: Are enough people in touch with both their residual humanity and nature to save the planet?\u003c/p>\n\u003cp>Music is a key element for Brazilian filmmaker Cristiana Miranda, who will be at SFMOMA Saturday afternoon for the “\u003ca href=\"https://www.sfmoma.org/event/program-3-other-voices-other-rooms/\" target=\"_blank\" rel=\"noopener\">other voices other rooms\u003c/a>” program. She makes excellent use of a terrific drum-based score to evoke the experience and legacy of African slaves in the haunting \u003cem>Sobre Aquilo Que Nos Diz Respeito\u003c/em> (\u003cem>So Many Voices in the Silence Now\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_13858944\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858944\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/coup-soup_pressimage1_1200.jpg\" alt=\"TR2/Laura Gillmore, Still from 'cold soup, raw meat, pubic hair,' 2018.\" width=\"1200\" height=\"674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/coup-soup_pressimage1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/coup-soup_pressimage1_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/coup-soup_pressimage1_1200-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/coup-soup_pressimage1_1200-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/coup-soup_pressimage1_1200-1020x573.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">TR2/Laura Gillmore, Still from ‘cold soup, raw meat, pubic hair,’ 2018. \u003ccite>(Courtesy of SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>T2R/Laura Gillmore’s \u003cem>cold soup, raw meat, pubic hair\u003c/em>, an on-point two-minute takedown of online juxtapositions and internet marketing that was part of a 2018 installation at the Minnesota Street Project, is included in “\u003ca href=\"https://www.sfmoma.org/event/program-4-yes-yes-yes-no-no-no/\" target=\"_blank\" rel=\"noopener\">yes yes yes no no no\u003c/a>” on Saturday afternoon. Gillmore’s witty self-exposure—splashing her naked body with strawberry soup, or is it blood?—suggests an affinity with the brave body of work of Carolee Schneeman, whose passing in March this program commemorates.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Scott Stark’s mesmerizing, entertaining and informative new performance piece, \u003cem>Love and the Epiphanists\u003c/em>, is the centerpiece of Crossroads’ final program on Sunday night, “\u003ca href=\"https://www.sfmoma.org/event/program-10-ive-returned-to-see-how-strange-it-feels/\" target=\"_blank\" rel=\"noopener\">i’ve returned to see how strange it feels\u003c/a>.” Incorporating slides and live voice-over to conjure a romance in the wake of Earth’s inevitable environmental apocalypse. Stark builds his narrative from shards of 35mm trailers. Trashing Hollywood’s clichés at every turn, \u003cem>Love and the Epiphanists\u003c/em> encapsulates a few foundational principles of the Bay Area filmmaker’s long, brilliant career: A deep love of cinema, and an equally deep loathing for the entire industry that has betrayed and trivialized it.\u003c/p>\n\n",
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"excerpt": "The annual fest is a sensational compilation of recent experimental film that raises spirits as only art for art’s sake can.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With apologies to Shakespeare, “There are more things in heaven and earth, Horatio, than are dreamt of in your narrative films.” Old Will might well have anticipated the ineffable beauty and pioneering necessity of avant-garde cinema—that is, works of personal expression that draw on the entire spectrum of aesthetics and techniques. But if there’s one thing we’ve learned from visionaries like Luis Buñuel, Max Fleischer, David Lynch and Terrence Malick, and from early MTV and some TV advertising, it’s that non-mainstream image-making doesn’t always mean inaccessible.\u003c/p>\n\u003cp>The tenth edition of \u003ca href=\"http://www.sfcinematheque.org/screenings/crossroads/\" target=\"_blank\" rel=\"noopener\">Crossroads\u003c/a>, Steve Polta of San Francisco Cinematheque’s sensational compilation of the best avant-garde work of the last year, raises one’s spirits in ways that only art for art’s sake can. Although many of the 56 artists represented across ten programs at SFMOMA from Friday through Sunday, June 7 to 9, are incensed at the state of the world, their creativity (not to mention their resistance) is life-affirming.\u003c/p>\n\u003cfigure id=\"attachment_13858943\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858943\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/epilogue-still_1200.jpg\" alt=\"Lydia Moyer, Still from 'The Forcing,' 2018.\" width=\"1200\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/epilogue-still_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/epilogue-still_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/epilogue-still_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/epilogue-still_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/epilogue-still_1200-1020x766.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lydia Moyer, Still from ‘The Forcing,’ 2018. \u003ccite>(Courtesy of SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lydia Moyer’s thematically ambitious \u003cem>The Forcing\u003c/em>, which anchors the Friday late-night program “\u003ca href=\"https://www.sfmoma.org/event/program-2-strange-weather/\" target=\"_blank\" rel=\"noopener\">strange weather\u003c/a>,” opens with a vast flock in flight, fleeing a sinister, red-tinted tornado. Recurring shots of melting glaciers and Western wildfires, of endangered butterflies and bees, are intercut with protesters blocking a highway and police violently breaking up an Occupy Wall Street encampment. Moyer presents the use of power against people of conscience, in the midst of global warming, as a failure of leadership. Yet the film isn’t so much a polemic as a question, suggested by Diane Cluck’s haunting “Red August” on the soundtrack: Are enough people in touch with both their residual humanity and nature to save the planet?\u003c/p>\n\u003cp>Music is a key element for Brazilian filmmaker Cristiana Miranda, who will be at SFMOMA Saturday afternoon for the “\u003ca href=\"https://www.sfmoma.org/event/program-3-other-voices-other-rooms/\" target=\"_blank\" rel=\"noopener\">other voices other rooms\u003c/a>” program. She makes excellent use of a terrific drum-based score to evoke the experience and legacy of African slaves in the haunting \u003cem>Sobre Aquilo Que Nos Diz Respeito\u003c/em> (\u003cem>So Many Voices in the Silence Now\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_13858944\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858944\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/coup-soup_pressimage1_1200.jpg\" alt=\"TR2/Laura Gillmore, Still from 'cold soup, raw meat, pubic hair,' 2018.\" width=\"1200\" height=\"674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/coup-soup_pressimage1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/coup-soup_pressimage1_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/coup-soup_pressimage1_1200-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/coup-soup_pressimage1_1200-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/coup-soup_pressimage1_1200-1020x573.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">TR2/Laura Gillmore, Still from ‘cold soup, raw meat, pubic hair,’ 2018. \u003ccite>(Courtesy of SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>T2R/Laura Gillmore’s \u003cem>cold soup, raw meat, pubic hair\u003c/em>, an on-point two-minute takedown of online juxtapositions and internet marketing that was part of a 2018 installation at the Minnesota Street Project, is included in “\u003ca href=\"https://www.sfmoma.org/event/program-4-yes-yes-yes-no-no-no/\" target=\"_blank\" rel=\"noopener\">yes yes yes no no no\u003c/a>” on Saturday afternoon. Gillmore’s witty self-exposure—splashing her naked body with strawberry soup, or is it blood?—suggests an affinity with the brave body of work of Carolee Schneeman, whose passing in March this program commemorates.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Scott Stark’s mesmerizing, entertaining and informative new performance piece, \u003cem>Love and the Epiphanists\u003c/em>, is the centerpiece of Crossroads’ final program on Sunday night, “\u003ca href=\"https://www.sfmoma.org/event/program-10-ive-returned-to-see-how-strange-it-feels/\" target=\"_blank\" rel=\"noopener\">i’ve returned to see how strange it feels\u003c/a>.” Incorporating slides and live voice-over to conjure a romance in the wake of Earth’s inevitable environmental apocalypse. Stark builds his narrative from shards of 35mm trailers. Trashing Hollywood’s clichés at every turn, \u003cem>Love and the Epiphanists\u003c/em> encapsulates a few foundational principles of the Bay Area filmmaker’s long, brilliant career: A deep love of cinema, and an equally deep loathing for the entire industry that has betrayed and trivialized it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>LOS ANGELES (AP) — The first Oscar winners of the season are already here. Filmmaker David Lynch, actor Wes Studi, director Lina Wertmüller and actress Geena Davis will all be receiving honorary Oscar statuettes at the Governors Awards in October, the Academy of Motion Picture Arts and Sciences said Monday.\u003c/p>\n\u003cp>Davis will receive the Jean Hersholt Humanitarian Award for her work advocating for gender equality in media as the founder of a non-profit organization, the Geena Davis Institute on Gender in Media, and the female-focused Bentonville Film Festival. The 63-year-old actually has won an Oscar before, for her supporting performance in “The Accidental Tourist,” and was also nominated for “Thelma & Louise.”\u003c/p>\n\u003cp>[aside postID='arts_13855728' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-57001380-1020x768.jpg' target='_blank']\u003c/p>\n\u003cp>The three other honorary Oscars are intended to recognize individuals who have made significant contributions to the industry but have not yet taken home Oscar gold.\u003c/p>\n\u003cp>Lynch, 73, is a four-time Oscar nominee for “The Elephant Man,” in which he was nominated for what is now known as an adapted screenplay and best director. His other nominations are for best director for “Blue Velvet” and “Mulholland Dr.”\u003c/p>\n\u003cp>Studi, 71, has never received an Oscar nomination, but has been part of a number of Oscar-nominated and winning films like “Dances with Wolves,” ″The Last of the Mohicans,” ″The New World,” and “Geronimo: An American Legend.”\u003c/p>\n\u003cp>At 90, Wertmüller is perhaps unfairly the least famous of the recipients, but broke enormous ground for women in the industry when she became the first woman to get a best director nomination for the film “Seven Beauties” in 1976. Wertmüller lost out to John G. Avildsen, who won for “Rocky.” Only four other women have followed in getting that best director nomination: Jane Campion, Sofia Coppola, Kathryn Bigelow and Greta Gerwig, and Bigelow is the only woman who has won.\u003c/p>\n\u003cp>The film academy’s board of governors voted on this year’s recipients Saturday, months earlier than usual to accommodate the shortened awards calendar this year.\u003c/p>\n\u003cp>“These Governors Awards given by the Academy each year recognize individuals who have devoted themselves to a lifetime of artistic accomplishment and brought outstanding contributions to our industry, and beyond,” said film academy President John Bailey in a statement.\u003c/p>\n\u003cp>The 11th annual ceremony will be held on Oct. 27, a month earlier than usual, at the Ray Dolby Ballroom in Hollywood just steps away from where the Oscars will take place on Feb. 9, 2020.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>LOS ANGELES (AP) — The first Oscar winners of the season are already here. Filmmaker David Lynch, actor Wes Studi, director Lina Wertmüller and actress Geena Davis will all be receiving honorary Oscar statuettes at the Governors Awards in October, the Academy of Motion Picture Arts and Sciences said Monday.\u003c/p>\n\u003cp>Davis will receive the Jean Hersholt Humanitarian Award for her work advocating for gender equality in media as the founder of a non-profit organization, the Geena Davis Institute on Gender in Media, and the female-focused Bentonville Film Festival. The 63-year-old actually has won an Oscar before, for her supporting performance in “The Accidental Tourist,” and was also nominated for “Thelma & Louise.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The three other honorary Oscars are intended to recognize individuals who have made significant contributions to the industry but have not yet taken home Oscar gold.\u003c/p>\n\u003cp>Lynch, 73, is a four-time Oscar nominee for “The Elephant Man,” in which he was nominated for what is now known as an adapted screenplay and best director. His other nominations are for best director for “Blue Velvet” and “Mulholland Dr.”\u003c/p>\n\u003cp>Studi, 71, has never received an Oscar nomination, but has been part of a number of Oscar-nominated and winning films like “Dances with Wolves,” ″The Last of the Mohicans,” ″The New World,” and “Geronimo: An American Legend.”\u003c/p>\n\u003cp>At 90, Wertmüller is perhaps unfairly the least famous of the recipients, but broke enormous ground for women in the industry when she became the first woman to get a best director nomination for the film “Seven Beauties” in 1976. Wertmüller lost out to John G. Avildsen, who won for “Rocky.” Only four other women have followed in getting that best director nomination: Jane Campion, Sofia Coppola, Kathryn Bigelow and Greta Gerwig, and Bigelow is the only woman who has won.\u003c/p>\n\u003cp>The film academy’s board of governors voted on this year’s recipients Saturday, months earlier than usual to accommodate the shortened awards calendar this year.\u003c/p>\n\u003cp>“These Governors Awards given by the Academy each year recognize individuals who have devoted themselves to a lifetime of artistic accomplishment and brought outstanding contributions to our industry, and beyond,” said film academy President John Bailey in a statement.\u003c/p>\n\u003cp>The 11th annual ceremony will be held on Oct. 27, a month earlier than usual, at the Ray Dolby Ballroom in Hollywood just steps away from where the Oscars will take place on Feb. 9, 2020.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'The Last Black Man in San Francisco' Hits Home in Oakland",
