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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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"excerpt": "Video streaming sites have no incentive to maintain archives of our collective filmic history. But that doesn't mean it's not a thing we should have.",
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"title": "The Eradication of Memory on Netflix, Amazon and Other Streaming Video Sites | KQED",
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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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"content": "\u003cp>Nothing much happens in \u003cem>Summer 1993\u003c/em>, the film Spain submitted for consideration in the best foreign film category of the most recent Academy Awards. Nothing much, unless you count the fits and starts of a little girl’s inchoate grief over the death of her mother.\u003c/p>\n\u003cp>That’s huge, and filmmaker Carla Simon is in delicately assured command of her material, not least because her mother was one of thousands of Spaniards who died of AIDS in the early 1990s — just before anti-retroviral medications became available — leaving Simon an orphan at six years old.\u003c/p>\n\u003cp>But though the movie is set during the crisis it’s neither an AIDS movie nor a facile pity-party for Frida (Laia Artegas), a Barcelona urchin with wary eyes in a head full of wild black curls. Frida has never heard of AIDS — all she knows is that her mother is gone and she is dispatched to the Catalan countryside to live with her mother’s brother (David Verdaguer), his wife (Bruna Cusi) and her younger cousin Anna (Paula Robles), Frida doesn’t understand why a doctor periodically sticks needles into her arm. She’s not sure why everyone is tiptoeing around her and being so nice. She’s not aware of how she feels about sharing the limelight with another child, especially one as manifestly safe and happy as little Anna appears to be. She certainly doesn’t get why she needs a new mom, or why there’s no answer when she leaves night gifts for her own mother with a statue of the Virgin Mary.\u003c/p>\n\u003cp>https://youtu.be/Bb1NMc-_KaU\u003c/p>\n\u003cp>There will be other angles, but mostly this is a kid’s eye view of the collapse of her world as she knows it, an enormously difficult thing for a director to pull off when your two leads, who appear in almost every frame of the movie, are six and four years old respectively. When people talk about how great small children are in a film, what’s really meant is how well they’re cast, or how well they follow instructions, or how skilled the director is at getting them to be themselves in ways that meet the requirements of plot or character. All of the above pertain here: As Frida, Laia Artigas is a mini Anna Magnani with the tough, assessing watchfulness of a city street kid, while chubby, blue-eyed Paula Robles is all open innocence as country girl Anna, who’s as delighted to welcome a potential playmate as the guest is first bewildered and then inclined to pull senior rank.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Frida doesn’t talk much in this intimately visual film, which takes the measure of her inner turmoil in the Catalan villagers’ frightening (to her) ceremonies, in the terror of venturing out alone at night with nothing but ambient noise to guide her wanderings, in the cautious but happy discovery of where eggs really come from. Frida is quiet and co-operative to start with. Her uncle and aunt are lovingly attentive; her grandparents visit every week. But a small bomb ticks away inside Frida that neither she nor her hosts know what to do with, and soon she starts acting out in ways that range from annoying to dangerous.\u003c/p>\n\u003cp>None of this is played to tug directly at our heartstrings. Like many children (and adults) in trouble they can’t grasp let alone escape, Frida becomes a pill. Simon never overplays her hand: \u003cem>Summer 1993\u003c/em> carries us from moment to unpredictable moment, placing us inside Frida’s confusion, her efforts to gain control of her feelings and her environment, and the fleeting bursts of happiness that come and go without warning. The result is a kind of grief procedural, its focus sharpened by the lush greens of the Catalan landscape.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s an ending but no climax in \u003cem>Summer 1993\u003c/em>. In place of closure, so rarely as elusive in art as it is in life, Simon unobtrusively opens up the perspective to the suppressed frustration and anger of those who, even as they welcome Frida with open arms, must grope their way through the radical reshaping of family that attends her sudden arrival. Frida’s grief has no schedules, just a gradual, fitful abatement of her pain, which Simon has made so palpable that when a happier girl finally feels confident enough to ask about her “previous Mum,” it’s at once an occasion for a massive exhale, and a dagger to the heart. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Frida doesn’t talk much in this intimately visual film, which takes the measure of her inner turmoil in the Catalan villagers’ frightening (to her) ceremonies, in the terror of venturing out alone at night with nothing but ambient noise to guide her wanderings, in the cautious but happy discovery of where eggs really come from. Frida is quiet and co-operative to start with. Her uncle and aunt are lovingly attentive; her grandparents visit every week. But a small bomb ticks away inside Frida that neither she nor her hosts know what to do with, and soon she starts acting out in ways that range from annoying to dangerous.\u003c/p>\n\u003cp>None of this is played to tug directly at our heartstrings. Like many children (and adults) in trouble they can’t grasp let alone escape, Frida becomes a pill. Simon never overplays her hand: \u003cem>Summer 1993\u003c/em> carries us from moment to unpredictable moment, placing us inside Frida’s confusion, her efforts to gain control of her feelings and her environment, and the fleeting bursts of happiness that come and go without warning. The result is a kind of grief procedural, its focus sharpened by the lush greens of the Catalan landscape.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s an ending but no climax in \u003cem>Summer 1993\u003c/em>. In place of closure, so rarely as elusive in art as it is in life, Simon unobtrusively opens up the perspective to the suppressed frustration and anger of those who, even as they welcome Frida with open arms, must grope their way through the radical reshaping of family that attends her sudden arrival. Frida’s grief has no schedules, just a gradual, fitful abatement of her pain, which Simon has made so palpable that when a happier girl finally feels confident enough to ask about her “previous Mum,” it’s at once an occasion for a massive exhale, and a dagger to the heart. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Los Angeles police are investigating reports of elder abuse against Stan Lee that come amid a struggle over the life and fortune of the 95-year-old Marvel Comics mogul, court documents showed Wednesday.\u003c/p>\n\u003cp>The investigation was revealed in a restraining order granted against Keya Morgan, who in recent months has been acting as Lee’s business manager and personal adviser.\u003c/p>\n\u003cp>Morgan has inserted himself into the life of the Lee, according to the order. The filing accuses Morgan, 42, of taking advantage of Lee’s impaired hearing, vision and judgment, moving Lee from his longtime family home and preventing family and associates from contacting him.\u003c/p>\n\u003cp>Morgan was arrested on Monday for allegedly filing a false police report by calling 911 and saying burglars were in his house when in fact two detectives and a social worker were conducting a welfare check on Lee.\u003c/p>\n\u003cp>“I have a very dear friend I take care of who is 95 and um, uh, three unidentified people have gone inside this house and locked the door and locked his security out and I’m very, very scared that they’re harming him,” Morgan said on the 911 call made on May 30, according to a transcript filed with the restraining order.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Attempts to reach Morgan on Wednesday were not immediately successful. An attorney he hired on a previous criminal case said he no longer works for Morgan, and it’s not clear if he’s retained a new attorney. Morgan’s cell phone was no longer accepting messages.\u003c/p>\n\u003cp>Morgan’s arrest and ouster is the latest and most dramatic move in the fight that has emerged over Lee’s business and estimated $50 million fortune since his wife of 69 years Joan died in July.\u003c/p>\n\u003cp>Police have been investigating reports of elder abuse against Lee since at least February, and had issued an emergency order keeping Morgan from Lee even before Wednesday’s order was issued.\u003c/p>\n\u003cp>Lee has for decades been revered as a comic book giant for his central role in creating the Incredible Hulk, Spider-Man, Iron Man and other major Marvel characters. In more recent years he has become a grandfatherly figure over the Marvel Cinematic Universe, with his comical cameos in each film beloved by fans.\u003c/p>\n\u003cp>Morgan is a memorabilia dealer and Marilyn Monroe expert who befriended Lee’s daughter and only child J.C. Lee, and since February has increasingly taken personal control of Lee’s life and household, taking advantage of Lee’s age to influence and isolate him, Lee’s attorney Tom Lallas said in the restraining order request.\u003c/p>\n\u003cp>He got rid of many who had worked for Lee, including Lallas, who had been helping with Lee’s estate planning and other financial matters before his ouster, and has now returned. Morgan prevented friends, employees and relatives, eventually even J.C. Lee, from contact with Lee, police said in reports included with the restraining order.\u003c/p>\n\u003cp>Detectives said in the reports that in interviews Lee acknowledged that Morgan had helped him, but would frequently forget his name when talking about him.\u003c/p>\n\u003cp>The reports said they had twice done welfare checks on Lee, on Feb. 23 and again on May 30, when Morgan was not home. Morgan returned and was denied entry. After his 911 call reporting burglars, he again called 911 to say a security guard was being threatening and aggressive.