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The fuss over the young actor began two years later when he appeared bare-chested opposite Linda Darnell in the British-made \u003cem>Island of Desire\u003c/em>. Soon his handsome face and muscular build appeared on magazine covers. Warner Bros., alert to the increasingly important youth market, signed him to a contract.\u003c/p>\n\u003cp>Hunter made a flurry of movies in the latter half of the 1950s, aimed at capitalizing on his popularity with young girls. The films included such war dramas as \u003cem>Battle Cry\u003c/em> (with Van Heflin) and \u003cem>Lafayette Escadrille\u003c/em> (Clint Eastwood in a small role). He made the Westerns \u003cem>The Burning Hills\u003c/em> (Natalie Wood) and \u003cem>They Came to Cordura\u003c/em> (Gary Cooper, Rita Hayworth). And he made romantic comedies like \u003cem>The Pleasure of His Company \u003c/em>(Fred Astaire, Debbie Reynolds.)\u003c/p>\n\u003cp>A highlight was the 1958 \u003cem>Damn Yankees\u003c/em>, an adaptation of the hit Broadway musical with Gwen Verdon and Ray Walston in their Tony-winning New York roles and the original director, George Abbott, sharing direction with Stanley Donen. The New York Times’ critic noted that Hunter “has the clean, naive look of a lad breaking into the big leagues and into the magical company of a first-rate star.”\u003c/p>\n\u003cp>Besides the movies, he displayed his athletic skills — he had been a figure skater as well as horseman — in a TV special, \u003cem>Hans Brinker, or the Silver Skates\u003c/em>.\u003c/p>\n\u003cp>As with so many pop idols, his fans grew up and a new generation sought other favorites. His slide followed the classic pattern: to a television series (\u003cem>The Tab Hunter Show\u003c/em>, on NBC, 1960-62); European films (\u003cem>The Golden Arrow)\u003c/em> and cheap kid flicks (\u003cem>Ride the Wild Surf.\u003c/em>) In his memoir, he took pains to note that R\u003cem>ide the Wild Surf\u003c/em> was his only beach-party movie; his \u003cem>Operation Bikini\u003c/em>, despite its title, was “yet another war movie.”\u003c/p>\n\u003cp>Over the years, he also played small roles in \u003cem>The Loved One\u003c/em>, \u003cem>The Life and Times of Judge Roy Bean\u003c/em> and \u003cem>Grease 2.\u003c/em>\u003c/p>\n\u003cp>In the 1980s, he won new fans by appearing in cult movies with Divine, the 300-pound drag performer, notably John Waters’ 1981 \u003cem>Polyester\u003c/em> and Paul Bartel’s 1985 \u003cem>Lust in the Dust\u003c/em>, co-produced by Hunter himself.\u003c/p>\n\u003cp>Of \u003cem>Polyester\u003c/em>, Hunter wrote: “Everybody got the joke. … For both John and me, our collaboration paid huge dividends: I’d helped ‘legitimize’ his brand of movie, and he made me ‘hip’ overnight.”\u003c/p>\n\u003cp>Hunter appeared on Broadway in 1964 in Tennessee Williams’ \u003cem>The Milk Train Doesn’t Stop Here Anymore\u003c/em> opposite the formidable Tallulah Bankhead. The play closed within days, and he said it was “completely buried under Tallulah’s offhanded trademark campiness.”\u003c/p>\n\u003cp>Hunter was born in 1931 in New York City, the second son of a mechanic and his German immigrant wife. His father left the family two years later and the boy took his mother’s name, Gelien. Young Arthur Gelien grew up in San Francisco and Long Beach, California, and joined the Coast Guard at 15, lying about his age.\u003c/p>\n\u003cp>While in New York, he saw Broadway plays and became interested in acting. Back in California, Willson arranged for a two-word role in a small Western, \u003cem>The Lawless\u003c/em>. He got $500 and a new name.\u003c/p>\n\u003cp>In his memoir, he said that his career flourished despite some innuendo and smear articles in the scandal sheets — “clear evidence that despite its self-righteous claims, ‘Confidential’ magazine did not influence the taste and opinions of mainstream America.”\u003c/p>\n\u003cp>Writing the book was difficult, he told The Associated Press in 2005, “because I’m a really private person. I grew up full of denial. I just didn’t like any suggestions or questioning of my sexuality.”\u003c/p>\n\u003cp>In 1960, Hunter’s boy-next-door reputation did take a hit when he was charged with cruelty for allegedly beating his dog. (He was acquitted.) In recent years, Hunter appeared in dinner theaters and organized film projects. After living on a ranch in New Mexico for a time, he took a home in Montecito in Santa Barbara County with Glaser.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>He didn’t dwell on his Hollywood career or regret losing it. “I had my fling, and I was very fortunate,” he remarked. “But that’s all in my past.”\u003cbr>\n___\u003cbr>\nThe late AP Entertainment Writer Bob Thomas contributed to this report.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tab Hunter, the blond actor and singer who was a heartthrob for millions of teenagers in the 1950s with such films as \u003cem>Battle Cry\u003c/em> and \u003cem>Damn Yankees\u003c/em> and received new attention decades later when he revealed that he was gay, has died. He was 86.\u003c/p>\n\u003cp>Producer and spouse Allan Glaser said Hunter died Sunday of a blood clot in his leg that caused cardiac arrest. Glaser called the death “sudden and unexpected.”\u003cbr>\nHunter was a star for several years. In addition to his hit movies, his recording of “Young Love” topped the Billboard pop chart in 1957.\u003c/p>\n\u003cp>But in his 2005 memoir, \u003cem>Tab Hunter Confidential: The Making of a Movie Star\u003c/em>, Hunter recounted the stresses of being a love object to millions of young women when he was, in reality, a gay man.\u003c/p>\n\u003cp>“I believed, wholeheartedly — still do — that a person’s happiness depends on being true to themselves,” he wrote. “The dilemma, of course, that was being true to myself — and I’m talking sexually now — was impossible in 1953.”\u003c/p>\n\u003cp>Among those stars honoring Hunter on Monday included Harvey Fierstein, who called Hunter a “gay icon” and a “true gentleman” on Twitter, adding, “We shared some good laughs back in the 80’s. I was always fond of this dear man.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Zachary Quinto on Instagram also cheered Hunter’s “vital and generous nature” and called him a “pioneer of self-acceptance” who moved through the world “with authenticity as his guide.” GLAAD tweeted “Our hearts are with Tab’s loved ones.”\u003cbr>\nBorn Arthur Andrew Kelm, his screen tab (slang for “name” at the time) was fabricated by Henry Willson, the same talent agent who came up with the names Rock Hudson and Rory Calhoun.\u003c/p>\n\u003cp>The legend goes that Willson said to the young man: “We’ve got to find something to tab you with. Do you have any hobbies?” His client answered, “I ride horses. Hunters.” Agent: “That’s it! We’ll call you Tab Hunter.”\u003c/p>\n\u003cp>With no dramatic training, Hunter was cast in a minor role in the 1950 drama, \u003cem>The Lawless\u003c/em>. The fuss over the young actor began two years later when he appeared bare-chested opposite Linda Darnell in the British-made \u003cem>Island of Desire\u003c/em>. Soon his handsome face and muscular build appeared on magazine covers. Warner Bros., alert to the increasingly important youth market, signed him to a contract.\u003c/p>\n\u003cp>Hunter made a flurry of movies in the latter half of the 1950s, aimed at capitalizing on his popularity with young girls. The films included such war dramas as \u003cem>Battle Cry\u003c/em> (with Van Heflin) and \u003cem>Lafayette Escadrille\u003c/em> (Clint Eastwood in a small role). He made the Westerns \u003cem>The Burning Hills\u003c/em> (Natalie Wood) and \u003cem>They Came to Cordura\u003c/em> (Gary Cooper, Rita Hayworth). And he made romantic comedies like \u003cem>The Pleasure of His Company \u003c/em>(Fred Astaire, Debbie Reynolds.)\u003c/p>\n\u003cp>A highlight was the 1958 \u003cem>Damn Yankees\u003c/em>, an adaptation of the hit Broadway musical with Gwen Verdon and Ray Walston in their Tony-winning New York roles and the original director, George Abbott, sharing direction with Stanley Donen. The New York Times’ critic noted that Hunter “has the clean, naive look of a lad breaking into the big leagues and into the magical company of a first-rate star.”\u003c/p>\n\u003cp>Besides the movies, he displayed his athletic skills — he had been a figure skater as well as horseman — in a TV special, \u003cem>Hans Brinker, or the Silver Skates\u003c/em>.\u003c/p>\n\u003cp>As with so many pop idols, his fans grew up and a new generation sought other favorites. His slide followed the classic pattern: to a television series (\u003cem>The Tab Hunter Show\u003c/em>, on NBC, 1960-62); European films (\u003cem>The Golden Arrow)\u003c/em> and cheap kid flicks (\u003cem>Ride the Wild Surf.\u003c/em>) In his memoir, he took pains to note that R\u003cem>ide the Wild Surf\u003c/em> was his only beach-party movie; his \u003cem>Operation Bikini\u003c/em>, despite its title, was “yet another war movie.”\u003c/p>\n\u003cp>Over the years, he also played small roles in \u003cem>The Loved One\u003c/em>, \u003cem>The Life and Times of Judge Roy Bean\u003c/em> and \u003cem>Grease 2.\u003c/em>\u003c/p>\n\u003cp>In the 1980s, he won new fans by appearing in cult movies with Divine, the 300-pound drag performer, notably John Waters’ 1981 \u003cem>Polyester\u003c/em> and Paul Bartel’s 1985 \u003cem>Lust in the Dust\u003c/em>, co-produced by Hunter himself.\u003c/p>\n\u003cp>Of \u003cem>Polyester\u003c/em>, Hunter wrote: “Everybody got the joke. … For both John and me, our collaboration paid huge dividends: I’d helped ‘legitimize’ his brand of movie, and he made me ‘hip’ overnight.”\u003c/p>\n\u003cp>Hunter appeared on Broadway in 1964 in Tennessee Williams’ \u003cem>The Milk Train Doesn’t Stop Here Anymore\u003c/em> opposite the formidable Tallulah Bankhead. The play closed within days, and he said it was “completely buried under Tallulah’s offhanded trademark campiness.”\u003c/p>\n\u003cp>Hunter was born in 1931 in New York City, the second son of a mechanic and his German immigrant wife. His father left the family two years later and the boy took his mother’s name, Gelien. Young Arthur Gelien grew up in San Francisco and Long Beach, California, and joined the Coast Guard at 15, lying about his age.\u003c/p>\n\u003cp>While in New York, he saw Broadway plays and became interested in acting. Back in California, Willson arranged for a two-word role in a small Western, \u003cem>The Lawless\u003c/em>. He got $500 and a new name.\u003c/p>\n\u003cp>In his memoir, he said that his career flourished despite some innuendo and smear articles in the scandal sheets — “clear evidence that despite its self-righteous claims, ‘Confidential’ magazine did not influence the taste and opinions of mainstream America.”\u003c/p>\n\u003cp>Writing the book was difficult, he told The Associated Press in 2005, “because I’m a really private person. I grew up full of denial. I just didn’t like any suggestions or questioning of my sexuality.”\u003c/p>\n\u003cp>In 1960, Hunter’s boy-next-door reputation did take a hit when he was charged with cruelty for allegedly beating his dog. (He was acquitted.) In recent years, Hunter appeared in dinner theaters and organized film projects. After living on a ranch in New Mexico for a time, he took a home in Montecito in Santa Barbara County with Glaser.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Nothing succeeds in Hollywood like success. So box office champs Jordan Peele (\u003cem>Get Out\u003c/em>), Ryan Coogler (\u003cem>\u003ca href=\"https://www.kqed.org/arts/13824804/decoding-black-panthers-technocratic-afrofuturist-utopia\" rel=\"noopener\" target=\"_blank\">Black Panther\u003c/a>\u003c/em>) and Ava DuVernay (\u003cem>A Wrinkle in Time\u003c/em>), best picture director Barry Jenkins (\u003cem>Moonlight\u003c/em>) and Oscar nominee Dee Rees (\u003cem>Mudbound\u003c/em>) now have the clout to continue making movies about black people (and anyone else they like). With luck and positive word of mouth, the Oakland-set indie features \u003cem>\u003ca href=\"https://www.kqed.org/arts/13836455/in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar\" rel=\"noopener\" target=\"_blank\">Sorry to Bother You\u003c/a>\u003c/em> (now in theaters) and \u003cem>Blindspotting\u003c/em> (opening July 20), will click with audiences and launch their creators’ careers.\u003c/p>\n\u003cp>This isn’t the first time a wave of black filmmakers galvanized American movies. \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-black-powers/#more-upcoming-events-99701\" rel=\"noopener\" target=\"_blank\">Black Powers: Reframing Hollywood\u003c/a> (July 12-29), the sixth edition of SFMOMA and SFFILM’s insightful dialogue between older and contemporary films, isn’t inspired by a single filmmaker (like previous Modern Cinema series centered on Claire Denis, Johnnie To and Todd Haynes) but by an infiltration process: the ebb and flow of black filmmakers past and around the studio greenlighters who serve as de facto gatekeepers.\u003c/p>\n\u003cfigure id=\"attachment_13836750\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200.jpg\" alt=\"Jennifer Beals and Denzel Washington in 'Devil in a Blue Dress,' 1995.\" width=\"1200\" height=\"786\" class=\"size-full wp-image-13836750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-1180x773.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-960x629.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-520x341.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Beals and Denzel Washington in ‘Devil in a Blue Dress,’ 1995. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first weekend of the three-part series boasts an array of landmark films, from the peerless writer-director Oscar Micheaux’s 1925 silent \u003cem>Body and Soul\u003c/em> to Charles Burnett’s 1978 low-key working-class character drama \u003cem>Killer of Sheep\u003c/em> to writer-director-actor Wendell B. Harris’ 1989 fact-based impostor fable \u003cem>Chameleon Street\u003c/em>. Spike Lee’s career-making \u003cem>Do the Right Thing\u003c/em> (a summer 1989 sensation) rounds out the lineup with Jenkins’ delectable S.F.-set 2008 debut \u003cem>Medicine for Melancholy\u003c/em> and last year’s \u003cem>Get Out\u003c/em>.\u003c/p>\n\u003cp>The other two weekends are given over to films that clamor to be re-watched (or discovered) post-Ferguson and post-\u003cem>Black Panther\u003c/em>, augmented with an array of guests (check the lineup). The private-eye movies \u003cem>Shaft\u003c/em> (directed by Gordon Parks) and Carl Franklin’s \u003cem>Devil in a Blue Dress\u003c/em> (the first in what should have been a franchise based on Walter Mosley’s series of Easy Rawlins novels) shouldn’t be underestimated as pulp entertainment. \u003c/p>\n\u003cfigure id=\"attachment_13836751\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200.jpg\" alt=\"Still from 'Watermelon Woman.'\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13836751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Cheryl Dunye’s ‘The Watermelon Woman,’ 1995. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Godfrey Cambridge, an unjustly forgotten comedian and actor, is a brassy pleasure in \u003cem>Watermelon Man\u003c/em> and \u003cem>Cotton Comes to Harlem\u003c/em>. Cheryl Dunye’s 1996 queer classic, \u003cem>The Watermelon Woman\u003c/em>, connects eras in African-American life and cinema, while \u003cem>Pariah\u003c/em>, the 2011 feature debut by Dee Rees, tells an unflinching, sexually charged coming-of-age story.