"headTitle": "‘The Last Black Man in San Francisco’ Hits Home in Oakland | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>ight, so boom: Last Thursday I’m on stage at the Grand Lake Theatre, hosting a panel discussion after a screening of \u003cem>The Last Black Man in San Francisco\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>I’m underdressed: a black T-shirt, jean jacket and a Warriors hat. I mean, the event was happening at the same time as the first game of the NBA finals, so I’m rocking the hat for a reason. But I’m missing the game because—well, I told you: I’m hosting a panel. And it’s not just any panel, but one that pushed me to look at my personal experiences inside of those same theater walls in a way that made me realize: the doorways of the Grand Lake Theatre could tell the story of my maturation into manhood.\u003c/p>\n\u003cp>But we weren’t there to talk about me, we were there to talk about the film. And I had some heavyweights on the set.\u003c/p>\n\u003cp>To my left was director Joe Talbot. Next to him sat lead actor Jimmie Fails IV and legendary actor, activist and Bay Area native Danny Glover. And on the side of Glover was actor Rob Morgan, who you might know from his role in \u003cem>Stranger Things\u003c/em> or \u003cem>Mudbound\u003c/em>. And at the end of the stage was film and TV star Tichina Arnold.\u003c/p>\n\u003cfigure id=\"attachment_13858841\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858841\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/IMG_5336.jpg\" alt=\"The cast of 'The Last Black Man in San Francisco.'\" width=\"750\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5336.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5336-160x119.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘The Last Black Man in San Francisco.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the audience sat congresswoman Barbara Lee, former Oakland council member Desley Brooks and former Berkeley mayor Gus Newport. Actor Delroy Lindo was there, as well as rapper and \u003cem>Sorry To Bother You\u003c/em> director Boots Riley and his father, the labor attorney Walter Riley. In fact, I was sitting right in front of the older Riley during the screening.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> took as many notes as I could in the dimly lit, fancy, Art Deco-style movie house.\u003c/p>\n\u003cp>\u003cem>The Last Black Man in San Francisco\u003c/em> is based on the real life experiences of Jimmie Fails IV (who plays the character of the same name), a native San Franciscan who wants nothing more than to regain this beautiful mammoth of a house in the Fillmore District. In the movie, the story goes that Jimmie’s father’s father was no carpenter, but managed to buy the lot and construct the building with his own hands. Due to Jimmie’s father’s mismanagement, the family lost the house when Jimmie was young, but he never lost his affection for the place.\u003c/p>\n\u003cp>Through this tale of Jimmie’s efforts to preserve family legacy, you not only get a look at a rapidly changing San Francisco, but a perspective on how the concept of home is intertwined with identity and masculinity—especially for a black man who grew up as a have-not.\u003c/p>\n\u003cp>Jimmie’s best friend Montgomery Allen, played by Jonathan Majors, is a quirky creative who has a front row seat to the play that is Jimmie’s life. He sees Jimmie’s broken family, the hood cats that Jimmie grew up with and Jimmie’s escape mechanism and top mode of transportation—his skateboard. [aside postid='arts_13858037']\u003c/p>\n\u003cp>It’s Monty, as they call him, who portrays Jimmie’s experiences in his art in an effort to tell his friend: he’s much more than four walls—he’s a nuanced human being in a rapidly changing world, and that’s OK.\u003c/p>\n\u003cp>Does Jimmie hear that? I don’t think so. I wouldn’t have heard it either.\u003c/p>\n\u003cp>I grew up moving every few years. Never owned property or had a family home. But Oakland is my home, much in the same way that building is Jimmie’s. I don’t own anything in Oakland, but, like Jimmie, I do my best to make sure the trim is painted and the perennials are pruned.\u003c/p>\n\u003cp>It’s more than home, it’s intertwined with my concept of identity, manhood, ego, id—me. Whatever you want to call it. And I shudder at the thought of having to leave here because I can’t afford a place to live.\u003c/p>\n\u003cp>(Now we’re not talking about the film, we’re talking about me.)\u003c/p>\n\u003cp>To watch this film in the Grand Lake Theatre meant something. It’s the place where I ran out of\u003cem> Jurassic Park\u003c/em> crying because I was a scared elementary school kid. It’s where I got to third base with my middle school girlfriend while we watched \u003cem>Shallow Hal\u003c/em>.\u003c/p>\n\u003cp>I’ve brought in whole meals from the nearby KFC and propped open the back door to let friends in to films they couldn’t afford.\u003c/p>\n\u003cp>I have memories of shedding tears while watching \u003cem>Selma\u003c/em> with my mom on one side of the theatre, and memories of the whole audience seemingly crying in unison as we all watched \u003cem>Fruitvale Station \u003c/em>on the other side\u003cem>—\u003c/em>with Oscar Grant’s mom not too far from me.\u003c/p>\n\u003cp>So we we talked about this idea of manhood and place on the panel. The plan was to discuss more, but this concept took over the discussion.\u003c/p>\n\u003cfigure id=\"attachment_13858094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858094\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-800x450.jpg\" alt=\"Still from Joe Talbot's 'The Last Black Man in San Francisco,' with Jonathan Majors and Jimmie Fails.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Joe Talbot’s ‘The Last Black Man in San Francisco,’ with Jonathan Majors and Jimmie Fails. \u003ccite>(Photo by Peter Prato; Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I wanted to ask Joe Talbot, a white man, about his thought process while writing about himself as Jimmie’s good friend—a role that was portrayed by a black man. I wanted to know more about the soundtrack, how live instruments and Joni Mitchell samples were chosen. And who was the genius who made sure San Francisco rap greats like Willie Hen and San Quinn had cameos?\u003c/p>\n\u003cp>What significance did doorways play in the film, as they seemed to serve as a mechanism to stepping into someone’s world?\u003c/p>\n\u003cp>I wanted to ask Tichina Arnold about her outpouring of appreciation for film producer and Oakland native Khaliah Neal—who Arnold pulled to the center of the stage prior to the screening to give her the spotlight. When I saw Neal, wearing an ‘East Side of Oakland’ shirt, I noted that identity, place and home aren’t just concepts impacting black men.\u003c/p>\n\u003cp>I wanted to ask Jimmie Fails IV about skating down those San Francisco hills without a stunt double.\u003c/p>\n\u003cp>But instead of going as I planned, the conversation went the way it was supposed to go.\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">J\u003c/span>immie and Joe talked about how the film concept evolved from a joke, to a trailer and then a Kickstarter campaign before becoming a full-length film.\u003c/p>\n\u003cp>I asked Danny Glover his initial reaction when he saw the premise of the film, and he opened up his personal history book—noting nearly a century of family history in the City, and how major events, like the longshoreman strike of 1934 and WWII, are intertwined with his own tale.\u003c/p>\n\u003cp>The next day I was conversing with \u003ca href=\"https://twitter.com/isanaka\">Isanaka\u003c/a> on Twitter, letting her know I had never experienced a lesson like the one Glover offered by merging his lived experience with the seldom-told story of San Francisco’s African-American history. I tagged Glover in the tweet, Glover responded with this:\u003c/p>\n\u003cfigure id=\"attachment_13858844\" class=\"wp-caption alignnone\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858844\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/IMG_5301.jpg\" alt=\"Danny Glover's Tweet to me\" width=\"750\" height=\"716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5301.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5301-160x153.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Danny Glover’s Tweet to me \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it was Tichina Arnold’s words that resonated the most. “I always say, ‘Black men are everything,’” Arnold said on the topic of how important it is to show the complexities of African-American men in film.\u003c/p>\n\u003cfigure id=\"attachment_13858842\" class=\"wp-caption alignnone\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858842\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/IMG_5337.jpg\" alt=\"Panel discussion after screen The Last Black Man in San Francisco\" width=\"750\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5337.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5337-160x160.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Panel discussion after screen The Last Black Man in San Francisco \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And by everything, she meant that they—we—should be shown in totality. And that’s what the film did.\u003c/p>\n\u003cp>\u003cem>The Last Black Man in San Francisco\u003c/em> made me think about Kehinde Wiley paintings. It brought to mind \u003cem>Moonlight\u003c/em>, \u003cem>Boyz n the Hood\u003c/em> and \u003cem>Blindspotting\u003c/em>. Flashes of photos from Gordon Parks or Devin Allen. It was the visual equivalent of a verse from Common or a James Baldwin poem.\u003c/p>\n\u003cp>It’s a damn good film about San Francisco, and a cold depiction of black manhood. It hit home for me, even if Oakland wasn’t mentioned.\u003c/p>\n\u003cp>There were images that I recognized: like the joy Jimmie exuded when he finally got into the house—running around wildly until he slipped and busted his lip. And there were depictions of tense moments, like after Kofi (played by \u003ca href=\"https://www.npr.org/2019/03/20/705019611/san-francisco-to-pay-13-1-million-to-man-framed-by-police-for-murder\" target=\"_blank\" rel=\"noopener noreferrer\">Jamal Trulove\u003c/a>) was killed and his crew members came toe-to-toe with Jimmie for asking questions regarding the homicide, only to open up for a hug.\u003c/p>\n\u003cp>There weren’t any images of Pier 39 or Alcatraz. I can’t recall if they even showed the Golden Gate. Instead, \u003cem>The Last Black Man in San Francisco\u003c/em> reminded us that the Fillmore was “the Harlem of the West,” and made mention of the toxic water and soil due to the Navy’s presence in the Bayview–Hunters Point neighborhood.\u003c/p>\n\u003cp>Cable cars were there, but that was only when we saw main character barreling down those massive SF hills on a skateboard like he runs the joint—I still want to know how he mastered that craft of navigating the City like that.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But I guess when a place is home, you just own it.\u003c/p>\n\n",
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"excerpt": "Joe Talbot and Jimmie Fails IV's new film explores black masculinity amid displacement. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>ight, so boom: Last Thursday I’m on stage at the Grand Lake Theatre, hosting a panel discussion after a screening of \u003cem>The Last Black Man in San Francisco\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>I’m underdressed: a black T-shirt, jean jacket and a Warriors hat. I mean, the event was happening at the same time as the first game of the NBA finals, so I’m rocking the hat for a reason. But I’m missing the game because—well, I told you: I’m hosting a panel. And it’s not just any panel, but one that pushed me to look at my personal experiences inside of those same theater walls in a way that made me realize: the doorways of the Grand Lake Theatre could tell the story of my maturation into manhood.\u003c/p>\n\u003cp>But we weren’t there to talk about me, we were there to talk about the film. And I had some heavyweights on the set.\u003c/p>\n\u003cp>To my left was director Joe Talbot. Next to him sat lead actor Jimmie Fails IV and legendary actor, activist and Bay Area native Danny Glover. And on the side of Glover was actor Rob Morgan, who you might know from his role in \u003cem>Stranger Things\u003c/em> or \u003cem>Mudbound\u003c/em>. And at the end of the stage was film and TV star Tichina Arnold.\u003c/p>\n\u003cfigure id=\"attachment_13858841\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858841\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/IMG_5336.jpg\" alt=\"The cast of 'The Last Black Man in San Francisco.'\" width=\"750\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5336.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5336-160x119.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘The Last Black Man in San Francisco.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the audience sat congresswoman Barbara Lee, former Oakland council member Desley Brooks and former Berkeley mayor Gus Newport. Actor Delroy Lindo was there, as well as rapper and \u003cem>Sorry To Bother You\u003c/em> director Boots Riley and his father, the labor attorney Walter Riley. In fact, I was sitting right in front of the older Riley during the screening.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> took as many notes as I could in the dimly lit, fancy, Art Deco-style movie house.