\u003c/p>\n\u003cp>Morgan was released Monday after his arrest. He is already serving two years of probation for making criminal threats in an unrelated dispute, and he has been summoned back to court to determine whether he has violated the probation.\u003c/p>\n\u003cp>A day before the arrest, Lee appeared in a video posted to his Twitter account declaring that Morgan was his only partner and representative, and anyone claiming otherwise was lying.\u003c/p>\n\u003cp>“Anybody else who claims to be my rep is just making that story up,” Lee says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Morgan shared the video on his own Twitter account, whose bio calls him, “Co-creator with Stan Lee.”\u003cbr>\n___\u003cbr>\nFollow Andrew Dalton on Twitter: https://twitter.com/andyjamesdalton\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Los Angeles police are investigating reports of elder abuse against Stan Lee that come amid a struggle over the life and fortune of the 95-year-old Marvel Comics mogul, court documents showed Wednesday.\u003c/p>\n\u003cp>The investigation was revealed in a restraining order granted against Keya Morgan, who in recent months has been acting as Lee’s business manager and personal adviser.\u003c/p>\n\u003cp>Morgan has inserted himself into the life of the Lee, according to the order. The filing accuses Morgan, 42, of taking advantage of Lee’s impaired hearing, vision and judgment, moving Lee from his longtime family home and preventing family and associates from contacting him.\u003c/p>\n\u003cp>Morgan was arrested on Monday for allegedly filing a false police report by calling 911 and saying burglars were in his house when in fact two detectives and a social worker were conducting a welfare check on Lee.\u003c/p>\n\u003cp>“I have a very dear friend I take care of who is 95 and um, uh, three unidentified people have gone inside this house and locked the door and locked his security out and I’m very, very scared that they’re harming him,” Morgan said on the 911 call made on May 30, according to a transcript filed with the restraining order.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Attempts to reach Morgan on Wednesday were not immediately successful. An attorney he hired on a previous criminal case said he no longer works for Morgan, and it’s not clear if he’s retained a new attorney. Morgan’s cell phone was no longer accepting messages.\u003c/p>\n\u003cp>Morgan’s arrest and ouster is the latest and most dramatic move in the fight that has emerged over Lee’s business and estimated $50 million fortune since his wife of 69 years Joan died in July.\u003c/p>\n\u003cp>Police have been investigating reports of elder abuse against Lee since at least February, and had issued an emergency order keeping Morgan from Lee even before Wednesday’s order was issued.\u003c/p>\n\u003cp>Lee has for decades been revered as a comic book giant for his central role in creating the Incredible Hulk, Spider-Man, Iron Man and other major Marvel characters. In more recent years he has become a grandfatherly figure over the Marvel Cinematic Universe, with his comical cameos in each film beloved by fans.\u003c/p>\n\u003cp>Morgan is a memorabilia dealer and Marilyn Monroe expert who befriended Lee’s daughter and only child J.C. Lee, and since February has increasingly taken personal control of Lee’s life and household, taking advantage of Lee’s age to influence and isolate him, Lee’s attorney Tom Lallas said in the restraining order request.\u003c/p>\n\u003cp>He got rid of many who had worked for Lee, including Lallas, who had been helping with Lee’s estate planning and other financial matters before his ouster, and has now returned. Morgan prevented friends, employees and relatives, eventually even J.C. Lee, from contact with Lee, police said in reports included with the restraining order.\u003c/p>\n\u003cp>Detectives said in the reports that in interviews Lee acknowledged that Morgan had helped him, but would frequently forget his name when talking about him.\u003c/p>\n\u003cp>The reports said they had twice done welfare checks on Lee, on Feb. 23 and again on May 30, when Morgan was not home. Morgan returned and was denied entry. After his 911 call reporting burglars, he again called 911 to say a security guard was being threatening and aggressive.\u003c/p>\n\u003cp>Morgan was released Monday after his arrest. He is already serving two years of probation for making criminal threats in an unrelated dispute, and he has been summoned back to court to determine whether he has violated the probation.\u003c/p>\n\u003cp>A day before the arrest, Lee appeared in a video posted to his Twitter account declaring that Morgan was his only partner and representative, and anyone claiming otherwise was lying.\u003c/p>\n\u003cp>“Anybody else who claims to be my rep is just making that story up,” Lee says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Morgan shared the video on his own Twitter account, whose bio calls him, “Co-creator with Stan Lee.”