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Some suggest, on the basis of \u003cem>Black Panther\u003c/em>, that directing a superhero movie is the ultimate proof that a black filmmaker has crashed the gates. The route from “Black Powers” to superpowers isn’t easy to trace or follow, but it’s enlightening to try.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nothing succeeds in Hollywood like success. So box office champs Jordan Peele (\u003cem>Get Out\u003c/em>), Ryan Coogler (\u003cem>\u003ca href=\"https://www.kqed.org/arts/13824804/decoding-black-panthers-technocratic-afrofuturist-utopia\" rel=\"noopener\" target=\"_blank\">Black Panther\u003c/a>\u003c/em>) and Ava DuVernay (\u003cem>A Wrinkle in Time\u003c/em>), best picture director Barry Jenkins (\u003cem>Moonlight\u003c/em>) and Oscar nominee Dee Rees (\u003cem>Mudbound\u003c/em>) now have the clout to continue making movies about black people (and anyone else they like). With luck and positive word of mouth, the Oakland-set indie features \u003cem>\u003ca href=\"https://www.kqed.org/arts/13836455/in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar\" rel=\"noopener\" target=\"_blank\">Sorry to Bother You\u003c/a>\u003c/em> (now in theaters) and \u003cem>Blindspotting\u003c/em> (opening July 20), will click with audiences and launch their creators’ careers.\u003c/p>\n\u003cp>This isn’t the first time a wave of black filmmakers galvanized American movies. \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-black-powers/#more-upcoming-events-99701\" rel=\"noopener\" target=\"_blank\">Black Powers: Reframing Hollywood\u003c/a> (July 12-29), the sixth edition of SFMOMA and SFFILM’s insightful dialogue between older and contemporary films, isn’t inspired by a single filmmaker (like previous Modern Cinema series centered on Claire Denis, Johnnie To and Todd Haynes) but by an infiltration process: the ebb and flow of black filmmakers past and around the studio greenlighters who serve as de facto gatekeepers.\u003c/p>\n\u003cfigure id=\"attachment_13836750\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200.jpg\" alt=\"Jennifer Beals and Denzel Washington in 'Devil in a Blue Dress,' 1995.\" width=\"1200\" height=\"786\" class=\"size-full wp-image-13836750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-1180x773.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-960x629.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-520x341.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Beals and Denzel Washington in ‘Devil in a Blue Dress,’ 1995. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first weekend of the three-part series boasts an array of landmark films, from the peerless writer-director Oscar Micheaux’s 1925 silent \u003cem>Body and Soul\u003c/em> to Charles Burnett’s 1978 low-key working-class character drama \u003cem>Killer of Sheep\u003c/em> to writer-director-actor Wendell B. Harris’ 1989 fact-based impostor fable \u003cem>Chameleon Street\u003c/em>. Spike Lee’s career-making \u003cem>Do the Right Thing\u003c/em> (a summer 1989 sensation) rounds out the lineup with Jenkins’ delectable S.F.-set 2008 debut \u003cem>Medicine for Melancholy\u003c/em> and last year’s \u003cem>Get Out\u003c/em>.\u003c/p>\n\u003cp>The other two weekends are given over to films that clamor to be re-watched (or discovered) post-Ferguson and post-\u003cem>Black Panther\u003c/em>, augmented with an array of guests (check the lineup). The private-eye movies \u003cem>Shaft\u003c/em> (directed by Gordon Parks) and Carl Franklin’s \u003cem>Devil in a Blue Dress\u003c/em> (the first in what should have been a franchise based on Walter Mosley’s series of Easy Rawlins novels) shouldn’t be underestimated as pulp entertainment. \u003c/p>\n\u003cfigure id=\"attachment_13836751\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200.jpg\" alt=\"Still from 'Watermelon Woman.'\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13836751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Cheryl Dunye’s ‘The Watermelon Woman,’ 1995. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Godfrey Cambridge, an unjustly forgotten comedian and actor, is a brassy pleasure in \u003cem>Watermelon Man\u003c/em> and \u003cem>Cotton Comes to Harlem\u003c/em>. Cheryl Dunye’s 1996 queer classic, \u003cem>The Watermelon Woman\u003c/em>, connects eras in African-American life and cinema, while \u003cem>Pariah\u003c/em>, the 2011 feature debut by Dee Rees, tells an unflinching, sexually charged coming-of-age story.\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>Some suggest, on the basis of \u003cem>Black Panther\u003c/em>, that directing a superhero movie is the ultimate proof that a black filmmaker has crashed the gates. The route from “Black Powers” to superpowers isn’t easy to trace or follow, but it’s enlightening to try.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Not \u003cem>another\u003c/em> Elvis movie,” you scream at the heavens in the year 2018. “The man’s been dead for four decades. Every part of him has been strip-mined for white-nostalgia money already. My parents \u003cem>just\u003c/em> dragged me to the touring production of \u003cem>Million Dollar Quartet\u003c/em>. Show some \u003cem>mercy\u003c/em>, people.”\u003c/p>\n\u003cp>First of all: point taken. Secondly: don’t be cruel. You haven’t seen \u003cem>The King\u003c/em> yet. And you’re going to want to. Oh, yes.\u003c/p>\n\u003cp>Eugene Jarecki’s latest documentary is a hunk-a, hunk-a burning zeitgeist, the kind of movie that just might shake you from your sleep at night weeks later. Far from an HBO greatest-hits biography, \u003cem>The King\u003c/em> dares to use Elvis Presley as a metaphor for everything that’s wrong with our country, while still paying tribute to his lasting qualities and the folks he managed to inspire from every walk of life. It makes leaps of logic that defy all common sense, and yet somehow everything clicks together in a grand display of cinematic fireworks, scored to generations of musicians that came before and after the film’s subject. It is, as an interviewee says, “one of those epiphanies where thousands of meanings come crashing down at once.”\u003c/p>\n\u003cp>https://youtu.be/csXtdjsqYLM\u003c/p>\n\u003cp>How to describe what’s going on here? Jarecki has rented Presley’s 1963 Rolls-Royce for a road trip across America, making stops at significant signposts of his life: his birthplace in Tupelo, Mississippi; his early recording success in Memphis; his status upgrade in Nashville; his lost period in Hollywood making terrible teenybopper movies; his final, bloated, saggy years in Las Vegas; and many more in-between.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At each location, the story of how this poor “white man with a Negro sound” rocketed to the outermost stratosphere of rock fame is juxtaposed with commentary on the state of the country he inherited, and then left behind when he keeled over on the toilet at age 42. Bluegrass and gospel singers climb into the plush backseat, as do rappers, actors, politicians and random people Jarecki happens to meet along the way. The Rolls-Royce breaks down at one point. It’s a thrill.\u003c/p>\n\u003cp>In the telling of it, Elvis was eaten by the American Dream. He found success in the 1950s by adapting (or, many argue, stealing) black music for a white audience, gave nothing back to the culture he was cribbing from and then utterly ignored his own well-being in the face of massive success. The film dwells not on the King’s hits but on all the career decisions he made that seemed to defy common sense, that slowly led to his undoing: enlisting in the military and shipping out to Germany at the height of his popularity; signing a record-setting movie contract instead of developing his sound; living out his remaining years in Vegas feeding his pill addiction with another lucrative payroll. Some of that gets chalked up to the notorious “Colonel” Tom Parker, Elvis’s scheming manager who could see, for example, how easy it was to brand a celebrity with patriotism just by signing him up for duty. But the man himself also was lured by the drugs of fame and money, and so he \u003cem>wanted\u003c/em>, or perhaps was destined, to corrupt his talents.\u003c/p>\n\u003cp>And as goes the King, so go his subjects. “If Elvis is your metaphor for America,” rapper Immortal Technique says in the days leading up to the 2016 election, “we’re about to O.D.” The film teases out thread after thread of how we can reframe the singer’s successes and failures from a modern perspective, from segregation to cultural appropriation to bank deregulation. It doesn’t all make sense, and there are a few moments as tacky as Graceland itself, like the decision to frame the current residents of Presley’s boyhood neighborhood in Tupelo in harsh, ugly close-up as Jarecki interviews them in their own kitchen and they yell about their town “going to hell.” But the film is self-aware enough to play out its own arguments against itself. \u003cem>The Wire\u003c/em> creator David Simon, a buddy of Jarecki’s, criticizes the director for leaning his American film so heavily on a foreign-made car. There’s only a select audience that can watch two writers arguing over what makes a good metaphor, but to that audience, this movie is catnip.\u003c/p>\n\u003cp>What carries us through this mad experiment is a sense of commonality through the oral tradition, a reminder that Elvis’s story is one of our shared myths. Historian Steve Fraser can start telling a story about “the American Experiment,” then hand it off to Ethan Hawke to tell us how the singer got his big break at Sun Records, and then Hawke can kick it over to Chuck D to tell you what it all means, and 14-year-old country music prodigy EmiSunshine might be playing us through. You might think the last thing you want to see is Ashton Kutcher wax philosophical on anything, but then the sitcom star hits you with the weary observation that he believes his level of fame has eclipsed his talent, and how he shouldn’t by any rights be this much of a sought-after public figure, and then things start to click. “Based on what I’ve done professionally, I should not be getting this much attention,” he sighs, as fans scream his name from outside the Rolls-Royce like he’s just another Elvis.\u003c/p>\n\u003cp>Jarecki has always placed politics front-and-center in his storytelling, having previously taken on the military-industrial complex with 2005’s \u003cem>Why We Fight\u003c/em> and the War on Drugs with 2012’s \u003cem>The House I Live In\u003c/em>. But here he’s refined his style, sneaking in attack points so that we don’t even realize when he’s attacking. He’s also better at minimizing his own presence in front of the camera while still being transparent about authorial intent so that we always know this is theater (we see his crew affixing equipment to the hood of the car, for instance). And Jarecki and his team of editors leverage all the commotion to their advantage, especially in the ferocious montage that brings the film to a close, scored to a televised cover performance of “Unchained Melody” that Elvis gave weeks before his death.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Time goes by so slowly,” the King croons from the piano, sweat pouring from his numbed, pudgy face, as the next 40 years fly by the rest of us like a bad dream: The glove don’t fit, the towers fall, the levees break. Watching the scene feels like we’re all synchronizing our watches to a better way to talk about entertainment, nostalgia and fame. Instead of “escaping from the real world,” we can have a productive conversation about it. Against all odds, Elvis lives. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Not \u003cem>another\u003c/em> Elvis movie,” you scream at the heavens in the year 2018. “The man’s been dead for four decades. Every part of him has been strip-mined for white-nostalgia money already. My parents \u003cem>just\u003c/em> dragged me to the touring production of \u003cem>Million Dollar Quartet\u003c/em>. Show some \u003cem>mercy\u003c/em>, people.”\u003c/p>\n\u003cp>First of all: point taken. Secondly: don’t be cruel. You haven’t seen \u003cem>The King\u003c/em> yet. And you’re going to want to. Oh, yes.\u003c/p>\n\u003cp>Eugene Jarecki’s latest documentary is a hunk-a, hunk-a burning zeitgeist, the kind of movie that just might shake you from your sleep at night weeks later. Far from an HBO greatest-hits biography, \u003cem>The King\u003c/em> dares to use Elvis Presley as a metaphor for everything that’s wrong with our country, while still paying tribute to his lasting qualities and the folks he managed to inspire from every walk of life. It makes leaps of logic that defy all common sense, and yet somehow everything clicks together in a grand display of cinematic fireworks, scored to generations of musicians that came before and after the film’s subject. It is, as an interviewee says, “one of those epiphanies where thousands of meanings come crashing down at once.”\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/csXtdjsqYLM'\n title='//www.youtube.com/embed/csXtdjsqYLM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>How to describe what’s going on here? Jarecki has rented Presley’s 1963 Rolls-Royce for a road trip across America, making stops at significant signposts of his life: his birthplace in Tupelo, Mississippi; his early recording success in Memphis; his status upgrade in Nashville; his lost period in Hollywood making terrible teenybopper movies; his final, bloated, saggy years in Las Vegas; and many more in-between.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At each location, the story of how this poor “white man with a Negro sound” rocketed to the outermost stratosphere of rock fame is juxtaposed with commentary on the state of the country he inherited, and then left behind when he keeled over on the toilet at age 42. Bluegrass and gospel singers climb into the plush backseat, as do rappers, actors, politicians and random people Jarecki happens to meet along the way. The Rolls-Royce breaks down at one point. It’s a thrill.\u003c/p>\n\u003cp>In the telling of it, Elvis was eaten by the American Dream. He found success in the 1950s by adapting (or, many argue, stealing) black music for a white audience, gave nothing back to the culture he was cribbing from and then utterly ignored his own well-being in the face of massive success. The film dwells not on the King’s hits but on all the career decisions he made that seemed to defy common sense, that slowly led to his undoing: enlisting in the military and shipping out to Germany at the height of his popularity; signing a record-setting movie contract instead of developing his sound; living out his remaining years in Vegas feeding his pill addiction with another lucrative payroll. Some of that gets chalked up to the notorious “Colonel” Tom Parker, Elvis’s scheming manager who could see, for example, how easy it was to brand a celebrity with patriotism just by signing him up for duty. But the man himself also was lured by the drugs of fame and money, and so he \u003cem>wanted\u003c/em>, or perhaps was destined, to corrupt his talents.