\u003c/p>\n\u003cp>\u003cem>The Last Black Man in San Francisco\u003c/em> is based on the real life experiences of Jimmie Fails IV (who plays the character of the same name), a native San Franciscan who wants nothing more than to regain this beautiful mammoth of a house in the Fillmore District. In the movie, the story goes that Jimmie’s father’s father was no carpenter, but managed to buy the lot and construct the building with his own hands. Due to Jimmie’s father’s mismanagement, the family lost the house when Jimmie was young, but he never lost his affection for the place.\u003c/p>\n\u003cp>Through this tale of Jimmie’s efforts to preserve family legacy, you not only get a look at a rapidly changing San Francisco, but a perspective on how the concept of home is intertwined with identity and masculinity—especially for a black man who grew up as a have-not.\u003c/p>\n\u003cp>Jimmie’s best friend Montgomery Allen, played by Jonathan Majors, is a quirky creative who has a front row seat to the play that is Jimmie’s life. He sees Jimmie’s broken family, the hood cats that Jimmie grew up with and Jimmie’s escape mechanism and top mode of transportation—his skateboard. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s Monty, as they call him, who portrays Jimmie’s experiences in his art in an effort to tell his friend: he’s much more than four walls—he’s a nuanced human being in a rapidly changing world, and that’s OK.\u003c/p>\n\u003cp>Does Jimmie hear that? I don’t think so. I wouldn’t have heard it either.\u003c/p>\n\u003cp>I grew up moving every few years. Never owned property or had a family home. But Oakland is my home, much in the same way that building is Jimmie’s. I don’t own anything in Oakland, but, like Jimmie, I do my best to make sure the trim is painted and the perennials are pruned.\u003c/p>\n\u003cp>It’s more than home, it’s intertwined with my concept of identity, manhood, ego, id—me. Whatever you want to call it. And I shudder at the thought of having to leave here because I can’t afford a place to live.\u003c/p>\n\u003cp>(Now we’re not talking about the film, we’re talking about me.)\u003c/p>\n\u003cp>To watch this film in the Grand Lake Theatre meant something. It’s the place where I ran out of\u003cem> Jurassic Park\u003c/em> crying because I was a scared elementary school kid. It’s where I got to third base with my middle school girlfriend while we watched \u003cem>Shallow Hal\u003c/em>.\u003c/p>\n\u003cp>I’ve brought in whole meals from the nearby KFC and propped open the back door to let friends in to films they couldn’t afford.\u003c/p>\n\u003cp>I have memories of shedding tears while watching \u003cem>Selma\u003c/em> with my mom on one side of the theatre, and memories of the whole audience seemingly crying in unison as we all watched \u003cem>Fruitvale Station \u003c/em>on the other side\u003cem>—\u003c/em>with Oscar Grant’s mom not too far from me.\u003c/p>\n\u003cp>So we we talked about this idea of manhood and place on the panel. The plan was to discuss more, but this concept took over the discussion.\u003c/p>\n\u003cfigure id=\"attachment_13858094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858094\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-800x450.jpg\" alt=\"Still from Joe Talbot's 'The Last Black Man in San Francisco,' with Jonathan Majors and Jimmie Fails.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Joe Talbot’s ‘The Last Black Man in San Francisco,’ with Jonathan Majors and Jimmie Fails. \u003ccite>(Photo by Peter Prato; Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I wanted to ask Joe Talbot, a white man, about his thought process while writing about himself as Jimmie’s good friend—a role that was portrayed by a black man. I wanted to know more about the soundtrack, how live instruments and Joni Mitchell samples were chosen. And who was the genius who made sure San Francisco rap greats like Willie Hen and San Quinn had cameos?\u003c/p>\n\u003cp>What significance did doorways play in the film, as they seemed to serve as a mechanism to stepping into someone’s world?\u003c/p>\n\u003cp>I wanted to ask Tichina Arnold about her outpouring of appreciation for film producer and Oakland native Khaliah Neal—who Arnold pulled to the center of the stage prior to the screening to give her the spotlight. When I saw Neal, wearing an ‘East Side of Oakland’ shirt, I noted that identity, place and home aren’t just concepts impacting black men.\u003c/p>\n\u003cp>I wanted to ask Jimmie Fails IV about skating down those San Francisco hills without a stunt double.\u003c/p>\n\u003cp>But instead of going as I planned, the conversation went the way it was supposed to go.\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">J\u003c/span>immie and Joe talked about how the film concept evolved from a joke, to a trailer and then a Kickstarter campaign before becoming a full-length film.\u003c/p>\n\u003cp>I asked Danny Glover his initial reaction when he saw the premise of the film, and he opened up his personal history book—noting nearly a century of family history in the City, and how major events, like the longshoreman strike of 1934 and WWII, are intertwined with his own tale.\u003c/p>\n\u003cp>The next day I was conversing with \u003ca href=\"https://twitter.com/isanaka\">Isanaka\u003c/a> on Twitter, letting her know I had never experienced a lesson like the one Glover offered by merging his lived experience with the seldom-told story of San Francisco’s African-American history. I tagged Glover in the tweet, Glover responded with this:\u003c/p>\n\u003cfigure id=\"attachment_13858844\" class=\"wp-caption alignnone\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858844\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/IMG_5301.jpg\" alt=\"Danny Glover's Tweet to me\" width=\"750\" height=\"716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5301.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5301-160x153.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Danny Glover’s Tweet to me \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it was Tichina Arnold’s words that resonated the most. “I always say, ‘Black men are everything,’” Arnold said on the topic of how important it is to show the complexities of African-American men in film.\u003c/p>\n\u003cfigure id=\"attachment_13858842\" class=\"wp-caption alignnone\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858842\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/IMG_5337.jpg\" alt=\"Panel discussion after screen The Last Black Man in San Francisco\" width=\"750\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5337.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5337-160x160.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Panel discussion after screen The Last Black Man in San Francisco \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And by everything, she meant that they—we—should be shown in totality. And that’s what the film did.\u003c/p>\n\u003cp>\u003cem>The Last Black Man in San Francisco\u003c/em> made me think about Kehinde Wiley paintings. It brought to mind \u003cem>Moonlight\u003c/em>, \u003cem>Boyz n the Hood\u003c/em> and \u003cem>Blindspotting\u003c/em>. Flashes of photos from Gordon Parks or Devin Allen. It was the visual equivalent of a verse from Common or a James Baldwin poem.\u003c/p>\n\u003cp>It’s a damn good film about San Francisco, and a cold depiction of black manhood. It hit home for me, even if Oakland wasn’t mentioned.\u003c/p>\n\u003cp>There were images that I recognized: like the joy Jimmie exuded when he finally got into the house—running around wildly until he slipped and busted his lip. And there were depictions of tense moments, like after Kofi (played by \u003ca href=\"https://www.npr.org/2019/03/20/705019611/san-francisco-to-pay-13-1-million-to-man-framed-by-police-for-murder\" target=\"_blank\" rel=\"noopener noreferrer\">Jamal Trulove\u003c/a>) was killed and his crew members came toe-to-toe with Jimmie for asking questions regarding the homicide, only to open up for a hug.\u003c/p>\n\u003cp>There weren’t any images of Pier 39 or Alcatraz. I can’t recall if they even showed the Golden Gate. Instead, \u003cem>The Last Black Man in San Francisco\u003c/em> reminded us that the Fillmore was “the Harlem of the West,” and made mention of the toxic water and soil due to the Navy’s presence in the Bayview–Hunters Point neighborhood.\u003c/p>\n\u003cp>Cable cars were there, but that was only when we saw main character barreling down those massive SF hills on a skateboard like he runs the joint—I still want to know how he mastered that craft of navigating the City like that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But I guess when a place is home, you just own it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular",
"title": "Elton John Biopic 'Rocketman' Is A Surprising Song-And-Dance Spectacular",
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"content": "\u003cp>The first time we see Elton John in \u003cem>Rocketman\u003c/em>, he’s wearing a spangly red devil costume with sharp horns and enormous wings. It’s one of the many glorious, glittery things we see him wear in the movie, although on this occasion, he isn’t dressed for a concert. It’s around 1990, and Elton, played by Taron Egerton, is attending a group therapy session. He may be one of the world’s most successful rock stars, but he’s also being eaten alive by sex addiction and substance abuse, and also by feelings of abandonment that go back to his childhood.\u003c/p>\n\u003cp>No one who’s seen a movie about a popular musician will be surprised by any of this, or by the way \u003cem>Rocketman\u003c/em> unfolds its story as a series of extended flashbacks. But even within that familiar framework, the movie finds surprising ways to buck convention. The colors are bright and kaleidoscopic, but the tone is beautifully modulated: The operatic excesses are balanced by a powerful sense of melancholy. The group-therapy framing device works especially well: The sight of Elton in all that defiant plumage is ludicrous, marvelous and strangely poignant — all words you might apply to the movie itself.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Rocketman (2019) - Official Trailer - Paramount Pictures\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/S3vO8E2e6G0?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>As directed by Dexter Fletcher from a script by Lee Hall, \u003cem>Rocketman\u003c/em> isn’t just a musician’s biopic; it’s a biographical musical. Conceived as a surreal song-and-dance spectacular, it’s a delirious blur of truth and artifice, convention and daring. John’s greatest hits — from “Your Song” and “Tiny Dancer” to “Goodbye Yellow Brick Road” and “I’m Still Standing” — are treated not just as career milestones but as full-blown numbers. The first one is “The Bitch Is Back,” repurposed here as an anthem of boyhood defiance for Elton, born Reginald Dwight, as he grows up in 1950s London with his unhappily married parents. Bryce Dallas Howard plays his mother with a series of exhausted eye-rolls, even when Reggie begins to show signs of prodigious musical talent.\u003c/p>\n\u003cp>Reggie grows up in a flash, rebrands himself as Elton John and meets his lifelong collaborator, the lyricist Bernie Taupin, wonderfully played by Jamie Bell. The movie’s most stirring scene finds Elton improvising at the piano, and the immortal melody to “Your Song” comes pouring out of his fingertips. It’s his song of unrequited love for Bernie, who will stand by him through thick and thin, even after Elton falls into a toxic relationship with a manipulative manager, John Reid, played by Richard Madden of \u003cem>Game of Thrones\u003c/em> fame.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It may be a little reductive to use John’s music as a form of narrative shorthand, but it also works like gangbusters: We’re reminded of just how soulful and emotionally malleable that music is. In one of the more blatant but inspired artistic liberties, Elton makes his stateside debut at the Troubadour in Los Angeles with a gravity-defying performance of “Crocodile Rock” — never mind that it’s 1970, two years before he and Taupin would write that song in real life.\u003c/p>\n\u003cp>Egerton does his own singing as John, and though he’s not a perfect physical match for the character, it hardly matters. Rather than going for showy mimicry, the 29-year-old actor underplays, locating subtle depths of feeling in a figure known for his flamboyance. He retains a firm grip on the character even when John begins his downward spiral, climaxing with his 1975 suicide attempt when he overdoses on Valium and plunges into his swimming pool. It’s here that director Fletcher unleashes the song “Rocket Man” itself, staged as a gorgeously lyrical underwater fantasy.\u003c/p>\n\u003cp>[aside postID='arts_13858037' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-1920x1080.jpg' target='_blank']\u003c/p>\n\u003cp>Moments like that give the movie a coherence and fluidity that eluded the much more slapdash \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>\u003c/a>\u003cem>, \u003c/em>which Fletcher completed after its director, Bryan Singer, was fired mid-production. It’s hard not to compare the two: Like \u003cem>Rhapsody\u003c/em>, \u003cem>Rocketman\u003c/em> is a portrait of an LGBT glam-rock icon who repressed his sexuality but ultimately couldn’t keep it out of the spotlight. This movie, to its credit, takes a much more intimate and empathetic view of its subject’s romantic life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s not to say that \u003cem>Rocketman\u003c/em> doesn’t have its overly processed, sanitized moments. You may nod your head somewhat dutifully as the story tumbles through its rise-and-fall-and-rise-again trajectory. But as John’s music itself reminds us, even the most familiar tune can take on new resonance. In the movie’s most aching moments, Elton seems to be singing not to others but to himself, as if to suggest that even the most universal pleasures often have intensely personal roots. Before it was your song, it was his.