\u003cbr>\n___\u003cbr>\nFollow Andrew Dalton on Twitter: https://twitter.com/andyjamesdalton\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The ineffable mystery of inspiration. The combustible magic of collaboration. The accomplished hand of craft. Intuition as a guiding light. Improvisation as an essential skill. Which of those elements of creativity intrigue you the most? Some people are perfectly satisfied with the experience of watching a movie and require no further elucidation, but most want a look behind the curtain at the process of filmmaking.\u003c/p>\n\u003cp>\u003ca href=\"https://www.exploratorium.edu/visit/calendar/after-dark/june-14-2018\" rel=\"noopener\" target=\"_blank\">Trick of the Hand\u003c/a> (Thursday, June 14 at the Exploratorium), a rarefied program of screenings by and conversation between Australian experimental filmmaker Richard Tuohy and Angeleno and Exploratorium artist-in-residence Tristan Duke, promises insights into the use of physical materials–notably photo-chemicals and self-made cameras–to produce art. Their work evokes words like “analog” and “artisan,” which is to say their films are produced by hand rather than with the aid of computer chips.\u003c/p>\n\u003cfigure id=\"attachment_13834771\" 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/IMG_9369_1200.jpg\" alt=\"Optics Division, 'Liminal Camera.'\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13834771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Optics Division, ‘Liminal Camera.’ \u003ccite>(Courtesy of Optics Division)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For an even deeper dive, join Tuohy and Dianna Barrie on Saturday for a hands-on workshop in “bipacking,” a technique by which a layer of color is added to black-and-white 16mm film. The workshop comprises just one component of \u003ca href=\"https://www.exploratorium.edu/visit/calendar/lightplay-festival-of-light\" rel=\"noopener\" target=\"_blank\">Lightplay: Festival of Light\u003c/a> (June 16 at the Exploratorium), an all-day immersion into the ethereal relationship between photo-chemicals and perception. \u003c/p>\n\u003cp>Duke and his cohorts reveal the secrets of their Liminal Cinema, a mobile, truck-mounted shipping container outfitted to shoot and develop large-form photographs (reminiscent of Agnes Varda and JR’s process and pictures documented in last year’s \u003cem>Faces Places\u003c/em>). The day-long immersion into the intersection of art and science concludes with Barrie and Tuohy’s dual-projector \u003cem>Dot Matrix\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>The ineffable mystery of inspiration. The combustible magic of collaboration. The accomplished hand of craft. Intuition as a guiding light. Improvisation as an essential skill. Which of those elements of creativity intrigue you the most? Some people are perfectly satisfied with the experience of watching a movie and require no further elucidation, but most want a look behind the curtain at the process of filmmaking.\u003c/p>\n\u003cp>\u003ca href=\"https://www.exploratorium.edu/visit/calendar/after-dark/june-14-2018\" rel=\"noopener\" target=\"_blank\">Trick of the Hand\u003c/a> (Thursday, June 14 at the Exploratorium), a rarefied program of screenings by and conversation between Australian experimental filmmaker Richard Tuohy and Angeleno and Exploratorium artist-in-residence Tristan Duke, promises insights into the use of physical materials–notably photo-chemicals and self-made cameras–to produce art. Their work evokes words like “analog” and “artisan,” which is to say their films are produced by hand rather than with the aid of computer chips.\u003c/p>\n\u003cfigure id=\"attachment_13834771\" 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/IMG_9369_1200.jpg\" alt=\"Optics Division, 'Liminal Camera.'\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13834771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Optics Division, ‘Liminal Camera.’ \u003ccite>(Courtesy of Optics Division)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For an even deeper dive, join Tuohy and Dianna Barrie on Saturday for a hands-on workshop in “bipacking,” a technique by which a layer of color is added to black-and-white 16mm film. The workshop comprises just one component of \u003ca href=\"https://www.exploratorium.edu/visit/calendar/lightplay-festival-of-light\" rel=\"noopener\" target=\"_blank\">Lightplay: Festival of Light\u003c/a> (June 16 at the Exploratorium), an all-day immersion into the ethereal relationship between photo-chemicals and perception. \u003c/p>\n\u003cp>Duke and his cohorts reveal the secrets of their Liminal Cinema, a mobile, truck-mounted shipping container outfitted to shoot and develop large-form photographs (reminiscent of Agnes Varda and JR’s process and pictures documented in last year’s \u003cem>Faces Places\u003c/em>). The day-long immersion into the intersection of art and science concludes with Barrie and Tuohy’s dual-projector \u003cem>Dot Matrix\u003c/em>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"id": "fresh-air",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
},
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"order": 11
},
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"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"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.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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