\u003c/p>\n\u003cp>And as goes the King, so go his subjects. “If Elvis is your metaphor for America,” rapper Immortal Technique says in the days leading up to the 2016 election, “we’re about to O.D.” The film teases out thread after thread of how we can reframe the singer’s successes and failures from a modern perspective, from segregation to cultural appropriation to bank deregulation. It doesn’t all make sense, and there are a few moments as tacky as Graceland itself, like the decision to frame the current residents of Presley’s boyhood neighborhood in Tupelo in harsh, ugly close-up as Jarecki interviews them in their own kitchen and they yell about their town “going to hell.” But the film is self-aware enough to play out its own arguments against itself. \u003cem>The Wire\u003c/em> creator David Simon, a buddy of Jarecki’s, criticizes the director for leaning his American film so heavily on a foreign-made car. There’s only a select audience that can watch two writers arguing over what makes a good metaphor, but to that audience, this movie is catnip.\u003c/p>\n\u003cp>What carries us through this mad experiment is a sense of commonality through the oral tradition, a reminder that Elvis’s story is one of our shared myths. Historian Steve Fraser can start telling a story about “the American Experiment,” then hand it off to Ethan Hawke to tell us how the singer got his big break at Sun Records, and then Hawke can kick it over to Chuck D to tell you what it all means, and 14-year-old country music prodigy EmiSunshine might be playing us through. You might think the last thing you want to see is Ashton Kutcher wax philosophical on anything, but then the sitcom star hits you with the weary observation that he believes his level of fame has eclipsed his talent, and how he shouldn’t by any rights be this much of a sought-after public figure, and then things start to click. “Based on what I’ve done professionally, I should not be getting this much attention,” he sighs, as fans scream his name from outside the Rolls-Royce like he’s just another Elvis.\u003c/p>\n\u003cp>Jarecki has always placed politics front-and-center in his storytelling, having previously taken on the military-industrial complex with 2005’s \u003cem>Why We Fight\u003c/em> and the War on Drugs with 2012’s \u003cem>The House I Live In\u003c/em>. But here he’s refined his style, sneaking in attack points so that we don’t even realize when he’s attacking. He’s also better at minimizing his own presence in front of the camera while still being transparent about authorial intent so that we always know this is theater (we see his crew affixing equipment to the hood of the car, for instance). And Jarecki and his team of editors leverage all the commotion to their advantage, especially in the ferocious montage that brings the film to a close, scored to a televised cover performance of “Unchained Melody” that Elvis gave weeks before his death.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Time goes by so slowly,” the King croons from the piano, sweat pouring from his numbed, pudgy face, as the next 40 years fly by the rest of us like a bad dream: The glove don’t fit, the towers fall, the levees break. Watching the scene feels like we’re all synchronizing our watches to a better way to talk about entertainment, nostalgia and fame. Instead of “escaping from the real world,” we can have a productive conversation about it. Against all odds, Elvis lives. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you can’t find something you want to watch online these days, there is something seriously wrong with you. Giants like Netflix, Amazon and Hulu are spending gazillions buying the rights to popular film and TV series—and gazillions more funding original content.\u003c/p>\n\u003cp>But with all this focus on the new, new, new, what happens to all the old, “classic” stuff? A lot of it falls off the menu. It may be there as available option, but you have to know what you’re looking for. Let me give you an example.\u003c/p>\n\u003cp>Toshiro Mifune was one of the most famous Japanese actors of all time, and not just in Japan. In this 2015 documentary about the actor, narrator Keanu Reeves tells us that without Mifune’s commanding macho swagger, world-weary eyes and gonzo sense of humor, “There would have been no \u003cem>Magnificent Seven\u003c/em>, Clint Eastwood wouldn’t have a \u003cem>Fistful of Dollars\u003c/em>, and Darth Vader wouldn’t be a samurai.”[youtube https://www.youtube.com/watch?v=hQ1dkl1ul-s]No wonder Berkeley-based documentary filmmaker \u003ca href=\"https://www.imdb.com/name/nm0645574/\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Okazaki\u003c/a> wanted to profile Mifune. His movies helped lead the young Okazaki into filmmaking in the first place. “The films are so great. I mean, you do have to slow your brain down a little bit, and I think it’s hard to watch films with subtitles, but God, the films are so rich,” Okazaki says with a sparkle in his eyes.\u003c/p>\n\u003cp>The Japanese-American director grew up in the 1970s, when art house movies were still a thing, and that’s how he was first exposed to all sorts of films that were considered old or classic even then. Today? “Now, you are dependent on these streaming services and hardly anything’s there,” Okazaki says.\u003c/p>\n\u003cp>Okazaki says he was “saddened to note how few young people in Japan had seen any of [Mifune’s] films with [the great Japanese director] Akira Kurosawa. Likewise, American kids don’t know who John Ford or John Wayne are. And forget about Satyajit Ray, Eric Rohmer, Jean Renoir or Yasujiro Ozu.”\u003c/p>\n\u003ch2>It Can’t Be That Bad—Can It?\u003c/h2>\n\u003cp>Check this out. Let’s say I just streamed Okazai’s \u003cem>\u003ca href=\"https://www.netflix.com/watch/80148921?trackId=13752289&tctx=0%2C0%2Ccea993fe7379e9455329dac3156e1bc8ca5b00ec%3A75e278ffa7bdc0b62cf12edd643bb6b81b444646%2C%2C\" target=\"_blank\" rel=\"noopener noreferrer\">Mifune: The Last Samurai\u003c/a>\u003c/em> on Netflix, and now I want to watch some of Mifune’s original feature films. Mifune made more than 170, but I’d be happy with a handful of his greatest hits.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I type “Toshiro Mifune” in the search box for streaming: nothing. In the search box for DVD: I get films inspired by him, sure, but not starring him (see screenshot above). By film title: \u003cem>Seven Samurai\u003c/em>. Yes! \u003cem>Rashomon\u003c/em>, \u003cem>Yojimbo\u003c/em>, \u003cem>Throne of Blood\u003c/em>. Yes! But only on DVD.\u003c/p>\n\u003cp>As anybody with a \u003ca href=\"https://www.wnycstudios.org/story/punks/\" target=\"_blank\" rel=\"noopener noreferrer\">yen for a rare title\u003c/a> learns, it’s \u003ca href=\"http://collider.com/why-you-should-keep-buying-blu-rays-and-dvds/\" target=\"_blank\" rel=\"noopener noreferrer\">not a given\u003c/a> that the film you want was released on DVD, or VHS, or even film stock. Also, most distribution deals are for a limited time only. We’ve all gotten used to those articles with headlines like, “The Best Movies and TV Shows to Stream on Netflix\u003ca href=\"https://slate.com/culture/2018/03/the-best-movies-tv-shows-expiring-from-netflix-in-april.html\" target=\"_blank\" rel=\"noopener noreferrer\"> Before They Expire\u003c/a>.”\u003c/p>\n\u003cp>Netflix gives you the option to “save” the movie down at the bottom of your queue. But you know what that button means.\u003c/p>\n\u003ch2>Availability: Unknown\u003c/h2>\n\u003cp>Seriously, try searching for the very first movie you rented on Netflix. The older you are, the more likely it is you can’t stream it today. Now, you can \u003ca href=\"https://help.netflix.com/en/titlerequest\" target=\"_blank\" rel=\"noopener noreferrer\">request a title\u003c/a> and hope the company responds, but you have to know what you’re looking for.\u003c/p>\n\u003cp>What if I’m eight years old, or 18, and I don’t know about Mifune or anybody else famous in the 20th century?\u003cspan class=\"Apple-converted-space\"> \u003c/span>Netflix isn’t going to serve up the ancient past, not to me or any of its other 125 million subscribers worldwide. You can stream a wider selection of titles on Netflix rivals like Apple and Amazon Prime, but you have to search. The platforms won’t suggest what’s old in a bid to help you educate yourself.\u003c/p>\n\u003cp>“I just don’t think it’s much of a business for a Netflix or a Hulu,” says Rick Prelinger, Professor of Film and Digital Media at \u003ca href=\"http://film.ucsc.edu/faculty/rick_prelinger\" target=\"_blank\" rel=\"noopener noreferrer\">UC Santa Cruz\u003c/a> and a board member of the \u003ca href=\"https://archive.org\" target=\"_blank\" rel=\"noopener noreferrer\">Internet Archive\u003c/a>, a free-to-the-public digital library based in San Francisco.\u003c/p>\n\u003cp>He points out something else: a surprising amount of famous footage we think of as part of our collective history is locked away from the public, journalists and documentary filmmakers. “The body of moving images that has been created is owned by so many different companies and so many different people and it’s fragmented,” Prelinger says. That makes it hard for archivists and librarians, he adds, but what makes them different is they’re not serving shareholders. They’re serving the public.\u003c/p>\n\u003cp>Imagine if it wasn’t \u003ca href=\"https://archive.org/details/prelinger\" target=\"_blank\" rel=\"noopener noreferrer\">Prelinger Archives\u003c/a> that owned the famous \u003ca href=\"https://archive.org/details/TripDownMarketStreetrBeforeTheFire\" target=\"_blank\" rel=\"noopener noreferrer\">footage of Market Street\u003c/a> days before the great earthquake and fire of 1906 in San Francisco, and that owner wasn’t willing to share the footage without being paid a lot of money?\u003c/p>\n\u003cp>You wouldn’t see thoughtful news stories like this one:[youtube https://www.youtube.com/watch?v=tYHGj19RrF0]Many copyright owners charge cheaper “rental rates,” if you will, for nonprofits wanting to use historically valuable footage. Other copyright owners don’t care who you are or what noble cause you serve.\u003c/p>\n\u003cp>That makes building and maintaining a comprehensive collection of feature films and documentaries an expensive proposition.\u003c/p>\n\u003cp>“Nobody’s going to take a risk on archives,” Prelinger says. No privately funded company, he means.\u003c/p>\n\u003cp>Prelinger says entertainment companies naturally want us looking at what they’re \u003ca href=\"https://variety.com/2018/digital/news/netflix-original-spending-85-percent-1202809623/\" target=\"_blank\" rel=\"noopener noreferrer\">spending money on now\u003c/a>. If you want a comprehensive set of foreign, classic, or independently produced films, you have to subscribe to a streaming service like \u003ca href=\"https://www.fandor.com\" target=\"_blank\" rel=\"noopener noreferrer\">Fandor\u003c/a>, \u003ca href=\"https://mubi.com\" target=\"_blank\" rel=\"noopener noreferrer\">MUBI\u003c/a> or \u003ca href=\"https://www.filmstruck.com/\" target=\"_blank\" rel=\"noopener noreferrer\">FilmStruck\u003c/a>.\u003c/p>\n\u003cp>That suits \u003ca href=\"http://mybutch.blogspot.com\" target=\"_blank\" rel=\"noopener noreferrer\">Jenni Olson\u003c/a> just fine. “People want to spend $10 a month and get everything,” says the co-founder of PlanetOut, a public media and entertainment company that focused exclusively on the lesbian, gay, bisexual and transgender demographic. Today, Olson writes about queer films, and also creates, collects and curates them.\u003c/p>\n\u003cp>“Silicon Valley has created outsized, irrational consumer expectations,” Olson says. “We used to have almost zero access,” especially to more obscure film titles. “We just have to accept the reality of the world we live in, and put our money where our mouth is.”\u003c/p>\n\u003cfigure id=\"attachment_13836650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836650\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-800x457.jpg\" alt=\"For Sam Green, who made the documentary The Weather Underground, it matters that the trailer is available for free for the foreseeable future to anyone who searches for it on YouTube. Even if he doesn't see a dime.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1020x582.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1200x685.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-960x548.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut.jpg 1832w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For Sam Green, who made the documentary The Weather Underground, it matters that the trailer is available for free for the foreseeable future to anyone who searches for it on YouTube. Even if he doesn’t see a dime. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or you could watch dubious bootleg copies uploaded to YouTube or torrent sites, as many of us—cough—do.\u003cspan class=\"Apple-converted-space\"> Not that the prospect troubles every filmmaker. “YouTube is fantastic, and I happily refuse to complain that my film is on there,” says Sam Green about his Academy Award-nominated documentary \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0343168/\" target=\"_blank\" rel=\"noopener noreferrer\">The Weather Underground\u003c/a>\u003c/em>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">Green adds, “If you just look at the new, you get such a limited and skewed view of what the world is. To me, YouTube is one of the great cultural and educational institutions we have. It’s a way for things in [copyright] limbo to be available.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">For now.\u003c/span>\u003c/p>\n\u003cp>I’ll leave you with this thought from Prelinger: “We shouldn’t rely too much on either the entertainment business or the for-profit tech sector to preserve our history for us.\u003cspan class=\"Apple-converted-space\"> \u003c/span>Yes, there’s a lot of product available if you really really look hard, but we’re avoiding the question: do we as audiences, and do we as citizens, deserve access to our moving image heritage?”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Well, do we?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you can’t find something you want to watch online these days, there is something seriously wrong with you. Giants like Netflix, Amazon and Hulu are spending gazillions buying the rights to popular film and TV series—and gazillions more funding original content.\u003c/p>\n\u003cp>But with all this focus on the new, new, new, what happens to all the old, “classic” stuff? A lot of it falls off the menu. It may be there as available option, but you have to know what you’re looking for. Let me give you an example.\u003c/p>\n\u003cp>Toshiro Mifune was one of the most famous Japanese actors of all time, and not just in Japan. In this 2015 documentary about the actor, narrator Keanu Reeves tells us that without Mifune’s commanding macho swagger, world-weary eyes and gonzo sense of humor, “There would have been no \u003cem>Magnificent Seven\u003c/em>, Clint Eastwood wouldn’t have a \u003cem>Fistful of Dollars\u003c/em>, and Darth Vader wouldn’t be a samurai.”\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/hQ1dkl1ul-s'\n title='//www.youtube.com/embed/hQ1dkl1ul-s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>No wonder Berkeley-based documentary filmmaker \u003ca href=\"https://www.imdb.com/name/nm0645574/\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Okazaki\u003c/a> wanted to profile Mifune. His movies helped lead the young Okazaki into filmmaking in the first place. “The films are so great. I mean, you do have to slow your brain down a little bit, and I think it’s hard to watch films with subtitles, but God, the films are so rich,” Okazaki says with a sparkle in his eyes.\u003c/p>\n\u003cp>The Japanese-American director grew up in the 1970s, when art house movies were still a thing, and that’s how he was first exposed to all sorts of films that were considered old or classic even then. Today? “Now, you are dependent on these streaming services and hardly anything’s there,” Okazaki says.