\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>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Elton+John+Biopic+%27Rocketman%27+Is+A+Surprising+Song-And-Dance+Spectacular&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time we see Elton John in \u003cem>Rocketman\u003c/em>, he’s wearing a spangly red devil costume with sharp horns and enormous wings. It’s one of the many glorious, glittery things we see him wear in the movie, although on this occasion, he isn’t dressed for a concert. It’s around 1990, and Elton, played by Taron Egerton, is attending a group therapy session. He may be one of the world’s most successful rock stars, but he’s also being eaten alive by sex addiction and substance abuse, and also by feelings of abandonment that go back to his childhood.\u003c/p>\n\u003cp>No one who’s seen a movie about a popular musician will be surprised by any of this, or by the way \u003cem>Rocketman\u003c/em> unfolds its story as a series of extended flashbacks. But even within that familiar framework, the movie finds surprising ways to buck convention. The colors are bright and kaleidoscopic, but the tone is beautifully modulated: The operatic excesses are balanced by a powerful sense of melancholy. The group-therapy framing device works especially well: The sight of Elton in all that defiant plumage is ludicrous, marvelous and strangely poignant — all words you might apply to the movie itself.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Rocketman (2019) - Official Trailer - Paramount Pictures\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/S3vO8E2e6G0?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>As directed by Dexter Fletcher from a script by Lee Hall, \u003cem>Rocketman\u003c/em> isn’t just a musician’s biopic; it’s a biographical musical. Conceived as a surreal song-and-dance spectacular, it’s a delirious blur of truth and artifice, convention and daring. John’s greatest hits — from “Your Song” and “Tiny Dancer” to “Goodbye Yellow Brick Road” and “I’m Still Standing” — are treated not just as career milestones but as full-blown numbers. The first one is “The Bitch Is Back,” repurposed here as an anthem of boyhood defiance for Elton, born Reginald Dwight, as he grows up in 1950s London with his unhappily married parents. Bryce Dallas Howard plays his mother with a series of exhausted eye-rolls, even when Reggie begins to show signs of prodigious musical talent.\u003c/p>\n\u003cp>Reggie grows up in a flash, rebrands himself as Elton John and meets his lifelong collaborator, the lyricist Bernie Taupin, wonderfully played by Jamie Bell. The movie’s most stirring scene finds Elton improvising at the piano, and the immortal melody to “Your Song” comes pouring out of his fingertips. It’s his song of unrequited love for Bernie, who will stand by him through thick and thin, even after Elton falls into a toxic relationship with a manipulative manager, John Reid, played by Richard Madden of \u003cem>Game of Thrones\u003c/em> fame.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It may be a little reductive to use John’s music as a form of narrative shorthand, but it also works like gangbusters: We’re reminded of just how soulful and emotionally malleable that music is. In one of the more blatant but inspired artistic liberties, Elton makes his stateside debut at the Troubadour in Los Angeles with a gravity-defying performance of “Crocodile Rock” — never mind that it’s 1970, two years before he and Taupin would write that song in real life.\u003c/p>\n\u003cp>Egerton does his own singing as John, and though he’s not a perfect physical match for the character, it hardly matters. Rather than going for showy mimicry, the 29-year-old actor underplays, locating subtle depths of feeling in a figure known for his flamboyance. He retains a firm grip on the character even when John begins his downward spiral, climaxing with his 1975 suicide attempt when he overdoses on Valium and plunges into his swimming pool. It’s here that director Fletcher unleashes the song “Rocket Man” itself, staged as a gorgeously lyrical underwater fantasy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moments like that give the movie a coherence and fluidity that eluded the much more slapdash \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>\u003c/a>\u003cem>, \u003c/em>which Fletcher completed after its director, Bryan Singer, was fired mid-production. It’s hard not to compare the two: Like \u003cem>Rhapsody\u003c/em>, \u003cem>Rocketman\u003c/em> is a portrait of an LGBT glam-rock icon who repressed his sexuality but ultimately couldn’t keep it out of the spotlight. This movie, to its credit, takes a much more intimate and empathetic view of its subject’s romantic life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s not to say that \u003cem>Rocketman\u003c/em> doesn’t have its overly processed, sanitized moments. You may nod your head somewhat dutifully as the story tumbles through its rise-and-fall-and-rise-again trajectory. But as John’s music itself reminds us, even the most familiar tune can take on new resonance. In the movie’s most aching moments, Elton seems to be singing not to others but to himself, as if to suggest that even the most universal pleasures often have intensely personal roots. Before it was your song, it was his.\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>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Elton+John+Biopic+%27Rocketman%27+Is+A+Surprising+Song-And-Dance+Spectacular&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Hot Summer Guide 2019: Our 10 North Bay Outdoor Events for Long Days and Warm Nights",
"headTitle": "Hot Summer Guide 2019: Our 10 North Bay Outdoor Events for Long Days and Warm Nights | KQED",
"content": "\u003cp>There’s nothing like being outdoors at night in the North Bay, among the hills and trees, and you’ll find that nearly all of our picks in this 2019 roundup of summertime events in Sonoma County and Marin County involve just that. Here’s our choices for how to spend those warm nights across the bridge.\u003c/p>\n\u003cfigure id=\"attachment_13858428\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Grease.jpg-800x533.jpg\" alt=\"Chelsea Holifield (Sandy) and David Crane (Danny) star in 'Grease' at the Mountain Play this year.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13858428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grease.jpg-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grease.jpg-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grease.jpg-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grease.jpg-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grease.jpg-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grease.jpg.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Holifield (Sandy) and David Crane (Danny) star in ‘Grease’ at the Mountain Play this year. \u003ccite>(Ed Smith Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Grease’\u003c/h2>\n\u003cp>\u003ci>May 26–June 16, 2019\u003cbr>\nCushing Memorial Amphitheater, Mill Valley\u003cbr>\n\u003ca href=\"https://www.mountainplay.org/2019-season/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The Mountain Play is a Marin County tradition over 100 years old, and for good reason: the setting in a large amphitheater atop Mt. Tamalpias is gorgeous, the play selections are always popular favorites, and the shuttles to the top of the mountain give attendees a tight-knit sense of community even before the first act. This year, it’s Danny (David Crane), Sandy (Chelsea Holifield) and the rest of the gang in \u003cem>Grease\u003c/em>, running Sundays with two Saturday performances on June 8 and 15. \u003c/p>\n\u003cfigure id=\"attachment_13858430\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GarrisonRaviDejonette-800x503.jpg\" alt=\"Ravi Coltrane, Jack DeJohnette and Matthew Garrison play the Healdsburg Jazz Festival on June 1.\" width=\"800\" height=\"503\" class=\"size-medium wp-image-13858430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GarrisonRaviDejonette-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GarrisonRaviDejonette-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GarrisonRaviDejonette-768x483.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GarrisonRaviDejonette-1020x641.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GarrisonRaviDejonette-1200x754.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GarrisonRaviDejonette.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ravi Coltrane, Jack DeJohnette and Matthew Garrison play the Healdsburg Jazz Festival on June 1. \u003ccite>(Pete Gannushkin / ECM Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Healdsburg Jazz Festival\u003c/h2>\n\u003cp>\u003ci>May 31–June 9, 2019\u003cbr>\nVarious venues, Healdsburg\u003cbr>\n\u003ca href=\"https://healdsburgjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The best small-town jazz festival in the Bay Area is in Healdsburg, where theaters, wineries, restaurants and parks come alive with excellent booking. This year boasts a salute to ECM Records, with Ralph Towner, Paul McCandless, Ethan Iverson, Jack DeJohnette, Ravi Coltrane and more helping celebrate the label’s 50th anniversary. Latin jazz, New Orleans jazz and soul-jazz abound as well, but pay close attention to a night with groundbreaking composer and pianist Carla Bley in a rare return to the Bay Area. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LosTigresDelNorte-800x560.jpg\" alt=\"\" width=\"800\" height=\"560\" class=\"aligncenter size-medium wp-image-13858431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LosTigresDelNorte-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LosTigresDelNorte-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LosTigresDelNorte-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LosTigresDelNorte.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>Los Tigres del Norte\u003c/h2>\n\u003cp>\u003ci>June 28, 2019\u003cbr>\nSOMO Village Event Center, Rohnert Park\u003cbr>\n\u003ca href=\"https://somoconcerts.com/los-tigres-del-norte\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>There’s few greater rituals of communion for Sonoma County’s robust Latino population than a Los Tigres del Norte concert. The band virtually wrote the rulebook for gripping \u003cem>narcorrido\u003c/em> storytelling, and their empowering songs of the immigrant experience lift up a people who were here in California long before the United States drew a line on the ground and claimed the land. Known for taking song requests from scraps of paper thrown on the stage by fans, the band and their brand of norteño music should sound brilliant under the June sky.\u003c/p>\n\u003cfigure id=\"attachment_13858432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/the_little_mermaid-800x450.jpg\" alt=\"'The Little Mermaid' screens for free at the Green Music Center on Aug. 10.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13858432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/the_little_mermaid.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/the_little_mermaid-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/the_little_mermaid-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Little Mermaid’ screens for free at the Green Music Center on Aug. 10.\u003c/figcaption>\u003c/figure>\n\u003ch2>Free Movies at the Green\u003c/h2>\n\u003cp>\u003ci>June 29, July 14 and Aug. 10, 2019\u003cbr>\nGreen Music Center, Rohnert Park\u003cbr>\n\u003ca href=\"https://somoconcerts.com/los-tigres-del-norte\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>You’ve probably been to some type of “free movies in the park” thing before, but on the scenic grand lawn of the Green Music Center, the sound system and projection are top-notch, and you can’t beat the setting. Pack a picnic for \u003cem>Spider Man: Into the Spider-verse\u003c/em> and \u003cem>Captain Marvel\u003c/em> (June 29), \u003cem>How to Train Your Dragon: The Hidden World\u003c/em> (July 14), and \u003cem>The Little Mermaid\u003c/em> (Aug. 10). (And take note: the Green Music Center shows \u003cem>Raiders of the Lost Ark\u003c/em> with a live score by the Santa Rosa Symphony in an indoor ticketed show on Aug. 24.)\u003c/p>\n\u003cfigure id=\"attachment_13858434\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Castro_aims-800x534.jpg\" alt=\"The Imaginists' free, bicycle-powered, bilingual 'El Show El Arte Es Medicina.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13858434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Castro_aims-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Castro_aims-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Castro_aims-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Castro_aims-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Castro_aims-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Castro_aims.jpg 1279w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Imaginists’ free, bicycle-powered, bilingual ‘El Show El Arte Es Medicina.’ \u003ccite>(Erik Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>El Show El Arte Es Medicina\u003c/h2>\n\u003cp>\u003ci>June 29–July 19, 2019\u003cbr>\nVarious Parks, Santa Rosa\u003cbr>\n\u003ca href=\"http://theimaginists.org/el-show-el-arte-es-medicina-2019\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>For a decade now, the Imaginists theater company have been producing their annual ‘Art is Medicine’ show: a free, bicycle-powered bilingual production that dives headfirst into topical issues. This year, it’s \u003cem>Peace, the Redacted Version\u003c/em>, an “almost unrecognizable” adaptation of Aristophanes’ \u003cem>Peace\u003c/em>, which centuries ago used humor and absurdity to skewer a populist warmongering leader. In other words: it’s just what we can use right now. Catching the show at either Juilliard Park, Bayer Farm or Andy’s Park in Santa Rosa is a summertime must.