\u003c/p>\n\u003cp>Okazaki says he was “saddened to note how few young people in Japan had seen any of [Mifune’s] films with [the great Japanese director] Akira Kurosawa. Likewise, American kids don’t know who John Ford or John Wayne are. And forget about Satyajit Ray, Eric Rohmer, Jean Renoir or Yasujiro Ozu.”\u003c/p>\n\u003ch2>It Can’t Be That Bad—Can It?\u003c/h2>\n\u003cp>Check this out. Let’s say I just streamed Okazai’s \u003cem>\u003ca href=\"https://www.netflix.com/watch/80148921?trackId=13752289&tctx=0%2C0%2Ccea993fe7379e9455329dac3156e1bc8ca5b00ec%3A75e278ffa7bdc0b62cf12edd643bb6b81b444646%2C%2C\" target=\"_blank\" rel=\"noopener noreferrer\">Mifune: The Last Samurai\u003c/a>\u003c/em> on Netflix, and now I want to watch some of Mifune’s original feature films. Mifune made more than 170, but I’d be happy with a handful of his greatest hits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I type “Toshiro Mifune” in the search box for streaming: nothing. In the search box for DVD: I get films inspired by him, sure, but not starring him (see screenshot above). By film title: \u003cem>Seven Samurai\u003c/em>. Yes! \u003cem>Rashomon\u003c/em>, \u003cem>Yojimbo\u003c/em>, \u003cem>Throne of Blood\u003c/em>. Yes! But only on DVD.\u003c/p>\n\u003cp>As anybody with a \u003ca href=\"https://www.wnycstudios.org/story/punks/\" target=\"_blank\" rel=\"noopener noreferrer\">yen for a rare title\u003c/a> learns, it’s \u003ca href=\"http://collider.com/why-you-should-keep-buying-blu-rays-and-dvds/\" target=\"_blank\" rel=\"noopener noreferrer\">not a given\u003c/a> that the film you want was released on DVD, or VHS, or even film stock. Also, most distribution deals are for a limited time only. We’ve all gotten used to those articles with headlines like, “The Best Movies and TV Shows to Stream on Netflix\u003ca href=\"https://slate.com/culture/2018/03/the-best-movies-tv-shows-expiring-from-netflix-in-april.html\" target=\"_blank\" rel=\"noopener noreferrer\"> Before They Expire\u003c/a>.”\u003c/p>\n\u003cp>Netflix gives you the option to “save” the movie down at the bottom of your queue. But you know what that button means.\u003c/p>\n\u003ch2>Availability: Unknown\u003c/h2>\n\u003cp>Seriously, try searching for the very first movie you rented on Netflix. The older you are, the more likely it is you can’t stream it today. Now, you can \u003ca href=\"https://help.netflix.com/en/titlerequest\" target=\"_blank\" rel=\"noopener noreferrer\">request a title\u003c/a> and hope the company responds, but you have to know what you’re looking for.\u003c/p>\n\u003cp>What if I’m eight years old, or 18, and I don’t know about Mifune or anybody else famous in the 20th century?\u003cspan class=\"Apple-converted-space\"> \u003c/span>Netflix isn’t going to serve up the ancient past, not to me or any of its other 125 million subscribers worldwide. You can stream a wider selection of titles on Netflix rivals like Apple and Amazon Prime, but you have to search. The platforms won’t suggest what’s old in a bid to help you educate yourself.\u003c/p>\n\u003cp>“I just don’t think it’s much of a business for a Netflix or a Hulu,” says Rick Prelinger, Professor of Film and Digital Media at \u003ca href=\"http://film.ucsc.edu/faculty/rick_prelinger\" target=\"_blank\" rel=\"noopener noreferrer\">UC Santa Cruz\u003c/a> and a board member of the \u003ca href=\"https://archive.org\" target=\"_blank\" rel=\"noopener noreferrer\">Internet Archive\u003c/a>, a free-to-the-public digital library based in San Francisco.\u003c/p>\n\u003cp>He points out something else: a surprising amount of famous footage we think of as part of our collective history is locked away from the public, journalists and documentary filmmakers. “The body of moving images that has been created is owned by so many different companies and so many different people and it’s fragmented,” Prelinger says. That makes it hard for archivists and librarians, he adds, but what makes them different is they’re not serving shareholders. They’re serving the public.\u003c/p>\n\u003cp>Imagine if it wasn’t \u003ca href=\"https://archive.org/details/prelinger\" target=\"_blank\" rel=\"noopener noreferrer\">Prelinger Archives\u003c/a> that owned the famous \u003ca href=\"https://archive.org/details/TripDownMarketStreetrBeforeTheFire\" target=\"_blank\" rel=\"noopener noreferrer\">footage of Market Street\u003c/a> days before the great earthquake and fire of 1906 in San Francisco, and that owner wasn’t willing to share the footage without being paid a lot of money?\u003c/p>\n\u003cp>You wouldn’t see thoughtful news stories like this one:\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/tYHGj19RrF0'\n title='//www.youtube.com/embed/tYHGj19RrF0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>Many copyright owners charge cheaper “rental rates,” if you will, for nonprofits wanting to use historically valuable footage. Other copyright owners don’t care who you are or what noble cause you serve.\u003c/p>\n\u003cp>That makes building and maintaining a comprehensive collection of feature films and documentaries an expensive proposition.\u003c/p>\n\u003cp>“Nobody’s going to take a risk on archives,” Prelinger says. No privately funded company, he means.\u003c/p>\n\u003cp>Prelinger says entertainment companies naturally want us looking at what they’re \u003ca href=\"https://variety.com/2018/digital/news/netflix-original-spending-85-percent-1202809623/\" target=\"_blank\" rel=\"noopener noreferrer\">spending money on now\u003c/a>. If you want a comprehensive set of foreign, classic, or independently produced films, you have to subscribe to a streaming service like \u003ca href=\"https://www.fandor.com\" target=\"_blank\" rel=\"noopener noreferrer\">Fandor\u003c/a>, \u003ca href=\"https://mubi.com\" target=\"_blank\" rel=\"noopener noreferrer\">MUBI\u003c/a> or \u003ca href=\"https://www.filmstruck.com/\" target=\"_blank\" rel=\"noopener noreferrer\">FilmStruck\u003c/a>.\u003c/p>\n\u003cp>That suits \u003ca href=\"http://mybutch.blogspot.com\" target=\"_blank\" rel=\"noopener noreferrer\">Jenni Olson\u003c/a> just fine. “People want to spend $10 a month and get everything,” says the co-founder of PlanetOut, a public media and entertainment company that focused exclusively on the lesbian, gay, bisexual and transgender demographic. Today, Olson writes about queer films, and also creates, collects and curates them.\u003c/p>\n\u003cp>“Silicon Valley has created outsized, irrational consumer expectations,” Olson says. “We used to have almost zero access,” especially to more obscure film titles. “We just have to accept the reality of the world we live in, and put our money where our mouth is.”\u003c/p>\n\u003cfigure id=\"attachment_13836650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836650\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-800x457.jpg\" alt=\"For Sam Green, who made the documentary The Weather Underground, it matters that the trailer is available for free for the foreseeable future to anyone who searches for it on YouTube. Even if he doesn't see a dime.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1020x582.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1200x685.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-960x548.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut.jpg 1832w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For Sam Green, who made the documentary The Weather Underground, it matters that the trailer is available for free for the foreseeable future to anyone who searches for it on YouTube. Even if he doesn’t see a dime. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or you could watch dubious bootleg copies uploaded to YouTube or torrent sites, as many of us—cough—do.\u003cspan class=\"Apple-converted-space\"> Not that the prospect troubles every filmmaker. “YouTube is fantastic, and I happily refuse to complain that my film is on there,” says Sam Green about his Academy Award-nominated documentary \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0343168/\" target=\"_blank\" rel=\"noopener noreferrer\">The Weather Underground\u003c/a>\u003c/em>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">Green adds, “If you just look at the new, you get such a limited and skewed view of what the world is. To me, YouTube is one of the great cultural and educational institutions we have. It’s a way for things in [copyright] limbo to be available.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">For now.\u003c/span>\u003c/p>\n\u003cp>I’ll leave you with this thought from Prelinger: “We shouldn’t rely too much on either the entertainment business or the for-profit tech sector to preserve our history for us.\u003cspan class=\"Apple-converted-space\"> \u003c/span>Yes, there’s a lot of product available if you really really look hard, but we’re avoiding the question: do we as audiences, and do we as citizens, deserve access to our moving image heritage?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar",
"title": "In 'Sorry To Bother You,' an Alternate-Universe Oakland Rings True",
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"content": "\u003cp>If you feel your cheeks burning with familiarity as you watch Boots Riley’s directorial debut \u003cem>Sorry To Bother You\u003c/em>, you’re not alone—especially if you’re from Oakland. Whether it’s the film’s reference to The Rusty Skupper, where Oakland party promoter Geoffrey Pete once threw parties, or the iconic Cathedral Building at Telegraph and Broadway, or downtown dive bar The Layover, I caught about 20 hot flashes as a veritable déjà-vu checklist unfolded on the screen. Telemarketing job with ex-punk middle management? Check. Boyfriend that lived in a garage? Check. Paying for gas for your not-even-close-to-legal rustbucket car with pocket change? You know it.\u003c/p>\n\u003cp>Set in an alternate-universe Oakland, \u003cem>Sorry To Bother You\u003c/em> follows Cassius Green, played by \u003cem>Atlanta\u003c/em>’s Lakeith Stanfield, as he makes one Faustian moral compromise after another in pursuit of paying the bills. Cassius’ downward spiral begins with a coworker (Danny Glover) advising him to “use your white voice” (a tone reminiscent of a children’s show puppet, dubbed by real-life white guy David Cross) in order to climb the ladder at his telemarketing job (set in the Kaiser building in downtown Oakland). It then winds its way through a dark corporate netherworld of slimy despair. The “don’t sell out” moral of the story is delivered with all of the subtlety of a circus clown with an erection, but appropriately so—there’s nothing subtle in being a person of color fighting to survive capitalism.\u003c/p>\n\u003cfigure id=\"attachment_13836461\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836461\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-800x533.jpg\" alt=\"Tessa Thompson, Lakeith Stanfield, Boots Riley and Jermaine Fowler from the cast of 'Sorry to Bother You' with members of the Scraper Bike team in Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson, Lakeith Stanfield, Boots Riley and Jermaine Fowler from the cast of ‘Sorry to Bother You’ with members of the Scraper Bike team in Oakland. \u003ccite>(Pete Lee / Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Could there be parallels between Cassius’ rise from telemarketing pit worker to “power caller” and Riley’s path from hometown activist musician to widely lauded Hollywood director? Riley may not be as accessible as he once was as he undertakes a grueling promotional tour for the film, but even a brief conversation puts any fears of moral compromise to rest.\u003c/p>\n\u003cp>When I ask Riley a question about his movie, it turns into a lengthy history on the necessity of rent control. In other words, this is still the same Boots Riley that most people know from his 25 years fronting radical East Bay hip-hop group The Coup. And it’s Riley’s intimacy with the Oakland that a lot of us know—full of artists and activists, diverse, and currently under siege by corporate interests—that lends an undercurrent of believability to the kaleidoscopic version of The Town presented in \u003cem>Sorry To Bother You\u003c/em>. Degrading jobs, homelessness, corporate greed, and police brutality are viewed through a cartoon lens that’s equal parts hilarious and horrifying. It’s a balancing act that could easily take a wrong turn in the hands of an outsider with a two-dimensional view of Oakland, but in Riley’s hands, there’s a lot of truth in the bright and absurd universe that he’s constructed.\u003c/p>\n\u003cfigure id=\"attachment_13836464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836464\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-800x533.jpg\" alt=\"Tessa Thompson and Lakeith Stanfield in 'Sorry to Bother You.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson and Lakeith Stanfield in ‘Sorry to Bother You.’ \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Riley will be the first to tell you he didn’t construct it alone. True to his Communist roots, \u003cem>Sorry To Bother You\u003c/em> was a collective effort. In addition to phenomenal production designer Jason Kisvarday (\u003cem>Swiss Army Man\u003c/em>) and costume designer Deirdra Govan, a host of local talent contributed to the color and animated details that make the film as fun to watch as an R-rated version of \u003cem>Pee Wee’s Playhouse\u003c/em>. The graphic lettering that appears throughout the film was designed by local children’s book illustrator J. Otto Seibold. You might be able to spot a few of your friends and neighbors in the protest scene on Franklin Street alongside an “Adult Content” sculpture created by conceptual artist Spy Emerson. Rapper and philanthropist Mistah F.A.B. has a memorable cameo. (As for institutional support, Riley got assistance from SFFILM, the Rainin Foundation, and McSweeney’s, which originally published the script in 2014, among others.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Local music fans might also notice a humorous mention in the film of journalist Eric Arnold, who distinguished himself by writing about Oakland hip-hop in publications like \u003cem>4080\u003c/em>, \u003cem>The Source\u003c/em>, \u003cem>Wax Poetics\u003c/em>, \u003cem>Complex\u003c/em>, and the \u003cem>East Bay Express\u003c/em>.\u003c/p>\n\u003cp>“That Eric Arnold thing,” Riley explains, “that was one of those things where you’re writing and you’re like ‘What’s this character’s name?’ and you put it down thinking you’ll change it later to something that sounds cool. And then I just realized as it was being said, ‘Oh, I never changed that one.’ I had to call him up and be like ‘Your name is in the movie.’”\u003c/p>\n\u003cp>The fashion in the film? Oakland again. Tessa Thompson’s character Detroit is a radical artist with a strong moral compass and an enviable wardrobe, which Thompson and costume designer Govan designed by driving through Oakland and observing women around town. Detroit wears oversized J. Otto Seibold-designed text earrings that read “You’re Gonna Have To Fight/Your Own Damn War” (shoutout to Prince), a bikini made from latex gloves, a hairstyle directly inspired by a friend of Riley’s named Messiah, and a shirt that reads “The Future is Female Ejaculation.”\u003c/p>\n\u003cfigure id=\"attachment_13836462\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-800x335.jpg\" alt=\"Tessa Thompson in 'Sorry to Bother You,' with earrings designed by J. Otto Seibold.\" width=\"800\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1200x503.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-960x402.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-520x218.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson in ‘Sorry to Bother You,’ with earrings designed by J. Otto Seibold. \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Sorry To Bother You\u003c/em> isn’t the first black science fiction film set in Oakland. The other well-known two, Sun Ra’s \u003cem>Space is the Place\u003c/em> and Ryan Coogler’s \u003cem>Black Panther\u003c/em>, are decidedly afrofuturist, whereas \u003cem>Sorry To Bother You\u003c/em> feels like it exists outside that amorphous genre. Maybe because, in spite of its magical realism, it’s tethered to so much reality.\u003c/p>\n\u003cp>“My beef with a lot of sci-fi is that going so far in the future, or going into space, or going into another dimension makes it so safe that nobody cares what you’re saying,” Riley tells me. “You can make something that’s threatening revolution, but if it’s happening in space or it’s happening in the Chicago of 200 years from now, no one will really care. No one will find it threatening.”\u003c/p>\n\u003cp>Indeed, even the fantasy elements of \u003cem>Sorry To Bother You\u003c/em> seem plausible. The employee living quarters of the Worry Free corporation – bunk-bed barracks reminiscent of an Ikea-sponsored orphanage – would scarcely raise an eyebrow if you came across it during a Craigslist housing search in the Bay Area nowadays. But it wasn’t so long ago though that a greedy landlord charging $2,000 to live in a sheet fort off Fruitvale would have fueled dozens of outraged Facebook posts.\u003c/p>\n\u003cfigure id=\"attachment_13836463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836463\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-800x533.jpg\" alt=\"Tessa Thompson on the set of 'Sorry to Bother You.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson on the set of ‘Sorry to Bother You.’ \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given this steep decline in expectations of decency, coupled with the rapid advancements in technology that have occurred since the original script was drafted in 2012, I wondered if there had been anything Riley had to remove because it had proven prophetic.\u003c/p>\n\u003cp>“There were things that I had to change because they got too normal. Omari [Hardwick]’s character had a line, and this is in the script that ended up being published in 2014, where he says ‘Worry Free is going to make America great again’… So I had to take that out,” Riley tells me. “There’s the whole soda commercial in it, which is very much like the Kylie Jenner Pepsi commercial. All of the homeless camps—that’s in the script. They didn’t exist then. Not to the scale that it is now.”\u003c/p>\n\u003cp>Although it contains much that will be relatable, particularly for Bay Area audiences, \u003cem>Sorry To Bother You\u003c/em> is also, well, insane. As Cassius begins the upward climb that triggers his downward spiral, recovery wisdom dictates that he will eventually hit the proverbial rock bottom. But the moment never seems to come. \u003cem>“This must be it… Oh damn! Ok, THIS must be it. Nope…”\u003c/em> The film reaches a \u003cem>Caligula\u003c/em> level of batshittery that comes out of the blue, trust me.\u003c/p>\n\u003cp>And despite \u003cem>Sorry To Bother You\u003c/em>’s wild and subversive nature, don’t make the same misstep I made and call it a cult film. Not to Riley, anyway. He predicts that it’s exactly the type of movie a growing segment of the mainstream is craving; the same audience that made Jordan Peele’s horror film \u003cem>Get Out\u003c/em> such a huge success.\u003c/p>\n\u003cp>Peele came from comedy, and Riley came from hip-hop. But Riley also comes from Oakland, and that’s what gives \u003cem>Sorry to Bother You\u003c/em> its magic. When a creative and ambitious 47-year-old anarchist rapper Trojan-horses his way into Hollywood, the result is something new, a thrilling type of chaos bulging at the seams and somehow still fitting into the regimented structure of filmmaking. A man who went from “\u003ca href=\"http://www.metrolyrics.com/sneakin-in-lyrics-the-coup.html\" target=\"_blank\" rel=\"noopener\">sneakin’ in to Eastmont Cinemas\u003c/a>” to making a widely distributed and star-studded revolutionary film? That might be the most magical element of all.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Sorry to Bother You’ is released in theaters Friday, July 6.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you feel your cheeks burning with familiarity as you watch Boots Riley’s directorial debut \u003cem>Sorry To Bother You\u003c/em>, you’re not alone—especially if you’re from Oakland. Whether it’s the film’s reference to The Rusty Skupper, where Oakland party promoter Geoffrey Pete once threw parties, or the iconic Cathedral Building at Telegraph and Broadway, or downtown dive bar The Layover, I caught about 20 hot flashes as a veritable déjà-vu checklist unfolded on the screen. Telemarketing job with ex-punk middle management? Check. Boyfriend that lived in a garage? Check. Paying for gas for your not-even-close-to-legal rustbucket car with pocket change? You know it.\u003c/p>\n\u003cp>Set in an alternate-universe Oakland, \u003cem>Sorry To Bother You\u003c/em> follows Cassius Green, played by \u003cem>Atlanta\u003c/em>’s Lakeith Stanfield, as he makes one Faustian moral compromise after another in pursuit of paying the bills. Cassius’ downward spiral begins with a coworker (Danny Glover) advising him to “use your white voice” (a tone reminiscent of a children’s show puppet, dubbed by real-life white guy David Cross) in order to climb the ladder at his telemarketing job (set in the Kaiser building in downtown Oakland). It then winds its way through a dark corporate netherworld of slimy despair. The “don’t sell out” moral of the story is delivered with all of the subtlety of a circus clown with an erection, but appropriately so—there’s nothing subtle in being a person of color fighting to survive capitalism.\u003c/p>\n\u003cfigure id=\"attachment_13836461\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836461\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-800x533.jpg\" alt=\"Tessa Thompson, Lakeith Stanfield, Boots Riley and Jermaine Fowler from the cast of 'Sorry to Bother You' with members of the Scraper Bike team in Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson, Lakeith Stanfield, Boots Riley and Jermaine Fowler from the cast of ‘Sorry to Bother You’ with members of the Scraper Bike team in Oakland. \u003ccite>(Pete Lee / Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Could there be parallels between Cassius’ rise from telemarketing pit worker to “power caller” and Riley’s path from hometown activist musician to widely lauded Hollywood director? Riley may not be as accessible as he once was as he undertakes a grueling promotional tour for the film, but even a brief conversation puts any fears of moral compromise to rest.\u003c/p>\n\u003cp>When I ask Riley a question about his movie, it turns into a lengthy history on the necessity of rent control. In other words, this is still the same Boots Riley that most people know from his 25 years fronting radical East Bay hip-hop group The Coup. And it’s Riley’s intimacy with the Oakland that a lot of us know—full of artists and activists, diverse, and currently under siege by corporate interests—that lends an undercurrent of believability to the kaleidoscopic version of The Town presented in \u003cem>Sorry To Bother You\u003c/em>. Degrading jobs, homelessness, corporate greed, and police brutality are viewed through a cartoon lens that’s equal parts hilarious and horrifying. It’s a balancing act that could easily take a wrong turn in the hands of an outsider with a two-dimensional view of Oakland, but in Riley’s hands, there’s a lot of truth in the bright and absurd universe that he’s constructed.\u003c/p>\n\u003cfigure id=\"attachment_13836464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836464\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-800x533.jpg\" alt=\"Tessa Thompson and Lakeith Stanfield in 'Sorry to Bother You.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson and Lakeith Stanfield in ‘Sorry to Bother You.’ \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Riley will be the first to tell you he didn’t construct it alone. True to his Communist roots, \u003cem>Sorry To Bother You\u003c/em> was a collective effort. In addition to phenomenal production designer Jason Kisvarday (\u003cem>Swiss Army Man\u003c/em>) and costume designer Deirdra Govan, a host of local talent contributed to the color and animated details that make the film as fun to watch as an R-rated version of \u003cem>Pee Wee’s Playhouse\u003c/em>. The graphic lettering that appears throughout the film was designed by local children’s book illustrator J. Otto Seibold. You might be able to spot a few of your friends and neighbors in the protest scene on Franklin Street alongside an “Adult Content” sculpture created by conceptual artist Spy Emerson. Rapper and philanthropist Mistah F.A.B. has a memorable cameo. (As for institutional support, Riley got assistance from SFFILM, the Rainin Foundation, and McSweeney’s, which originally published the script in 2014, among others.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Local music fans might also notice a humorous mention in the film of journalist Eric Arnold, who distinguished himself by writing about Oakland hip-hop in publications like \u003cem>4080\u003c/em>, \u003cem>The Source\u003c/em>, \u003cem>Wax Poetics\u003c/em>, \u003cem>Complex\u003c/em>, and the \u003cem>East Bay Express\u003c/em>.\u003c/p>\n\u003cp>“That Eric Arnold thing,” Riley explains, “that was one of those things where you’re writing and you’re like ‘What’s this character’s name?’ and you put it down thinking you’ll change it later to something that sounds cool. And then I just realized as it was being said, ‘Oh, I never changed that one.’ I had to call him up and be like ‘Your name is in the movie.’”\u003c/p>\n\u003cp>The fashion in the film? Oakland again. Tessa Thompson’s character Detroit is a radical artist with a strong moral compass and an enviable wardrobe, which Thompson and costume designer Govan designed by driving through Oakland and observing women around town. Detroit wears oversized J. Otto Seibold-designed text earrings that read “You’re Gonna Have To Fight/Your Own Damn War” (shoutout to Prince), a bikini made from latex gloves, a hairstyle directly inspired by a friend of Riley’s named Messiah, and a shirt that reads “The Future is Female Ejaculation.”\u003c/p>\n\u003cfigure id=\"attachment_13836462\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-800x335.jpg\" alt=\"Tessa Thompson in 'Sorry to Bother You,' with earrings designed by J. Otto Seibold.\" width=\"800\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1200x503.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-960x402.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-520x218.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson in ‘Sorry to Bother You,’ with earrings designed by J. Otto Seibold. \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Sorry To Bother You\u003c/em> isn’t the first black science fiction film set in Oakland. The other well-known two, Sun Ra’s \u003cem>Space is the Place\u003c/em> and Ryan Coogler’s \u003cem>Black Panther\u003c/em>, are decidedly afrofuturist, whereas \u003cem>Sorry To Bother You\u003c/em> feels like it exists outside that amorphous genre. Maybe because, in spite of its magical realism, it’s tethered to so much reality.\u003c/p>\n\u003cp>“My beef with a lot of sci-fi is that going so far in the future, or going into space, or going into another dimension makes it so safe that nobody cares what you’re saying,” Riley tells me. “You can make something that’s threatening revolution, but if it’s happening in space or it’s happening in the Chicago of 200 years from now, no one will really care. No one will find it threatening.”\u003c/p>\n\u003cp>Indeed, even the fantasy elements of \u003cem>Sorry To Bother You\u003c/em> seem plausible. The employee living quarters of the Worry Free corporation – bunk-bed barracks reminiscent of an Ikea-sponsored orphanage – would scarcely raise an eyebrow if you came across it during a Craigslist housing search in the Bay Area nowadays. But it wasn’t so long ago though that a greedy landlord charging $2,000 to live in a sheet fort off Fruitvale would have fueled dozens of outraged Facebook posts.\u003c/p>\n\u003cfigure id=\"attachment_13836463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836463\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-800x533.jpg\" alt=\"Tessa Thompson on the set of 'Sorry to Bother You.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson on the set of ‘Sorry to Bother You.’ \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given this steep decline in expectations of decency, coupled with the rapid advancements in technology that have occurred since the original script was drafted in 2012, I wondered if there had been anything Riley had to remove because it had proven prophetic.\u003c/p>\n\u003cp>“There were things that I had to change because they got too normal. Omari [Hardwick]’s character had a line, and this is in the script that ended up being published in 2014, where he says ‘Worry Free is going to make America great again’… So I had to take that out,” Riley tells me. “There’s the whole soda commercial in it, which is very much like the Kylie Jenner Pepsi commercial. All of the homeless camps—that’s in the script. They didn’t exist then. Not to the scale that it is now.”\u003c/p>\n\u003cp>Although it contains much that will be relatable, particularly for Bay Area audiences, \u003cem>Sorry To Bother You\u003c/em> is also, well, insane. As Cassius begins the upward climb that triggers his downward spiral, recovery wisdom dictates that he will eventually hit the proverbial rock bottom. But the moment never seems to come. \u003cem>“This must be it… Oh damn! Ok, THIS must be it. Nope…”\u003c/em> The film reaches a \u003cem>Caligula\u003c/em> level of batshittery that comes out of the blue, trust me.\u003c/p>\n\u003cp>And despite \u003cem>Sorry To Bother You\u003c/em>’s wild and subversive nature, don’t make the same misstep I made and call it a cult film. Not to Riley, anyway. He predicts that it’s exactly the type of movie a growing segment of the mainstream is craving; the same audience that made Jordan Peele’s horror film \u003cem>Get Out\u003c/em> such a huge success.\u003c/p>\n\u003cp>Peele came from comedy, and Riley came from hip-hop. But Riley also comes from Oakland, and that’s what gives \u003cem>Sorry to Bother You\u003c/em> its magic. When a creative and ambitious 47-year-old anarchist rapper Trojan-horses his way into Hollywood, the result is something new, a thrilling type of chaos bulging at the seams and somehow still fitting into the regimented structure of filmmaking. A man who went from “\u003ca href=\"http://www.metrolyrics.com/sneakin-in-lyrics-the-coup.html\" target=\"_blank\" rel=\"noopener\">sneakin’ in to Eastmont Cinemas\u003c/a>” to making a widely distributed and star-studded revolutionary film? That might be the most magical element of all.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Sorry to Bother You’ is released in theaters Friday, July 6.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Aki Kaurismäki’s Droll Scandinavian Fables at BAMPFA",