\u003c/p>\n\u003cfigure id=\"attachment_13834051\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-800x572.jpg\" alt=\"Crowd during show at Lagunitas Brewery \" width=\"800\" height=\"572\" class=\"size-medium wp-image-13834051\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowd during show at Lagunitas Brewery. \u003ccite>(Courtesy of Lagunitas Brewery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Live at Lagunitas\u003c/h2>\n\u003cp>\u003ci>June 4–Oct. 7\u003cbr>\nLagunitas Brewing Co., Petaluma\u003cbr>\n\u003ca href=\"https://lagunitas.com/music-amphitheater\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Seeing a band who’d normally play the Fillmore in a small, 300-capacity outdoor amphitheater is tempting enough for most music fans. But when the tickets are free? That changes it to “pretty much all music fans,” which is why you’ll want to be quick on the mouse-click if you’re hoping to check out a show at the venerable Petaluma brewery. Tickets are offered three weeks in advance of each show in the season, and this year includes Antibalas, Caroline Rose, Thundercat, the Budos Band, Shannon and the Clams and more. The sound is always great and the vibe—well, let’s just say the Lagunitas crew doesn’t limit their mood enhancers to beer.\n\u003c/p>\n\u003cfigure id=\"attachment_13834055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-800x522.jpg\" alt=\"Now in its fifth year, 'Broadway Under the Stars' benefits Jack London State Park.\" width=\"800\" height=\"522\" class=\"size-medium wp-image-13834055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-520x339.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Now in its sixth year, ‘Broadway Under the Stars’ benefits Jack London State Park. \u003ccite>(Courtesy of 'Broadway Under the Stars' )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Broadway Under the Stars\u003c/h2>\n\u003cp>\u003ci>June 14–Sept. 8\u003cbr>\nJack London State Park, Glen Ellen\u003cbr>\n\u003ca href=\"https://transcendencetheatre.org/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The idea here is simple: take a bunch of Broadway professionals from New York, bring them to the Bay Area for the off-season in the summer, throw together revues of best-loved songs from musical theatre, and present them amidst the stone ruins of a former winery in Jack London State Park. The scenery here is picturesque, the performers bring obvious quality, and the productions are consistently entertaining and not afraid to poke fun at the usual stuffy seriousness of the theatre. The topper? Over the past six years, the company has donated over a quarter million dollars to the state park to help keep it running. This one’s a favorite.\u003c/p>\n\u003cfigure id=\"attachment_13834059\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest.jpg\" alt=\"Even babies get into the action at the Railroad Square Musical Festival.\" width=\"720\" height=\"480\" class=\"size-medium wp-image-13834059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-520x347.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Even a babies get into the action at the Railroad Square Musical Festival. \u003ccite>(Courtesy of Railroad Square Musical Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Railroad Square Music Festival\u003c/h2>\n\u003cp>\u003ci>June 9\u003cbr>\nRailroad Square, Santa Rosa\u003cbr>\n\u003ca href=\"http://www.railroadsquaremusicfestival.com/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Over the years, Railroad Square has played host to Alfred Hitchcock (parts of \u003cem>Shadow of a Doubt\u003c/em> were filmed there), Steve Martin (\u003cem>Cheaper by the Dozen\u003c/em>), Thomas Edison and Henry Ford (visiting by train) and, recently, several outdoor festivals of the steampunk / Burning Man variety. This one’s got renegade street bands, rock outfits, Mexican dance bands, folk acts and even classical ensembles. More than 17 acts total fill multiple stages, it’s free, and this year, attendees even have a fresh new transportation option in the form of the SMART Train, which disembarks just steps from the main stage. \u003c/p>\n\u003cfigure id=\"attachment_13834045\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-800x572.jpg\" alt=\"\" width=\"800\" height=\"572\" class=\"size-medium wp-image-13834045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Traveling Spectacular’ stage at the Rivertown Revival. \u003ccite>(Courtesy of Traveling Spectacular)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rivertown Revival\u003c/h2>\n\u003cp>\u003ci>July 20\u003cbr>\nSteamer Landing Park, Petaluma\u003cbr>\n\u003ca href=\"http://www.rivertownrevival.com/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The boat races along the Petaluma Slough are just the tip of the daylong fun at this colorful, old-timey free festival. Part steampunk, part country, the day’s activities include live music from local folk and bluegrass bands, plenty of food and drink, public sculpture along the long, winding entrance, the “Traveling Spectacular” stage (pictured) and, if you’re feeling frisky, a hilltop gazebo for impromptu wedding ceremonies. Make sure to get your Instagram photo ops in the giant blue chair or along the old Ghirardelli barn, and yes, root for your favorite decorated boat as it floats in the water below. Take it from us: there’s not much shade here, so a parasol or large hat are recommended. \u003c/p>\n\u003cfigure id=\"attachment_13834054\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard.jpg\" alt=\"KRSH DJ Bill Bowker talks with attendees at a Krush Backyard Concert.\" width=\"354\" height=\"253\" class=\"size-medium wp-image-13834054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard.jpg 354w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard-240x172.jpg 240w\" sizes=\"(max-width: 354px) 100vw, 354px\">\u003cfigcaption class=\"wp-caption-text\">KRSH DJ Bill Bowker talks with attendees at a Krush Backyard Concert. \u003ccite>(Courtesy of Krush)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Krush Backyard Concerts\u003c/h2>\n\u003cp>\u003ci>June 13–Sept. 19\u003cbr>\nKRSH Studios, Santa Rosa\u003cbr>\n\u003ca href=\"https://www.krsh.com/backyard-concerts-2019/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>They just do things differently in Sonoma County. Whereas in San Francisco, radio stations host huge showcases at the Shoreline Amphitheater or the Oracle Arena, Santa Rosa’s popular station The Krush (95.9-FM) host its favorite acts playing in the studio backyard — which is to say, the grassy area behind a cluster of old-time railroad train cars, from which the DJs broadcast. Blankets, babies and beer are are welcome, and this year’s free series includes Haight-Ashbury legends the Ace of Cups, renegade country singer Wayne “The Train” Hancock, saucy Louisiana-flavored blues singer Janiva Magness, the deadhead delight of the David Nelson Band and more. \u003c/p>\n\n",
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"excerpt": "Fun under the sky in the North Bay abounds this summer with these 10 outdoor picks.",
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"title": "Hot Summer Guide 2019: Our 10 North Bay Outdoor Events for Long Days and Warm Nights | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s nothing like being outdoors at night in the North Bay, among the hills and trees, and you’ll find that nearly all of our picks in this 2019 roundup of summertime events in Sonoma County and Marin County involve just that. Here’s our choices for how to spend those warm nights across the bridge.\u003c/p>\n\u003cfigure id=\"attachment_13858428\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Grease.jpg-800x533.jpg\" alt=\"Chelsea Holifield (Sandy) and David Crane (Danny) star in 'Grease' at the Mountain Play this year.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13858428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grease.jpg-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grease.jpg-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grease.jpg-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grease.jpg-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grease.jpg-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grease.jpg.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Holifield (Sandy) and David Crane (Danny) star in ‘Grease’ at the Mountain Play this year. \u003ccite>(Ed Smith Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Grease’\u003c/h2>\n\u003cp>\u003ci>May 26–June 16, 2019\u003cbr>\nCushing Memorial Amphitheater, Mill Valley\u003cbr>\n\u003ca href=\"https://www.mountainplay.org/2019-season/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The Mountain Play is a Marin County tradition over 100 years old, and for good reason: the setting in a large amphitheater atop Mt. Tamalpias is gorgeous, the play selections are always popular favorites, and the shuttles to the top of the mountain give attendees a tight-knit sense of community even before the first act. This year, it’s Danny (David Crane), Sandy (Chelsea Holifield) and the rest of the gang in \u003cem>Grease\u003c/em>, running Sundays with two Saturday performances on June 8 and 15. \u003c/p>\n\u003cfigure id=\"attachment_13858430\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GarrisonRaviDejonette-800x503.jpg\" alt=\"Ravi Coltrane, Jack DeJohnette and Matthew Garrison play the Healdsburg Jazz Festival on June 1.\" width=\"800\" height=\"503\" class=\"size-medium wp-image-13858430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GarrisonRaviDejonette-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GarrisonRaviDejonette-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GarrisonRaviDejonette-768x483.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GarrisonRaviDejonette-1020x641.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GarrisonRaviDejonette-1200x754.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GarrisonRaviDejonette.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ravi Coltrane, Jack DeJohnette and Matthew Garrison play the Healdsburg Jazz Festival on June 1. \u003ccite>(Pete Gannushkin / ECM Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Healdsburg Jazz Festival\u003c/h2>\n\u003cp>\u003ci>May 31–June 9, 2019\u003cbr>\nVarious venues, Healdsburg\u003cbr>\n\u003ca href=\"https://healdsburgjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The best small-town jazz festival in the Bay Area is in Healdsburg, where theaters, wineries, restaurants and parks come alive with excellent booking. This year boasts a salute to ECM Records, with Ralph Towner, Paul McCandless, Ethan Iverson, Jack DeJohnette, Ravi Coltrane and more helping celebrate the label’s 50th anniversary. Latin jazz, New Orleans jazz and soul-jazz abound as well, but pay close attention to a night with groundbreaking composer and pianist Carla Bley in a rare return to the Bay Area. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LosTigresDelNorte-800x560.jpg\" alt=\"\" width=\"800\" height=\"560\" class=\"aligncenter size-medium wp-image-13858431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LosTigresDelNorte-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LosTigresDelNorte-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LosTigresDelNorte-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LosTigresDelNorte.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>Los Tigres del Norte\u003c/h2>\n\u003cp>\u003ci>June 28, 2019\u003cbr>\nSOMO Village Event Center, Rohnert Park\u003cbr>\n\u003ca href=\"https://somoconcerts.com/los-tigres-del-norte\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>There’s few greater rituals of communion for Sonoma County’s robust Latino population than a Los Tigres del Norte concert. The band virtually wrote the rulebook for gripping \u003cem>narcorrido\u003c/em> storytelling, and their empowering songs of the immigrant experience lift up a people who were here in California long before the United States drew a line on the ground and claimed the land. Known for taking song requests from scraps of paper thrown on the stage by fans, the band and their brand of norteño music should sound brilliant under the June sky.\u003c/p>\n\u003cfigure id=\"attachment_13858432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/the_little_mermaid-800x450.jpg\" alt=\"'The Little Mermaid' screens for free at the Green Music Center on Aug. 10.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13858432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/the_little_mermaid.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/the_little_mermaid-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/the_little_mermaid-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Little Mermaid’ screens for free at the Green Music Center on Aug. 10.\u003c/figcaption>\u003c/figure>\n\u003ch2>Free Movies at the Green\u003c/h2>\n\u003cp>\u003ci>June 29, July 14 and Aug. 10, 2019\u003cbr>\nGreen Music Center, Rohnert Park\u003cbr>\n\u003ca href=\"https://somoconcerts.com/los-tigres-del-norte\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>You’ve probably been to some type of “free movies in the park” thing before, but on the scenic grand lawn of the Green Music Center, the sound system and projection are top-notch, and you can’t beat the setting. Pack a picnic for \u003cem>Spider Man: Into the Spider-verse\u003c/em> and \u003cem>Captain Marvel\u003c/em> (June 29), \u003cem>How to Train Your Dragon: The Hidden World\u003c/em> (July 14), and \u003cem>The Little Mermaid\u003c/em> (Aug. 10). (And take note: the Green Music Center shows \u003cem>Raiders of the Lost Ark\u003c/em> with a live score by the Santa Rosa Symphony in an indoor ticketed show on Aug. 24.)\u003c/p>\n\u003cfigure id=\"attachment_13858434\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Castro_aims-800x534.jpg\" alt=\"The Imaginists' free, bicycle-powered, bilingual 'El Show El Arte Es Medicina.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13858434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Castro_aims-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Castro_aims-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Castro_aims-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Castro_aims-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Castro_aims-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Castro_aims.jpg 1279w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Imaginists’ free, bicycle-powered, bilingual ‘El Show El Arte Es Medicina.’ \u003ccite>(Erik Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>El Show El Arte Es Medicina\u003c/h2>\n\u003cp>\u003ci>June 29–July 19, 2019\u003cbr>\nVarious Parks, Santa Rosa\u003cbr>\n\u003ca href=\"http://theimaginists.org/el-show-el-arte-es-medicina-2019\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>For a decade now, the Imaginists theater company have been producing their annual ‘Art is Medicine’ show: a free, bicycle-powered bilingual production that dives headfirst into topical issues. This year, it’s \u003cem>Peace, the Redacted Version\u003c/em>, an “almost unrecognizable” adaptation of Aristophanes’ \u003cem>Peace\u003c/em>, which centuries ago used humor and absurdity to skewer a populist warmongering leader. In other words: it’s just what we can use right now. Catching the show at either Juilliard Park, Bayer Farm or Andy’s Park in Santa Rosa is a summertime must.\u003c/p>\n\u003cfigure id=\"attachment_13834051\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-800x572.jpg\" alt=\"Crowd during show at Lagunitas Brewery \" width=\"800\" height=\"572\" class=\"size-medium wp-image-13834051\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowd during show at Lagunitas Brewery. \u003ccite>(Courtesy of Lagunitas Brewery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Live at Lagunitas\u003c/h2>\n\u003cp>\u003ci>June 4–Oct. 7\u003cbr>\nLagunitas Brewing Co., Petaluma\u003cbr>\n\u003ca href=\"https://lagunitas.com/music-amphitheater\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Seeing a band who’d normally play the Fillmore in a small, 300-capacity outdoor amphitheater is tempting enough for most music fans. But when the tickets are free? That changes it to “pretty much all music fans,” which is why you’ll want to be quick on the mouse-click if you’re hoping to check out a show at the venerable Petaluma brewery. Tickets are offered three weeks in advance of each show in the season, and this year includes Antibalas, Caroline Rose, Thundercat, the Budos Band, Shannon and the Clams and more. The sound is always great and the vibe—well, let’s just say the Lagunitas crew doesn’t limit their mood enhancers to beer.\n\u003c/p>\n\u003cfigure id=\"attachment_13834055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-800x522.jpg\" alt=\"Now in its fifth year, 'Broadway Under the Stars' benefits Jack London State Park.\" width=\"800\" height=\"522\" class=\"size-medium wp-image-13834055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-520x339.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Now in its sixth year, ‘Broadway Under the Stars’ benefits Jack London State Park. \u003ccite>(Courtesy of 'Broadway Under the Stars' )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Broadway Under the Stars\u003c/h2>\n\u003cp>\u003ci>June 14–Sept. 8\u003cbr>\nJack London State Park, Glen Ellen\u003cbr>\n\u003ca href=\"https://transcendencetheatre.org/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The idea here is simple: take a bunch of Broadway professionals from New York, bring them to the Bay Area for the off-season in the summer, throw together revues of best-loved songs from musical theatre, and present them amidst the stone ruins of a former winery in Jack London State Park. The scenery here is picturesque, the performers bring obvious quality, and the productions are consistently entertaining and not afraid to poke fun at the usual stuffy seriousness of the theatre. The topper? Over the past six years, the company has donated over a quarter million dollars to the state park to help keep it running. This one’s a favorite.\u003c/p>\n\u003cfigure id=\"attachment_13834059\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest.jpg\" alt=\"Even babies get into the action at the Railroad Square Musical Festival.\" width=\"720\" height=\"480\" class=\"size-medium wp-image-13834059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-520x347.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Even a babies get into the action at the Railroad Square Musical Festival. \u003ccite>(Courtesy of Railroad Square Musical Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Railroad Square Music Festival\u003c/h2>\n\u003cp>\u003ci>June 9\u003cbr>\nRailroad Square, Santa Rosa\u003cbr>\n\u003ca href=\"http://www.railroadsquaremusicfestival.com/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Over the years, Railroad Square has played host to Alfred Hitchcock (parts of \u003cem>Shadow of a Doubt\u003c/em> were filmed there), Steve Martin (\u003cem>Cheaper by the Dozen\u003c/em>), Thomas Edison and Henry Ford (visiting by train) and, recently, several outdoor festivals of the steampunk / Burning Man variety. This one’s got renegade street bands, rock outfits, Mexican dance bands, folk acts and even classical ensembles. More than 17 acts total fill multiple stages, it’s free, and this year, attendees even have a fresh new transportation option in the form of the SMART Train, which disembarks just steps from the main stage. \u003c/p>\n\u003cfigure id=\"attachment_13834045\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-800x572.jpg\" alt=\"\" width=\"800\" height=\"572\" class=\"size-medium wp-image-13834045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Traveling Spectacular’ stage at the Rivertown Revival. \u003ccite>(Courtesy of Traveling Spectacular)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rivertown Revival\u003c/h2>\n\u003cp>\u003ci>July 20\u003cbr>\nSteamer Landing Park, Petaluma\u003cbr>\n\u003ca href=\"http://www.rivertownrevival.com/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The boat races along the Petaluma Slough are just the tip of the daylong fun at this colorful, old-timey free festival. Part steampunk, part country, the day’s activities include live music from local folk and bluegrass bands, plenty of food and drink, public sculpture along the long, winding entrance, the “Traveling Spectacular” stage (pictured) and, if you’re feeling frisky, a hilltop gazebo for impromptu wedding ceremonies. Make sure to get your Instagram photo ops in the giant blue chair or along the old Ghirardelli barn, and yes, root for your favorite decorated boat as it floats in the water below. Take it from us: there’s not much shade here, so a parasol or large hat are recommended. \u003c/p>\n\u003cfigure id=\"attachment_13834054\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard.jpg\" alt=\"KRSH DJ Bill Bowker talks with attendees at a Krush Backyard Concert.\" width=\"354\" height=\"253\" class=\"size-medium wp-image-13834054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard.jpg 354w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard-240x172.jpg 240w\" sizes=\"(max-width: 354px) 100vw, 354px\">\u003cfigcaption class=\"wp-caption-text\">KRSH DJ Bill Bowker talks with attendees at a Krush Backyard Concert. \u003ccite>(Courtesy of Krush)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Krush Backyard Concerts\u003c/h2>\n\u003cp>\u003ci>June 13–Sept. 19\u003cbr>\nKRSH Studios, Santa Rosa\u003cbr>\n\u003ca href=\"https://www.krsh.com/backyard-concerts-2019/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They just do things differently in Sonoma County. Whereas in San Francisco, radio stations host huge showcases at the Shoreline Amphitheater or the Oracle Arena, Santa Rosa’s popular station The Krush (95.9-FM) host its favorite acts playing in the studio backyard — which is to say, the grassy area behind a cluster of old-time railroad train cars, from which the DJs broadcast. Blankets, babies and beer are are welcome, and this year’s free series includes Haight-Ashbury legends the Ace of Cups, renegade country singer Wayne “The Train” Hancock, saucy Louisiana-flavored blues singer Janiva Magness, the deadhead delight of the David Nelson Band and more. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "summer-guide-2019-how-the-south-bay-plans-to-party-this-summer",
"title": "Summer Guide 2019: How the South Bay Plans to Party This Summer",
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"content": "\u003cp>Summertime is the right time in the South Bay for getting outdoors, whether your jam is a movie, concert, or strolling after dinner through the art galleries and museums of downtown. People north of the Peninsula may wonder what’s worth driving so far south to see, but let them wonder. We’re drawing big crowds from the neighborhoods nearby as it is.\u003c/p>\n\u003cfigure id=\"attachment_13857558\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857558\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut.jpg\" alt=\"Henrietta (Maria Giere Marquis) is captivated by a look into the heavens.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-1200x800.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Henrietta (Maria Giere Marquis) is captivated by a look into the heavens. \u003ccite>(Photo: Courtesy of Taylor Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Silent Sky\u003c/h2>\n\u003cp>\u003ci>May 16–June 16 \u003c/i>\u003cbr>\n\u003cem>City Lights Theater Company, San Jose\u003c/em>\u003cbr>\n\u003ca style=\"font-style: italic\" href=\"http://cltc.org/silent-sky/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/p>\n\u003cp>The 2016 movie \u003cem>Hidden Figures\u003c/em> wasn’t the first to resurrect the previously underreported stories of lady giants of science. But now we’re definitely paying attention to what’s proving to be a rich and varied genre of entertainment, especially here in Silicon Valley. San Francisco playwright Lauren Gunderson’s \u003ca href=\"https://www.kqed.org/arts/13857555/silent-sky-shines-a-spotlight-on-a-woman-in-love-with-astronomy\" target=\"_blank\" rel=\"noopener\">\u003cem>Silent Sky\u003c/em>\u003c/a> focuses on a woman named Henrietta Swan Leavitt, whose scientific breakthroughs at the turn of the 20th century laid the ground for later revelations—like the idea that the universe is much bigger than our little solar system. The play is moving tribute to scientists of every stripe.\u003c/p>\n\u003cfigure id=\"attachment_13857666\" class=\"wp-caption aligncenter\" style=\"max-width: 638px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857666\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/D60xfioW0AABYHA.jpg-large-2.jpeg\" alt=\"Future Win will be performing live at this year's subZERO Festival in San Jose.\" width=\"638\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/D60xfioW0AABYHA.jpg-large-2.jpeg 638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/D60xfioW0AABYHA.jpg-large-2-160x120.jpeg 160w\" sizes=\"(max-width: 638px) 100vw, 638px\">\u003cfigcaption class=\"wp-caption-text\">Future Win will perform live at this year’s subZERO Festival in San Jose. \u003ccite>(Courtesy of Future Win)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>SubZERO Festival\u003c/h2>\n\u003cp>\u003ci>June 7–8\u003c/i>\u003cbr>\n\u003cem>SoFA District, San Jose\u003c/em>\u003cbr>\n\u003ca style=\"font-style: italic\" href=\"https://www.subzerofestival.com\" target=\"_blank\" rel=\"noopener\">More information \u003c/a>\u003c/p>\n\u003cp>Produced by Two Fish Design, SubZERO is a “DIY, artistically bent, hi/lo-techno mashup where street meets geek.” Got it? Bands, dancers, visual artists and the people who love them will fill the streets of downtown San Jose with sound, as well as craft beer and food trucks. Also, there will be wood carving.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>[youtube https://www.youtube.com/watch?v=ilUCwLLdltQ]\u003c/p>\n\u003cp>[ad fullwidth]\u003cbr>\n\u003cstrong>Music in the Park\u003c/strong>\u003cbr>\n\u003cem>June 21–Aug. 23\u003cbr>\nPlaza de Caesar Chavez, San Jose\u003cbr>\n\u003ca href=\"https://sjdowntown.com/music-in-the-park/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>For Music in the Park, bring a blanket, sunglasses, a jacket (even San Jose can get chilly at night) and some pocket money for snacks. If you wear comfortable shoes, it’s an easy walk from the CalTrain station. This year’s line-up includes a range of artists, but they’re all chill, i.e. likely to please everybody in the family, from junior to grandma: The Delfonics, Ozomatli, Cuco and J Boog.\u003c/p>\n\u003cfigure id=\"attachment_13857659\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857659\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival.jpg\" alt=\"The Chidori Band performs at the Obon festival in San Jose's Japantown on July 9, 2016.\" width=\"2048\" height=\"1368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-1920x1282.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">The Chidori band performs at the Obon Festival in Japantown in San Jose on Saturday, July 9. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Jose Obon Festival\u003c/h2>\n\u003cp>\u003cem>July 13–14\u003cbr>\nSan Jose Buddhist Church\u003cbr>\n\u003ca href=\"http://www.sjbetsuin.com\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>In Japan, the Obon festival is one of year’s most significant religious and cultural events. In San Jose, it’s also a delightful opportunity for the South Bay’s Japanese Americans to celebrate one of the\u003ca href=\"https://www.kqed.org/forum/201503271000/125-years-of-history-and-culture-in-san-joses-japantown\" target=\"_blank\" rel=\"noopener\"> last remaining Japantowns\u003c/a> in the United States. Also, who doesn’t want to watch \u003ca href=\"https://taiko.org\" target=\"_blank\" rel=\"noopener\">San Jose Taiko\u003c/a> and the \u003ca href=\"https://chidoriband.com\" target=\"_blank\" rel=\"noopener\">San Jose Chidori Band\u003c/a> perform while eating teriyaki and tempura?\u003c/p>\n\u003cfigure id=\"attachment_13857661\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857661\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite.png\" alt=\"Ceremonial huipil, Santa Lucía Utatlán, 1930’s/1940’s\" width=\"1000\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite.png 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite-160x117.