"headTitle": "Now Playing! Aki Kaurismäki’s Droll Scandinavian Fables at BAMPFA | KQED",
"content": "\u003cp>Turning people on to great movies made before they were born can be frustrating. ‘Twas ever thus that young people gravitate to the new and now, and disdain the “old stuff.” But as everybody over 14 realizes, Hollywood’s “new” sequels—like this summer’s revamps of \u003cem>Jurassic Park\u003c/em>, \u003cem>The Incredibles\u003c/em>, \u003cem>Ant-Man\u003c/em>, \u003cem>The Purge\u003c/em>, \u003cem>Mission: Impossible\u003c/em>, \u003cem>The Equalizer\u003c/em> and \u003cem>Mamma Mia\u003c/em>—are rehashes and revivals of familiar stories. Ah, the irony.\u003c/p>\n\u003cp>So let the kids have the multiplexes, and slip into the pool of cool films from the past that Bay Area film programmers have compiled in July: A free outdoor screening of the 1948 Powell-Pressburger masterpiece \u003cem>The Red Shoes\u003c/em> (at BAMPFA this Sunday, July 8), the Beatles’ 1968 animated \u003cem>Yellow Submarine\u003c/em> (Castro, July 15-18), 1984’s immortal rock satire \u003cem>This Is Spinal Tap\u003c/em> (Paramount, July 26) and a double bill of 1946 French crime dramas featuring Andree Clement (Roxie, July 26). For those prone to submersion (and perhaps immersion), BAMPFA unspools a slate of top-shelf retrospectives: revered French classicist Jacques Becker (starting July 12), “Bergman 100: An Emerging Style” (July 20) and ’70s-’80s Swiss director Alain Tanner (July 26).\u003c/p>\n\u003cfigure id=\"attachment_13836389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Kaurismaki_Match-Factory-Gi-800x450.jpg\" alt=\"A scene from Aki Kaurismaki's 'The Match Factory Girl.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13836389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kaurismaki_Match-Factory-Gi.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kaurismaki_Match-Factory-Gi-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kaurismaki_Match-Factory-Gi-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kaurismaki_Match-Factory-Gi-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kaurismaki_Match-Factory-Gi-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kaurismaki_Match-Factory-Gi-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Aki Kaurismäki’s ‘The Match Factory Girl.’ \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A fourth BAMPFA series, \u003ca href=\"https://bampfa.org/program/aki-kaurism%C3%A4ki-films-other-side-hope\" rel=\"noopener\" target=\"_blank\">Aki Kaurismäki: Films from the Other Side of Hope\u003c/a> (July 6-Aug. 5), salutes the unique sensibility of the droll Finnish writer-director. I’d add “sensitivity,” but that was not always the case. Moviegoers who caught \u003cem>The Match Factory Girl\u003c/em> (this Sunday, July 8) at the 1991 S.F. International Film Festival heatedly debated whether that minimalist portrait of a working-class woman with depressingly bad luck and judgement was an unsentimental economic critique or a study in directorial cruelty.\u003c/p>\n\u003cp>Kaurismäki’s compassion has become apparent over the years, particularly through the two immigrant tales that bookend the series. \u003cem>Le Havre\u003c/em> (2011, Aug. 5) traces the deepening bond between an older Frenchman and a newly arrived boy from Gabon on the run from the authorities. Last year’s \u003cem>The Other Side of Hope\u003c/em> (Friday, July 6) imagined the connection between a Syrian refugee at loose ends and a Helsinki restaurateur. (Kati Outinen, the downcast lead of \u003cem>The Match Factory Girl\u003c/em>, played supporting roles in both films.)\u003c/p>\n\u003cp>Understated and unassuming, Kaurismäki’s films are pitched precisely on the border of weary skepticism and wary optimism. I used to mistake austerity for aloofness in Kaurismäki’s work. Now I realize that watchfulness is the better part of ardor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Turning people on to great movies made before they were born can be frustrating. ‘Twas ever thus that young people gravitate to the new and now, and disdain the “old stuff.” But as everybody over 14 realizes, Hollywood’s “new” sequels—like this summer’s revamps of \u003cem>Jurassic Park\u003c/em>, \u003cem>The Incredibles\u003c/em>, \u003cem>Ant-Man\u003c/em>, \u003cem>The Purge\u003c/em>, \u003cem>Mission: Impossible\u003c/em>, \u003cem>The Equalizer\u003c/em> and \u003cem>Mamma Mia\u003c/em>—are rehashes and revivals of familiar stories. Ah, the irony.\u003c/p>\n\u003cp>So let the kids have the multiplexes, and slip into the pool of cool films from the past that Bay Area film programmers have compiled in July: A free outdoor screening of the 1948 Powell-Pressburger masterpiece \u003cem>The Red Shoes\u003c/em> (at BAMPFA this Sunday, July 8), the Beatles’ 1968 animated \u003cem>Yellow Submarine\u003c/em> (Castro, July 15-18), 1984’s immortal rock satire \u003cem>This Is Spinal Tap\u003c/em> (Paramount, July 26) and a double bill of 1946 French crime dramas featuring Andree Clement (Roxie, July 26). For those prone to submersion (and perhaps immersion), BAMPFA unspools a slate of top-shelf retrospectives: revered French classicist Jacques Becker (starting July 12), “Bergman 100: An Emerging Style” (July 20) and ’70s-’80s Swiss director Alain Tanner (July 26).\u003c/p>\n\u003cfigure id=\"attachment_13836389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Kaurismaki_Match-Factory-Gi-800x450.jpg\" alt=\"A scene from Aki Kaurismaki's 'The Match Factory Girl.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13836389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kaurismaki_Match-Factory-Gi.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kaurismaki_Match-Factory-Gi-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kaurismaki_Match-Factory-Gi-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kaurismaki_Match-Factory-Gi-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kaurismaki_Match-Factory-Gi-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kaurismaki_Match-Factory-Gi-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Aki Kaurismäki’s ‘The Match Factory Girl.’ \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A fourth BAMPFA series, \u003ca href=\"https://bampfa.org/program/aki-kaurism%C3%A4ki-films-other-side-hope\" rel=\"noopener\" target=\"_blank\">Aki Kaurismäki: Films from the Other Side of Hope\u003c/a> (July 6-Aug. 5), salutes the unique sensibility of the droll Finnish writer-director. I’d add “sensitivity,” but that was not always the case. Moviegoers who caught \u003cem>The Match Factory Girl\u003c/em> (this Sunday, July 8) at the 1991 S.F. International Film Festival heatedly debated whether that minimalist portrait of a working-class woman with depressingly bad luck and judgement was an unsentimental economic critique or a study in directorial cruelty.\u003c/p>\n\u003cp>Kaurismäki’s compassion has become apparent over the years, particularly through the two immigrant tales that bookend the series. \u003cem>Le Havre\u003c/em> (2011, Aug. 5) traces the deepening bond between an older Frenchman and a newly arrived boy from Gabon on the run from the authorities. Last year’s \u003cem>The Other Side of Hope\u003c/em> (Friday, July 6) imagined the connection between a Syrian refugee at loose ends and a Helsinki restaurateur. (Kati Outinen, the downcast lead of \u003cem>The Match Factory Girl\u003c/em>, played supporting roles in both films.)\u003c/p>\n\u003cp>Understated and unassuming, Kaurismäki’s films are pitched precisely on the border of weary skepticism and wary optimism. I used to mistake austerity for aloofness in Kaurismäki’s work. Now I realize that watchfulness is the better part of ardor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Following through on promises to finally diversify the rank and file of the Academy of Motion Pictures, the Oscar-granting body has \u003ca href=\"http://www.app.oscars.org/newmembers2018/\">invited a record number of 928 new members\u003c/a>, making the 2018 class the largest in history.\u003c/p>\n\u003cp>The invitations, issued Monday to an array of people involved in the film industry across 59 countries, are part of the Academy’s stated mission to include more women and more people of color after the 2014 and 2015 #OscarsSoWhite controversies, which essentially shut-out non-white acting nominees from all 20 spots in the lead and supporting acting roles.\u003c/p>\n\u003cp>According to the Academy’s breakdown, 49 percent of new members this year are women and 38 percent are people of color. Still, those numbers do little to raise overall numbers of both groups over last year. Should everyone who has been invited actually agree to join, it would raise overall female membership from 28 percent to 31 percent, while non-white participation would inch up from 13 percent to 16 percent.\u003c/p>\n\u003cp>Among the most recognizable names asked into the privileged fold are Tiffany Haddish, Dave Chappelle, Mindy Kaling, Amy Schumer, Kumail Nanjiani, Wendell Pierce, Gina Rodriguez, Sarah Silverman, J.K. Rowling, Kendrick Lamar, Questlove and Jada Pinkett Smith, who boycotted the 2016 awards for its lack of diversity.\u003c/p>\n\u003cp>As of Tuesday morning, only a handful of those newly invited had acknowledged it on Twitter. Rodriguez and Pierce both said they were “honored.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/HereIsGina/status/1011378202973859840\u003c/p>\n\u003cp>https://twitter.com/WendellPierce/status/1011383955793248256\u003c/p>\n\u003cp>Nanjiani took a more factual tone, writing, “Hey yo. I’m in the Academy.”\u003c/p>\n\u003cp>https://twitter.com/kumailn/status/1011322202694864897\u003c/p>\n\u003cp>And actor Miles Teller promised “to never let anyone borrow my screeners.”\u003c/p>\n\u003cp>https://twitter.com/Miles_Teller/status/1011367085715402753\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Former Academy president Cheryl Boone Isaacs — the first African-American president of the group and the third woman to hold the position — initiated push to broaden membership in 2016 after it was revealed that 92% were white and 75% male. At the time she said her goal was to \u003ca href=\"https://www.hollywoodreporter.com/news/new-academy-members-2018-revealed-1123069\">double the number of women and people of color\u003c/a> in the Academy by 2020. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oscar%27s+Academy+Invites+928+New+Members%2C+Getting+Closer+To+Diversity+Goals&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following through on promises to finally diversify the rank and file of the Academy of Motion Pictures, the Oscar-granting body has \u003ca href=\"http://www.app.oscars.org/newmembers2018/\">invited a record number of 928 new members\u003c/a>, making the 2018 class the largest in history.\u003c/p>\n\u003cp>The invitations, issued Monday to an array of people involved in the film industry across 59 countries, are part of the Academy’s stated mission to include more women and more people of color after the 2014 and 2015 #OscarsSoWhite controversies, which essentially shut-out non-white acting nominees from all 20 spots in the lead and supporting acting roles.\u003c/p>\n\u003cp>According to the Academy’s breakdown, 49 percent of new members this year are women and 38 percent are people of color. Still, those numbers do little to raise overall numbers of both groups over last year. Should everyone who has been invited actually agree to join, it would raise overall female membership from 28 percent to 31 percent, while non-white participation would inch up from 13 percent to 16 percent.\u003c/p>\n\u003cp>Among the most recognizable names asked into the privileged fold are Tiffany Haddish, Dave Chappelle, Mindy Kaling, Amy Schumer, Kumail Nanjiani, Wendell Pierce, Gina Rodriguez, Sarah Silverman, J.K. Rowling, Kendrick Lamar, Questlove and Jada Pinkett Smith, who boycotted the 2016 awards for its lack of diversity.\u003c/p>\n\u003cp>As of Tuesday morning, only a handful of those newly invited had acknowledged it on Twitter. Rodriguez and Pierce both said they were “honored.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Now Playing! Local Author Joseph McBride Lauds the Lubitsch Touch",
"headTitle": "Now Playing! Local Author Joseph McBride Lauds the Lubitsch Touch | KQED",
"content": "\u003cp>Ernst Lubitsch’s many masterpieces—\u003cem>Design for Living\u003c/em>, \u003cem>Ninotchka\u003c/em>, \u003cem>The Shop Around the Corner\u003c/em>, \u003cem>To Be or Not to Be\u003c/em> and others—still work brilliantly seven and eight decades after they were made because even then, the world in which they took place (cultured continental Europe) was gone or on the verge. \u003c/p>\n\u003cfigure id=\"attachment_13835902\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/How-Did-Lubitsch-Do-It_640.jpg\" alt=\"Joseph McBride, 'How Did Lubitsch Do It?,' published by Columbia University Press, 2018.\" width=\"640\" height=\"966\" class=\"size-full wp-image-13835902\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/How-Did-Lubitsch-Do-It_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/How-Did-Lubitsch-Do-It_640-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/How-Did-Lubitsch-Do-It_640-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/How-Did-Lubitsch-Do-It_640-375x566.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/How-Did-Lubitsch-Do-It_640-520x785.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Joseph McBride, ‘How Did Lubitsch Do It?,’ published by Columbia University Press, 2018. \u003ccite>(Courtesy of California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The German-Jewish émigré placed his suave and elegant characters in urbane settings that he fondly remembered—or invented—and polished to a deliciously high comedy gloss on the Paramount lot. Lubitsch recognized the timeless foibles of lust, vanity and ambition too clearly to traffic in nostalgia, however. So the enduring pleasures of his films, the mix of adult passion, affectionate wit and perfect timing that define the Lubitsch Touch, haven’t faded an iota.\u003c/p>\n\u003cp>Film scholar Joseph McBride, a fixture in the cinema department at San Francisco State University for the last several years, releases his latest big dig into the Golden Age of Hollywood, \u003cem>How Did Lubitsch Do It?\u003c/em> (Columbia University Press) this Tuesday, June 26. The author of acclaimed tomes on the lives and work of Frank Capra, John Ford and Orson Welles, McBride has a historian’s knowledge of the peculiarities and power plays of the hierarchal studio system and a critic’s eye for analyzing the philosophy, structure and techniques of Lubitsch’s movies that his admirers like Billy Wilder emulated but never duplicated.\u003c/p>\n\u003cp>McBride visits the \u003ca href=\"https://rafaelfilm.cafilm.org/trouble-in-paradise/\" target=\"_blank\" rel=\"noopener\">Smith Rafael Film Center\u003c/a> in San Rafael on Sunday, July 1 to introduce a late-afternoon screening of \u003cem>Trouble in Paradise\u003c/em> (1932) and discuss the great director’s methods and mastery. In this sublime pre-Code comedy, upper-crust thieves Herbert Marshall and Miriam Hopkins aim to trap perfume heiress Kay Francis, but romantic feelings (read sexual attraction) complicate their nefarious scheme. \u003c/p>\n\u003cfigure id=\"attachment_13835901\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/004-trouble-in-paradise-theredlist_1200.jpg\" alt=\"Still from 'Trouble in Paradise,' 1932.\" width=\"1200\" height=\"922\" class=\"size-full wp-image-13835901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/004-trouble-in-paradise-theredlist_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/004-trouble-in-paradise-theredlist_1200-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/004-trouble-in-paradise-theredlist_1200-800x615.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/004-trouble-in-paradise-theredlist_1200-768x590.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/004-trouble-in-paradise-theredlist_1200-1020x784.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/004-trouble-in-paradise-theredlist_1200-1180x907.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/004-trouble-in-paradise-theredlist_1200-960x738.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/004-trouble-in-paradise-theredlist_1200-240x184.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/004-trouble-in-paradise-theredlist_1200-375x288.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/004-trouble-in-paradise-theredlist_1200-520x400.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Trouble in Paradise,’ 1932. \u003ccite>(Courtesy of California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McBride will also be at \u003ca href=\"http://www.moesbooks.com/events/#jul10\" rel=\"noopener\" target=\"_blank\">Moe’s Books\u003c/a> (2476 Telegraph Ave. in Berkeley) Tuesday, July 10 at 7pm to talk about \u003cem>How Did Lubitsch Do It?\u003c/em> If you miss these appearances, you can catch McBride on the big screen later this year in Welles’ long-unfinished and long-awaited \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/The_Other_Side_of_the_Wind\" rel=\"noopener\" target=\"_blank\">The Other Side of the Wind\u003c/a>\u003c/i> with John Huston. Oh, yes, McBride has stories to tell.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ernst Lubitsch’s many masterpieces—\u003cem>Design for Living\u003c/em>, \u003cem>Ninotchka\u003c/em>, \u003cem>The Shop Around the Corner\u003c/em>, \u003cem>To Be or Not to Be\u003c/em> and others—still work brilliantly seven and eight decades after they were made because even then, the world in which they took place (cultured continental Europe) was gone or on the verge. \u003c/p>\n\u003cfigure id=\"attachment_13835902\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/How-Did-Lubitsch-Do-It_640.jpg\" alt=\"Joseph McBride, 'How Did Lubitsch Do It?,' published by Columbia University Press, 2018.\" width=\"640\" height=\"966\" class=\"size-full wp-image-13835902\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/How-Did-Lubitsch-Do-It_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/How-Did-Lubitsch-Do-It_640-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/How-Did-Lubitsch-Do-It_640-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/How-Did-Lubitsch-Do-It_640-375x566.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/How-Did-Lubitsch-Do-It_640-520x785.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Joseph McBride, ‘How Did Lubitsch Do It?,’ published by Columbia University Press, 2018. \u003ccite>(Courtesy of California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The German-Jewish émigré placed his suave and elegant characters in urbane settings that he fondly remembered—or invented—and polished to a deliciously high comedy gloss on the Paramount lot. Lubitsch recognized the timeless foibles of lust, vanity and ambition too clearly to traffic in nostalgia, however. So the enduring pleasures of his films, the mix of adult passion, affectionate wit and perfect timing that define the Lubitsch Touch, haven’t faded an iota.\u003c/p>\n\u003cp>Film scholar Joseph McBride, a fixture in the cinema department at San Francisco State University for the last several years, releases his latest big dig into the Golden Age of Hollywood, \u003cem>How Did Lubitsch Do It?\u003c/em> (Columbia University Press) this Tuesday, June 26. The author of acclaimed tomes on the lives and work of Frank Capra, John Ford and Orson Welles, McBride has a historian’s knowledge of the peculiarities and power plays of the hierarchal studio system and a critic’s eye for analyzing the philosophy, structure and techniques of Lubitsch’s movies that his admirers like Billy Wilder emulated but never duplicated.\u003c/p>\n\u003cp>McBride visits the \u003ca href=\"https://rafaelfilm.cafilm.org/trouble-in-paradise/\" target=\"_blank\" rel=\"noopener\">Smith Rafael Film Center\u003c/a> in San Rafael on Sunday, July 1 to introduce a late-afternoon screening of \u003cem>Trouble in Paradise\u003c/em> (1932) and discuss the great director’s methods and mastery. In this sublime pre-Code comedy, upper-crust thieves Herbert Marshall and Miriam Hopkins aim to trap perfume heiress Kay Francis, but romantic feelings (read sexual attraction) complicate their nefarious scheme. \u003c/p>\n\u003cfigure id=\"attachment_13835901\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/004-trouble-in-paradise-theredlist_1200.jpg\" alt=\"Still from 'Trouble in Paradise,' 1932.\" width=\"1200\" height=\"922\" class=\"size-full wp-image-13835901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/004-trouble-in-paradise-theredlist_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/004-trouble-in-paradise-theredlist_1200-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/004-trouble-in-paradise-theredlist_1200-800x615.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/004-trouble-in-paradise-theredlist_1200-768x590.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/004-trouble-in-paradise-theredlist_1200-1020x784.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/004-trouble-in-paradise-theredlist_1200-1180x907.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/004-trouble-in-paradise-theredlist_1200-960x738.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/004-trouble-in-paradise-theredlist_1200-240x184.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/004-trouble-in-paradise-theredlist_1200-375x288.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/004-trouble-in-paradise-theredlist_1200-520x400.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Trouble in Paradise,’ 1932. \u003ccite>(Courtesy of California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McBride will also be at \u003ca href=\"http://www.moesbooks.com/events/#jul10\" rel=\"noopener\" target=\"_blank\">Moe’s Books\u003c/a> (2476 Telegraph Ave. in Berkeley) Tuesday, July 10 at 7pm to talk about \u003cem>How Did Lubitsch Do It?\u003c/em> If you miss these appearances, you can catch McBride on the big screen later this year in Welles’ long-unfinished and long-awaited \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/The_Other_Side_of_the_Wind\" rel=\"noopener\" target=\"_blank\">The Other Side of the Wind\u003c/a>\u003c/i> with John Huston. Oh, yes, McBride has stories to tell.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A new study by the Directors Guild of America finds that despite high-profile releases like \u003cem>Get Out\u003c/em> and \u003cem>Wonder Woman\u003c/em>, film directors remained overwhelmingly white and male among the movies released last year.\u003c/p>\n\u003cp>The DGA examined all 651 feature films released theatrically in 2017. It found that among those films to make at least $250,000 at the box office, 12 percent of directors were women and 10 percent were people of color.\u003c/p>\n\u003cp>Those figures represent almost double the number of female directors in 2013, according to the DGA, but a downturn of 7 percent for minority filmmakers.\u003c/p>\n\u003cp>DGA President Thomas Schlamme said the results revealed that “discriminatory practices are still rampant across every corner of the feature film business.” He added that improved diversity in indie filmmaking is a “misconception.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new study by the Directors Guild of America finds that despite high-profile releases like \u003cem>Get Out\u003c/em> and \u003cem>Wonder Woman\u003c/em>, film directors remained overwhelmingly white and male among the movies released last year.\u003c/p>\n\u003cp>The DGA examined all 651 feature films released theatrically in 2017. It found that among those films to make at least $250,000 at the box office, 12 percent of directors were women and 10 percent were people of color.\u003c/p>\n\u003cp>Those figures represent almost double the number of female directors in 2013, according to the DGA, but a downturn of 7 percent for minority filmmakers.\u003c/p>\n\u003cp>DGA President Thomas Schlamme said the results revealed that “discriminatory practices are still rampant across every corner of the feature film business.” He added that improved diversity in indie filmmaking is a “misconception.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>After a two-year absence, the \u003ca href=\"http://wineandbowties.com/\" rel=\"noopener\" target=\"_blank\">Wine & Bowties\u003c/a> crew brought back its massive party/show/festival/celebration FEELS at the Craneway Pavilion in Richmond over the weekend. Though the venue may have been more formal than its previous locations (the \u003ca href=\"https://www.kqed.org/arts/11628892/photos-feels-v-oaklands-hottest-underground-warehouse-party\" rel=\"noopener\" target=\"_blank\">past two FEELS\u003c/a> were held at American Steel warehouse in West Oakland), the inclusive atmosphere and staggering creative heft of music and art exploded bigger than ever.\u003c/p>\n\u003cfigure id=\"attachment_13835347\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/MG_5721-800x450.jpg\" alt=\"Mykki Blanco plays FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. (Estefany Gonzalez)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mykki Blanco plays FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003cp>Highlights near the end of the night included Mykki Blanco’s spastic run through the crowd to climb a warehouse scaffold, Bbymutha’s confident set of slaps on a side stage, and Princess Nokia’s festival-closing, stagedive-peppered set. Artwork from Jeffrey Cheung, Sadie Barnette, Yetunde Olagbaju, and many others filled the hall; Zachary Fox \u003ca href=\"https://www.instagram.com/p/BkIuaxwFox4/\" rel=\"noopener\" target=\"_blank\">recreated his teenage bedroom\u003c/a> next to a couch area. But overall, the cross-collaborative environment is what makes FEELS quintessentially Bay Area; I knew at least two people who flew in from across the country to celebrate its return. Even Kehlani came through.\u003c/p>\n\u003cfigure id=\"attachment_13835343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/MG_5173-2-800x450.jpg\" alt=\"Kehlani attends FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. Estefany Gonzalez)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani attends FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. (Estefany Gonzalez) \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time Kelis hit the stage, the whole warehouse was lit in a steady stream of movement. Princess Nokia’s closing set, stagedives and all, capped the night—one where, more than ever, \u003ca href=\"https://twitter.com/OGpenn/status/1008260676924477440\" rel=\"noopener\" target=\"_blank\">the people were the artwork\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Photos below\u003c/strong>. \u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"13835288,13835285,13835273,13835276,13835259,13835284,13835251,13835281,13835236,13835226,13835228,13835231,13835233,13835238,13835241,13835243,13835244,13835252,13835246,13835287,13835286,13835283,13835279,13835280,13835282,13835277,13835275,13835274,13835272,13835271,13835270,13835269,13835268,13835262,13835265,13835266,13835267,13835261,13835260,13835256,13835255,13835249,13835250,13835253,13835248,13835247,13835239,13835240,13835242,13835237,13835234\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cem>All photos by Estefany Gonzalez.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a two-year absence, the \u003ca href=\"http://wineandbowties.com/\" rel=\"noopener\" target=\"_blank\">Wine & Bowties\u003c/a> crew brought back its massive party/show/festival/celebration FEELS at the Craneway Pavilion in Richmond over the weekend. Though the venue may have been more formal than its previous locations (the \u003ca href=\"https://www.kqed.org/arts/11628892/photos-feels-v-oaklands-hottest-underground-warehouse-party\" rel=\"noopener\" target=\"_blank\">past two FEELS\u003c/a> were held at American Steel warehouse in West Oakland), the inclusive atmosphere and staggering creative heft of music and art exploded bigger than ever.\u003c/p>\n\u003cfigure id=\"attachment_13835347\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/MG_5721-800x450.jpg\" alt=\"Mykki Blanco plays FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. (Estefany Gonzalez)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mykki Blanco plays FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003cp>Highlights near the end of the night included Mykki Blanco’s spastic run through the crowd to climb a warehouse scaffold, Bbymutha’s confident set of slaps on a side stage, and Princess Nokia’s festival-closing, stagedive-peppered set. Artwork from Jeffrey Cheung, Sadie Barnette, Yetunde Olagbaju, and many others filled the hall; Zachary Fox \u003ca href=\"https://www.instagram.com/p/BkIuaxwFox4/\" rel=\"noopener\" target=\"_blank\">recreated his teenage bedroom\u003c/a> next to a couch area. But overall, the cross-collaborative environment is what makes FEELS quintessentially Bay Area; I knew at least two people who flew in from across the country to celebrate its return. Even Kehlani came through.\u003c/p>\n\u003cfigure id=\"attachment_13835343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/MG_5173-2-800x450.jpg\" alt=\"Kehlani attends FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. Estefany Gonzalez)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani attends FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. (Estefany Gonzalez) \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time Kelis hit the stage, the whole warehouse was lit in a steady stream of movement. Princess Nokia’s closing set, stagedives and all, capped the night—one where, more than ever, \u003ca href=\"https://twitter.com/OGpenn/status/1008260676924477440\" rel=\"noopener\" target=\"_blank\">the people were the artwork\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Photos below\u003c/strong>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Can it be a quarter of a century since Allison Anders’ gritty \u003cem>Gas, Food Lodging\u003c/em> was the talk of Sundance? (That is, until \u003cem>Reservoir Dogs\u003c/em> also screened in competition a couple nights later and a scene involving a straight razor hijacked the conversation.) The Kentucky-born filmmaker survived an appalling childhood and a miserable adolescence before escaping to London and, as a single mother, Los Angeles. Knocked out by a lengthy magazine profile of Wim Wenders and his philosophy of filmmaking, she wrote him letter after letter until he gave her a job as a production assistant on \u003cem>Paris, Texas\u003c/em>.\u003c/p>\n\u003cp>Anders made her feature debut with the no-budget cult sensation \u003cem>Border Radio\u003c/em> (1987), featuring X members John Doe and Dave Alvin and written and directed with a couple of film school classmates. \u003cem>Gas, Food Lodging\u003c/em> (1992), about a mother and her teenage daughters in nowheresville New Mexico, was based on a Richard Peck novel that Anders infused with the feeling of autobiography.