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite-800x584.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite-768x561.png 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Ceremonial huipil, Santa Lucía Utatlán, 1930’s/1940’s \u003ccite>(Courtesy of Friends of the Ixchel Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mayan Traje: A Tradition in Transition\u003c/h2>\n\u003cp>\u003cem>July 21–Oct. 13\u003cbr>\nSan Jose Museum of Quilts and Textiles\u003cbr>\n\u003ca href=\"https://www.sjquiltmuseum.org/upcoming-exhibitions\" target=\"_blank\" rel=\"noopener\">More information \u003c/a>\u003c/em>\u003c/p>\n\u003cp id=\"yui_3_17_2_1_1558317826563_414\" class=\"\">The Maya of Guatemala are known worldwide for their distinctive \u003cem>trajes\u003c/em> (traditional clothing). These were once 100% village-specific, to the extent your hometown could be pegged based on the clothes you wore. Those days have faded, but there’s still a lot of Mayan pride in the tradition and a keen regard for the fact it’s considered “wearable art”. This exhibit focuses on contemporary clothing as well as historical samples dating back to the early 20th century, drawing from the rarely-displayed collection of the \u003ca href=\"http://www.ixchelfriends.org\" target=\"_blank\" rel=\"noopener\">Friends of the Ixchel Museum\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13816938\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13816938 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413.jpg\" alt=\"Gregory Porter is just one of a host of nationally known artists performing this year at the 30th annual San Jose Jazz Summer Fest.\" width=\"2400\" height=\"1734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-800x578.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-768x555.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-1020x737.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-1920x1387.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-1180x853.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-960x694.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-375x271.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-520x376.jpg 520w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Gregory Porter is just one of a host of nationally known artists performing this year at the 30th annual San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Gregory Porter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Jose Jazz Summer Fest\u003c/h2>\n\u003cp>\u003cem>Aug. 9–11\u003cbr>\nVarious venues, San Jose\u003cbr>\n\u003ca href=\"https://summerfest.sanjosejazz.org\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>My, how Summer Fest has grown. The 30 year-old San Jose institution now features 100+ performances in jazz, blues, Latin, R&B and more, at venues throughout downtown. This year, headliners include Dianne Reeves, Gregory Porter, Pink Martini, The O’Jays, Sons of Kemet, Monty Alexander and the Harlem-Kingston Express, Ivan Lins, and the Oakland Interfaith Gospel Choir. Don’t be intimidated! Just try to enjoy as much as you can. Venerable music critic Andy Gilbert suggests a couple South Bay acts, in case you want to support local jazz talent: San Jose vocalist \u003ca href=\"https://www.youtube.com/channel/UCel_i6Vb1cxU2tCSGz0bn7A\" target=\"_blank\" rel=\"noopener\">Amy Dabalos\u003c/a> (aka Amy D), and the \u003ca href=\"https://www.youtube.com/channel/UCN2aaLfyY7rar2gSksq08GQ\" target=\"_blank\" rel=\"noopener\">7th Street Big Band\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13858407\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/NinaSky.jpg\" alt=\"Nina Sky headline this year's Sonido Clash festival in East Side San Jose.\" width=\"750\" height=\"464\" class=\"size-full wp-image-13858407\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/NinaSky.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/NinaSky-160x99.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Nina Sky headline this year’s Sonido Clash festival in East Side San Jose.\u003c/figcaption>\u003c/figure>\n\u003ch2>Sonido Clash Music Fest\u003c/h2>\n\u003cp>\u003cem>Sept. 1\u003c/em>\u003cbr>\n\u003cem>School of Arts & Culture, Mexican Heritage Plaza\u003c/em>\u003cbr>\n\u003ca href=\"http://sonidoclash.com\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/p>\n\u003cp>This Latinx collective famous for “cumbia, soul, y más” never fails to deliver a pleasing, all-ages party mix on multiple stages. This year’s lineup includes Nina Sky, Katzo Oso, Ms Nina, Rudy Da Ana, San Cha, and many more. Also, word: this year, San Jose Jazz Summer Fest includes a Sonido Clash Stage. Really, there’s no excuse to miss these guys this summer.\u003c/p>\n\u003cfigure id=\"attachment_11911630\" class=\"wp-caption aligncenter\" style=\"max-width: 840px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11911630 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums.jpg\" alt=\"'The Royal Tenenbaums' is one of a series of Wes Anderson films featured at History Park in San Jose this summer.\" width=\"840\" height=\"356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums.jpg 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-400x170.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-800x339.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-768x325.jpg 768w\" sizes=\"(max-width: 840px) 100vw, 840px\">\u003cfigcaption class=\"wp-caption-text\">‘The Royal Tenenbaums’ is one of a series of Wes Anderson films featured at History Park in San Jose this summer. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Flicks and Grooves\u003c/h2>\n\u003cp>\u003cem>May 10–Oct. 25\u003cbr>\nHistory Park, San Jose\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/flicks-and-grooves-a-summertime-film-music-series-tickets-60093563466\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cdel datetime=\"2019-06-20T22:04:36+00:00\">History San Jose hosts movies and music under the stars, and this year’s outdoor cinema lineup showcases the idiosyncratic genius of director \u003ca href=\"https://www.youtube.com/watch?v=nqfRmceGwUs\" target=\"_blank\" rel=\"noopener\">Wes Anderson\u003c/a> the second Friday of each month. Even if you’ve already seen all of Anderson’s films, they bear a second viewing, given the rich, detailed universes he creates. Though the series is already underway at press time, still to come are \u003cem>The Life Aquatic With Steve Zissou\u003c/em>, \u003cem>Rushmore\u003c/em>, \u003cem>The Grand Budapest Hotel\u003c/em>, \u003cem>The Royal Tenenbaums\u003c/em> and \u003cem>The Fantastic Mr. Fox\u003c/em>.\u003c/del>\u003c/p>\n\u003cp>\u003cstrong>UPDATE: the majority of Flicks and Grooves events have been canceled. \u003c/strong>\u003cem>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Enjoying San Jose this summer could easily be a full-time job, what with this look ahead to good times for you and your crew.",
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"title": "Summer Guide 2019: How the South Bay Plans to Party This Summer | KQED",
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"headline": "Summer Guide 2019: How the South Bay Plans to Party This Summer",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Summertime is the right time in the South Bay for getting outdoors, whether your jam is a movie, concert, or strolling after dinner through the art galleries and museums of downtown. People north of the Peninsula may wonder what’s worth driving so far south to see, but let them wonder. We’re drawing big crowds from the neighborhoods nearby as it is.\u003c/p>\n\u003cfigure id=\"attachment_13857558\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857558\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut.jpg\" alt=\"Henrietta (Maria Giere Marquis) is captivated by a look into the heavens.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-1200x800.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Henrietta (Maria Giere Marquis) is captivated by a look into the heavens. \u003ccite>(Photo: Courtesy of Taylor Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Silent Sky\u003c/h2>\n\u003cp>\u003ci>May 16–June 16 \u003c/i>\u003cbr>\n\u003cem>City Lights Theater Company, San Jose\u003c/em>\u003cbr>\n\u003ca style=\"font-style: italic\" href=\"http://cltc.org/silent-sky/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/p>\n\u003cp>The 2016 movie \u003cem>Hidden Figures\u003c/em> wasn’t the first to resurrect the previously underreported stories of lady giants of science. But now we’re definitely paying attention to what’s proving to be a rich and varied genre of entertainment, especially here in Silicon Valley. San Francisco playwright Lauren Gunderson’s \u003ca href=\"https://www.kqed.org/arts/13857555/silent-sky-shines-a-spotlight-on-a-woman-in-love-with-astronomy\" target=\"_blank\" rel=\"noopener\">\u003cem>Silent Sky\u003c/em>\u003c/a> focuses on a woman named Henrietta Swan Leavitt, whose scientific breakthroughs at the turn of the 20th century laid the ground for later revelations—like the idea that the universe is much bigger than our little solar system. The play is moving tribute to scientists of every stripe.\u003c/p>\n\u003cfigure id=\"attachment_13857666\" class=\"wp-caption aligncenter\" style=\"max-width: 638px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857666\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/D60xfioW0AABYHA.jpg-large-2.jpeg\" alt=\"Future Win will be performing live at this year's subZERO Festival in San Jose.\" width=\"638\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/D60xfioW0AABYHA.jpg-large-2.jpeg 638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/D60xfioW0AABYHA.jpg-large-2-160x120.jpeg 160w\" sizes=\"(max-width: 638px) 100vw, 638px\">\u003cfigcaption class=\"wp-caption-text\">Future Win will perform live at this year’s subZERO Festival in San Jose. \u003ccite>(Courtesy of Future Win)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>SubZERO Festival\u003c/h2>\n\u003cp>\u003ci>June 7–8\u003c/i>\u003cbr>\n\u003cem>SoFA District, San Jose\u003c/em>\u003cbr>\n\u003ca style=\"font-style: italic\" href=\"https://www.subzerofestival.com\" target=\"_blank\" rel=\"noopener\">More information \u003c/a>\u003c/p>\n\u003cp>Produced by Two Fish Design, SubZERO is a “DIY, artistically bent, hi/lo-techno mashup where street meets geek.” Got it? Bands, dancers, visual artists and the people who love them will fill the streets of downtown San Jose with sound, as well as craft beer and food trucks. Also, there will be wood carving.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ilUCwLLdltQ'\n title='//www.youtube.com/embed/ilUCwLLdltQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\n\u003cstrong>Music in the Park\u003c/strong>\u003cbr>\n\u003cem>June 21–Aug. 23\u003cbr>\nPlaza de Caesar Chavez, San Jose\u003cbr>\n\u003ca href=\"https://sjdowntown.com/music-in-the-park/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>For Music in the Park, bring a blanket, sunglasses, a jacket (even San Jose can get chilly at night) and some pocket money for snacks. If you wear comfortable shoes, it’s an easy walk from the CalTrain station. This year’s line-up includes a range of artists, but they’re all chill, i.e. likely to please everybody in the family, from junior to grandma: The Delfonics, Ozomatli, Cuco and J Boog.\u003c/p>\n\u003cfigure id=\"attachment_13857659\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857659\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival.jpg\" alt=\"The Chidori Band performs at the Obon festival in San Jose's Japantown on July 9, 2016.\" width=\"2048\" height=\"1368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-1920x1282.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">The Chidori band performs at the Obon Festival in Japantown in San Jose on Saturday, July 9. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Jose Obon Festival\u003c/h2>\n\u003cp>\u003cem>July 13–14\u003cbr>\nSan Jose Buddhist Church\u003cbr>\n\u003ca href=\"http://www.sjbetsuin.com\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>In Japan, the Obon festival is one of year’s most significant religious and cultural events. In San Jose, it’s also a delightful opportunity for the South Bay’s Japanese Americans to celebrate one of the\u003ca href=\"https://www.kqed.org/forum/201503271000/125-years-of-history-and-culture-in-san-joses-japantown\" target=\"_blank\" rel=\"noopener\"> last remaining Japantowns\u003c/a> in the United States. Also, who doesn’t want to watch \u003ca href=\"https://taiko.org\" target=\"_blank\" rel=\"noopener\">San Jose Taiko\u003c/a> and the \u003ca href=\"https://chidoriband.com\" target=\"_blank\" rel=\"noopener\">San Jose Chidori Band\u003c/a> perform while eating teriyaki and tempura?\u003c/p>\n\u003cfigure id=\"attachment_13857661\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857661\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite.png\" alt=\"Ceremonial huipil, Santa Lucía Utatlán, 1930’s/1940’s\" width=\"1000\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite.png 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite-160x117.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite-800x584.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite-768x561.png 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Ceremonial huipil, Santa Lucía Utatlán, 1930’s/1940’s \u003ccite>(Courtesy of Friends of the Ixchel Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mayan Traje: A Tradition in Transition\u003c/h2>\n\u003cp>\u003cem>July 21–Oct. 13\u003cbr>\nSan Jose Museum of Quilts and Textiles\u003cbr>\n\u003ca href=\"https://www.sjquiltmuseum.org/upcoming-exhibitions\" target=\"_blank\" rel=\"noopener\">More information \u003c/a>\u003c/em>\u003c/p>\n\u003cp id=\"yui_3_17_2_1_1558317826563_414\" class=\"\">The Maya of Guatemala are known worldwide for their distinctive \u003cem>trajes\u003c/em> (traditional clothing). These were once 100% village-specific, to the extent your hometown could be pegged based on the clothes you wore. Those days have faded, but there’s still a lot of Mayan pride in the tradition and a keen regard for the fact it’s considered “wearable art”. This exhibit focuses on contemporary clothing as well as historical samples dating back to the early 20th century, drawing from the rarely-displayed collection of the \u003ca href=\"http://www.ixchelfriends.org\" target=\"_blank\" rel=\"noopener\">Friends of the Ixchel Museum\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13816938\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13816938 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413.jpg\" alt=\"Gregory Porter is just one of a host of nationally known artists performing this year at the 30th annual San Jose Jazz Summer Fest.\" width=\"2400\" height=\"1734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-800x578.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-768x555.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-1020x737.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-1920x1387.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-1180x853.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-960x694.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-375x271.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-520x376.jpg 520w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Gregory Porter is just one of a host of nationally known artists performing this year at the 30th annual San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Gregory Porter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Jose Jazz Summer Fest\u003c/h2>\n\u003cp>\u003cem>Aug. 9–11\u003cbr>\nVarious venues, San Jose\u003cbr>\n\u003ca href=\"https://summerfest.sanjosejazz.org\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>My, how Summer Fest has grown. The 30 year-old San Jose institution now features 100+ performances in jazz, blues, Latin, R&B and more, at venues throughout downtown. This year, headliners include Dianne Reeves, Gregory Porter, Pink Martini, The O’Jays, Sons of Kemet, Monty Alexander and the Harlem-Kingston Express, Ivan Lins, and the Oakland Interfaith Gospel Choir. Don’t be intimidated! Just try to enjoy as much as you can. Venerable music critic Andy Gilbert suggests a couple South Bay acts, in case you want to support local jazz talent: San Jose vocalist \u003ca href=\"https://www.youtube.com/channel/UCel_i6Vb1cxU2tCSGz0bn7A\" target=\"_blank\" rel=\"noopener\">Amy Dabalos\u003c/a> (aka Amy D), and the \u003ca href=\"https://www.youtube.com/channel/UCN2aaLfyY7rar2gSksq08GQ\" target=\"_blank\" rel=\"noopener\">7th Street Big Band\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13858407\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/NinaSky.jpg\" alt=\"Nina Sky headline this year's Sonido Clash festival in East Side San Jose.\" width=\"750\" height=\"464\" class=\"size-full wp-image-13858407\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/NinaSky.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/NinaSky-160x99.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Nina Sky headline this year’s Sonido Clash festival in East Side San Jose.\u003c/figcaption>\u003c/figure>\n\u003ch2>Sonido Clash Music Fest\u003c/h2>\n\u003cp>\u003cem>Sept. 1\u003c/em>\u003cbr>\n\u003cem>School of Arts & Culture, Mexican Heritage Plaza\u003c/em>\u003cbr>\n\u003ca href=\"http://sonidoclash.com\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/p>\n\u003cp>This Latinx collective famous for “cumbia, soul, y más” never fails to deliver a pleasing, all-ages party mix on multiple stages. This year’s lineup includes Nina Sky, Katzo Oso, Ms Nina, Rudy Da Ana, San Cha, and many more. Also, word: this year, San Jose Jazz Summer Fest includes a Sonido Clash Stage. Really, there’s no excuse to miss these guys this summer.\u003c/p>\n\u003cfigure id=\"attachment_11911630\" class=\"wp-caption aligncenter\" style=\"max-width: 840px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11911630 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums.jpg\" alt=\"'The Royal Tenenbaums' is one of a series of Wes Anderson films featured at History Park in San Jose this summer.\" width=\"840\" height=\"356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums.jpg 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-400x170.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-800x339.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-768x325.jpg 768w\" sizes=\"(max-width: 840px) 100vw, 840px\">\u003cfigcaption class=\"wp-caption-text\">‘The Royal Tenenbaums’ is one of a series of Wes Anderson films featured at History Park in San Jose this summer. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Flicks and Grooves\u003c/h2>\n\u003cp>\u003cem>May 10–Oct. 25\u003cbr>\nHistory Park, San Jose\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/flicks-and-grooves-a-summertime-film-music-series-tickets-60093563466\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cdel datetime=\"2019-06-20T22:04:36+00:00\">History San Jose hosts movies and music under the stars, and this year’s outdoor cinema lineup showcases the idiosyncratic genius of director \u003ca href=\"https://www.youtube.com/watch?v=nqfRmceGwUs\" target=\"_blank\" rel=\"noopener\">Wes Anderson\u003c/a> the second Friday of each month. Even if you’ve already seen all of Anderson’s films, they bear a second viewing, given the rich, detailed universes he creates. Though the series is already underway at press time, still to come are \u003cem>The Life Aquatic With Steve Zissou\u003c/em>, \u003cem>Rushmore\u003c/em>, \u003cem>The Grand Budapest Hotel\u003c/em>, \u003cem>The Royal Tenenbaums\u003c/em> and \u003cem>The Fantastic Mr. Fox\u003c/em>.\u003c/del>\u003c/p>\n\u003cp>\u003cstrong>UPDATE: the majority of Flicks and Grooves events have been canceled. \u003c/strong>\u003cem>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Profiles in Near-Religious Obsession at DocFest",
"headTitle": "Now Playing! Profiles in Near-Religious Obsession at DocFest | KQED",
"content": "\u003cp>This week, we look ahead to three pictures from an exhibition, namely this year’s San Francisco Documentary Festival, a.k.a. \u003ca href=\"https://prod3.agileticketing.net/websales/pages/list.aspx?epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&view=tiles3&\" rel=\"noopener\" target=\"_blank\">DocFest\u003c/a> (running May 29–June 13 at the Roxie and Brava Theaters).\u003c/p>\n\u003cp>For starters: Surely there are still a few outsiders, outcasts and outliers remaining in San Francisco, yes? Think-for-yourself folks who recognize the absurd tonnage of conformist BS exuded into our environment every minute? If that’s you, well, you’re the audience for \u003cem>JR “Bob” Dobbs and the Church of the Subgenius\u003c/em> (May 30 at the Roxie), an in-on-the-joke saga of the ersatz religion founded in the ’70s by a couple of precocious young Texans with a shared love of Captain Beefheart and Chick tracts.\u003c/p>\n\u003cp>Sandy K. Boone’s film is as alert and bemused as its now-older and wiser subjects (and their followers). One of the founders, Rev. Ivan Stang, describes the Church as “a weird fringe cult for weirdos.” More than simply a history and a character(s) study, the doc works as a mental laxative at this particular moment of collective insanity and collective denial. Free thinkers of the world, unite!\u003c/p>\n\u003cp>Snapshot No. 2: Near-religious zeal of another denomination altogether fuels veteran Bay Area filmmaker Liz Canning’s irresistible first-person documentary \u003cem>Motherload\u003c/em> (June 9 at the Roxie). Transplanted from San Francisco to the northern Marin town of Fairfax, and transformed from cyclist to car slave by the birth of twins, Canning frames her film as a sort of grown-up back-to-nature journey. To that end, she assembles a veritable revival tent of smiling subversives to spread the gospel of cargo bikes.\u003c/p>\n\u003cp>\u003cem>Motherload\u003c/em> breathlessly transports the viewer to a different reality in more ways than one: In the cellphone era, bicycles are a splendid (and occasionally safe) way to capture moving images. Canning’s peripatetic camera captures an existing, sustainable counterculture, and the shrieks and laughter of many, many, many children.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/333772940\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Snapshot #3: Chicagoan Rick Wojcik would have a helluva time using a bicycle to haul the vast troves of jazz and hip-hop LPs and CDs he purchases from music fans-slash-collectors. As cofounder and head man of Dusty Groove, a North Side record store with an international reach courtesy of its long-running website, Wojcik is the rare example of someone who turned his hobby and passion (shopping for rare records) into a successful busines—without becoming jaded.\u003c/p>\n\u003cp>\u003cem>Dusty Groove: The Sound of Transition\u003c/em> (receiving its world premiere June 8, with a second screening June 10) devotes most of its running time to Wojcik’s unique interactions with his “suppliers.” A terminally ill black jazzman plays his own decades-old recording for Wojcik; a black woman with an autistic son recounts her late father’s attributes while Wojcik excavates her crammed storage locker, a well-off white pianist bemoans the dearth of gigs outside of weddings.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Directed with a heart full of soul by Danielle Beverly (full disclosure: she was a producer of KQED’s \u003cem>Independent View\u003c/em>, a short-lived TV program that this writer hosted many moons ago), \u003cem>Dusty Groove\u003c/em> is less nostalgic and more inspiring than I may have suggested. The music lives on, in Wojcik and the thousands of jazz and hip-hop fans around the world who covet that little-known Sonny Stitt LP.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, we look ahead to three pictures from an exhibition, namely this year’s San Francisco Documentary Festival, a.k.a. \u003ca href=\"https://prod3.agileticketing.net/websales/pages/list.aspx?epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&view=tiles3&\" rel=\"noopener\" target=\"_blank\">DocFest\u003c/a> (running May 29–June 13 at the Roxie and Brava Theaters).\u003c/p>\n\u003cp>For starters: Surely there are still a few outsiders, outcasts and outliers remaining in San Francisco, yes? Think-for-yourself folks who recognize the absurd tonnage of conformist BS exuded into our environment every minute? If that’s you, well, you’re the audience for \u003cem>JR “Bob” Dobbs and the Church of the Subgenius\u003c/em> (May 30 at the Roxie), an in-on-the-joke saga of the ersatz religion founded in the ’70s by a couple of precocious young Texans with a shared love of Captain Beefheart and Chick tracts.\u003c/p>\n\u003cp>Sandy K. Boone’s film is as alert and bemused as its now-older and wiser subjects (and their followers). One of the founders, Rev. Ivan Stang, describes the Church as “a weird fringe cult for weirdos.” More than simply a history and a character(s) study, the doc works as a mental laxative at this particular moment of collective insanity and collective denial. Free thinkers of the world, unite!\u003c/p>\n\u003cp>Snapshot No. 2: Near-religious zeal of another denomination altogether fuels veteran Bay Area filmmaker Liz Canning’s irresistible first-person documentary \u003cem>Motherload\u003c/em> (June 9 at the Roxie). Transplanted from San Francisco to the northern Marin town of Fairfax, and transformed from cyclist to car slave by the birth of twins, Canning frames her film as a sort of grown-up back-to-nature journey. To that end, she assembles a veritable revival tent of smiling subversives to spread the gospel of cargo bikes.\u003c/p>\n\u003cp>\u003cem>Motherload\u003c/em> breathlessly transports the viewer to a different reality in more ways than one: In the cellphone era, bicycles are a splendid (and occasionally safe) way to capture moving images. Canning’s peripatetic camera captures an existing, sustainable counterculture, and the shrieks and laughter of many, many, many children.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/333772940\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Snapshot #3: Chicagoan Rick Wojcik would have a helluva time using a bicycle to haul the vast troves of jazz and hip-hop LPs and CDs he purchases from music fans-slash-collectors. As cofounder and head man of Dusty Groove, a North Side record store with an international reach courtesy of its long-running website, Wojcik is the rare example of someone who turned his hobby and passion (shopping for rare records) into a successful busines—without becoming jaded.\u003c/p>\n\u003cp>\u003cem>Dusty Groove: The Sound of Transition\u003c/em> (receiving its world premiere June 8, with a second screening June 10) devotes most of its running time to Wojcik’s unique interactions with his “suppliers.” A terminally ill black jazzman plays his own decades-old recording for Wojcik; a black woman with an autistic son recounts her late father’s attributes while Wojcik excavates her crammed storage locker, a well-off white pianist bemoans the dearth of gigs outside of weddings.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Directed with a heart full of soul by Danielle Beverly (full disclosure: she was a producer of KQED’s \u003cem>Independent View\u003c/em>, a short-lived TV program that this writer hosted many moons ago), \u003cem>Dusty Groove\u003c/em> is less nostalgic and more inspiring than I may have suggested. The music lives on, in Wojcik and the thousands of jazz and hip-hop fans around the world who covet that little-known Sonny Stitt LP.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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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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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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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/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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