\u003c/p>\n\u003cfigure id=\"attachment_13835332\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835332\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/MI-VIDA-LOCA-1.jpg\" alt=\"Allison Anders, 'Mi Vida Loca,' 1994.\" width=\"1920\" height=\"1277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MI-VIDA-LOCA-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MI-VIDA-LOCA-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MI-VIDA-LOCA-1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MI-VIDA-LOCA-1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MI-VIDA-LOCA-1-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MI-VIDA-LOCA-1-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MI-VIDA-LOCA-1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MI-VIDA-LOCA-1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MI-VIDA-LOCA-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MI-VIDA-LOCA-1-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MI-VIDA-LOCA-1-520x346.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Allison Anders, ‘Mi Vida Loca,’ 1994. \u003ccite>(Courtesy of Alamo Drafthouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anders followed that success with \u003cem>Mi Vida Loca\u003c/em> (1993), an original screenplay made up of three interrelated stories based on her conversations with Chicana gang members in her Echo Park neighborhood. A vibrant mix of harsh reality and yearning romanticism, the movie employs a mix of non-professional and professional actors. \u003cem>Mi Vida Loca\u003c/em> marked the first film about Latinas while continuing Anders’ exploration of the ways in which women need—and don’t need—men. \u003ca href=\"https://drafthouse.com/sf/show/cherry-bomb-mi-vida-loca-w-allison-anders\" target=\"_blank\" rel=\"noopener\">Alamo Drafthouse\u003c/a> flies Anders up from Los Angeles to show and discuss \u003cem>Mi Vida Loca\u003c/em> at 7pm on Tuesday, June 19. The theater is showing a French-subtitled print, an oddity that kind of fits with the director’s improbable, unpredictable career.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Can it be a quarter of a century since Allison Anders’ gritty \u003cem>Gas, Food Lodging\u003c/em> was the talk of Sundance? (That is, until \u003cem>Reservoir Dogs\u003c/em> also screened in competition a couple nights later and a scene involving a straight razor hijacked the conversation.) The Kentucky-born filmmaker survived an appalling childhood and a miserable adolescence before escaping to London and, as a single mother, Los Angeles. Knocked out by a lengthy magazine profile of Wim Wenders and his philosophy of filmmaking, she wrote him letter after letter until he gave her a job as a production assistant on \u003cem>Paris, Texas\u003c/em>.\u003c/p>\n\u003cp>Anders made her feature debut with the no-budget cult sensation \u003cem>Border Radio\u003c/em> (1987), featuring X members John Doe and Dave Alvin and written and directed with a couple of film school classmates. \u003cem>Gas, Food Lodging\u003c/em> (1992), about a mother and her teenage daughters in nowheresville New Mexico, was based on a Richard Peck novel that Anders infused with the feeling of autobiography.\u003c/p>\n\u003cfigure id=\"attachment_13835332\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835332\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/MI-VIDA-LOCA-1.jpg\" alt=\"Allison Anders, 'Mi Vida Loca,' 1994.\" width=\"1920\" height=\"1277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MI-VIDA-LOCA-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MI-VIDA-LOCA-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MI-VIDA-LOCA-1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MI-VIDA-LOCA-1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MI-VIDA-LOCA-1-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MI-VIDA-LOCA-1-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MI-VIDA-LOCA-1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MI-VIDA-LOCA-1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MI-VIDA-LOCA-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MI-VIDA-LOCA-1-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MI-VIDA-LOCA-1-520x346.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Allison Anders, ‘Mi Vida Loca,’ 1994. \u003ccite>(Courtesy of Alamo Drafthouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anders followed that success with \u003cem>Mi Vida Loca\u003c/em> (1993), an original screenplay made up of three interrelated stories based on her conversations with Chicana gang members in her Echo Park neighborhood. A vibrant mix of harsh reality and yearning romanticism, the movie employs a mix of non-professional and professional actors. \u003cem>Mi Vida Loca\u003c/em> marked the first film about Latinas while continuing Anders’ exploration of the ways in which women need—and don’t need—men. \u003ca href=\"https://drafthouse.com/sf/show/cherry-bomb-mi-vida-loca-w-allison-anders\" target=\"_blank\" rel=\"noopener\">Alamo Drafthouse\u003c/a> flies Anders up from Los Angeles to show and discuss \u003cem>Mi Vida Loca\u003c/em> at 7pm on Tuesday, June 19. The theater is showing a French-subtitled print, an oddity that kind of fits with the director’s improbable, unpredictable career.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Moviegoers sitting down to see \u003cem>Incredibles 2\u003c/em> are in for a tasty treat in the form of an animated short called \u003cem>Bao\u003c/em>. It tells the story of an empty nester who discovers joy — and sorrow — when a steamed bun she makes comes to life. \u003c/p>\n\u003cp>The story is pulled from the childhood of Domee Shi, who wrote and directed the Pixar film. Shi was born in China and raised in Toronto. She started working at Pixar as an intern in 2011, and now she’s the first woman to direct a Pixar short. \u003c/p>\n\u003cp>Pixar and the larger animation industry have been criticized for shutting female animators out of top jobs, but Shi says that culture is changing. \u003c/p>\n\u003cp>“You’re just seeing this gradual shift in the industry because, before, animation was predominantly white and male, but now in animation schools all over the country enrollment is now over 50 percent female. … I think just more and more girls are just getting into animation. And I hope that we’re going to see those numbers be reflected in the industry and not just in the animation schools.”\u003c/p>\n\u003cp>(NPR interviewed Shi before the announcement that Pixar’s co-founder, John Lasseter, would be \u003ca href=\"https://www.nytimes.com/2018/06/08/business/media/john-lasseter-leaves-disney.html\">leaving the company\u003c/a>. Lasseter had been absent \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/21/565801354/pixars-john-lasseter-takes-leave-of-absence-after-harassment-allegations\">since November\u003c/a>, when allegations of sexual harrassment surfaced.)\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On going from an intern to a writer-director in just seven years\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I feel so honored and humbled to be in this position, for Pixar to have liked this weird idea I pitched to them and to get behind it. Yeah, I just think it was a combination of just timing and really awesome support from really cool people, and embracing my weirdness and not being afraid to show it. Because at first I was kind of hesitant to pitch this idea, but then [Pixar veteran] Pete Docter — who has been kind of my mentor figure this whole time, I worked with him on \u003cem>Inside Out\u003c/em> — he was really an early supporter of the short, and he encouraged me to stick to my guns to pitch the original version of the short. And I’m so glad I did because that was the reason why Pixar chose that idea.\u003c/p>\n\u003cp>\u003cstrong>On how she came up with the idea for \u003c/strong>\u003cstrong>\u003cem>Bao\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I think I was probably really hungry one night, and I’ve always been a huge fan of classic fairy tales. And I wanted to do like a Chinese twist on “The Little Gingerbread Man” with a Chinese dumpling, instead of a little cookie, that comes to life. And I drew a lot of inspiration also from my own personal life. I’m an only child, and I feel like ever since I was little my Chinese mom and dad have always treated me like their precious little dumpling.\u003c/p>\n\u003cp>\u003cstrong>On the short’s rather extreme ending (which we won’t give away)\u003c/strong>\u003c/p>\n\u003cp>I feel like any time you look at something really cute — like, even if it’s like a baby or a puppy or a kitten — you think it’s so cute, and it’s almost awakened something violent and animalistic in you. Like, you want to eat it up or you just want to consume it or just squeeze it to death or something. …\u003c/p>\n\u003cp>And also, growing up, my mom would often hold me close and be like, “Oh, I wish I could put you back in my stomach so I knew exactly where you were at all times.” And like, “Oh, mom, that’s creepy, but sweet.” … I just want to explore that feeling more — like, why does she want to do that to me?\u003c/p>\n\u003cp>\u003cstrong>On how her mom helped Pixar animators with their research\u003c/strong>\u003c/p>\n\u003cp>We brought her in twice to do dumpling-making classes for the whole crew. Yeah, and it was great. Like, we got the animators and effects artists right in there, and they studied my mom’s techniques and they poked the dough and smelled the pork filling. … It was really important for us to get every single detail right … so we can put it on screen.\u003c/p>\n\u003cp>\u003cstrong>On what her mom thought of \u003c/strong>\u003cstrong>\u003cem>Bao\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>She saw it … for the first time at the wrap party and she really liked it. I think she got emotional. She’s like me, she is very like subtle with her emotions. But I definitely took a peek to my left during the short and I think I saw her eyes getting misty.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Danny Hajek and Melisa Goh produced and edited this interview for broadcast. Nicole Cohen adapted it for the Web.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Pixar%27s+First+Female-Directed+Short%2C+A+Dumpling+Child+Fills+An+Empty+Nest&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Moviegoers sitting down to see \u003cem>Incredibles 2\u003c/em> are in for a tasty treat in the form of an animated short called \u003cem>Bao\u003c/em>. It tells the story of an empty nester who discovers joy — and sorrow — when a steamed bun she makes comes to life. \u003c/p>\n\u003cp>The story is pulled from the childhood of Domee Shi, who wrote and directed the Pixar film. Shi was born in China and raised in Toronto. She started working at Pixar as an intern in 2011, and now she’s the first woman to direct a Pixar short. \u003c/p>\n\u003cp>Pixar and the larger animation industry have been criticized for shutting female animators out of top jobs, but Shi says that culture is changing. \u003c/p>\n\u003cp>“You’re just seeing this gradual shift in the industry because, before, animation was predominantly white and male, but now in animation schools all over the country enrollment is now over 50 percent female. … I think just more and more girls are just getting into animation. And I hope that we’re going to see those numbers be reflected in the industry and not just in the animation schools.”\u003c/p>\n\u003cp>(NPR interviewed Shi before the announcement that Pixar’s co-founder, John Lasseter, would be \u003ca href=\"https://www.nytimes.com/2018/06/08/business/media/john-lasseter-leaves-disney.html\">leaving the company\u003c/a>. Lasseter had been absent \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/21/565801354/pixars-john-lasseter-takes-leave-of-absence-after-harassment-allegations\">since November\u003c/a>, when allegations of sexual harrassment surfaced.)\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On going from an intern to a writer-director in just seven years\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I feel so honored and humbled to be in this position, for Pixar to have liked this weird idea I pitched to them and to get behind it. Yeah, I just think it was a combination of just timing and really awesome support from really cool people, and embracing my weirdness and not being afraid to show it. Because at first I was kind of hesitant to pitch this idea, but then [Pixar veteran] Pete Docter — who has been kind of my mentor figure this whole time, I worked with him on \u003cem>Inside Out\u003c/em> — he was really an early supporter of the short, and he encouraged me to stick to my guns to pitch the original version of the short. And I’m so glad I did because that was the reason why Pixar chose that idea.\u003c/p>\n\u003cp>\u003cstrong>On how she came up with the idea for \u003c/strong>\u003cstrong>\u003cem>Bao\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I think I was probably really hungry one night, and I’ve always been a huge fan of classic fairy tales. And I wanted to do like a Chinese twist on “The Little Gingerbread Man” with a Chinese dumpling, instead of a little cookie, that comes to life. And I drew a lot of inspiration also from my own personal life. I’m an only child, and I feel like ever since I was little my Chinese mom and dad have always treated me like their precious little dumpling.\u003c/p>\n\u003cp>\u003cstrong>On the short’s rather extreme ending (which we won’t give away)\u003c/strong>\u003c/p>\n\u003cp>I feel like any time you look at something really cute — like, even if it’s like a baby or a puppy or a kitten — you think it’s so cute, and it’s almost awakened something violent and animalistic in you. Like, you want to eat it up or you just want to consume it or just squeeze it to death or something. …\u003c/p>\n\u003cp>And also, growing up, my mom would often hold me close and be like, “Oh, I wish I could put you back in my stomach so I knew exactly where you were at all times.” And like, “Oh, mom, that’s creepy, but sweet.” … I just want to explore that feeling more — like, why does she want to do that to me?\u003c/p>\n\u003cp>\u003cstrong>On how her mom helped Pixar animators with their research\u003c/strong>\u003c/p>\n\u003cp>We brought her in twice to do dumpling-making classes for the whole crew. Yeah, and it was great. Like, we got the animators and effects artists right in there, and they studied my mom’s techniques and they poked the dough and smelled the pork filling. … It was really important for us to get every single detail right … so we can put it on screen.\u003c/p>\n\u003cp>\u003cstrong>On what her mom thought of \u003c/strong>\u003cstrong>\u003cem>Bao\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>She saw it … for the first time at the wrap party and she really liked it. I think she got emotional. She’s like me, she is very like subtle with her emotions. But I definitely took a peek to my left during the short and I think I saw her eyes getting misty.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Danny Hajek and Melisa Goh produced and edited this interview for broadcast. Nicole Cohen adapted it for the Web.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Pixar%27s+First+Female-Directed+Short%2C+A+Dumpling+Child+Fills+An+Empty+Nest&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"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. ",
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"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>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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