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"content": "\u003cp>From its inception 10 years ago, the annual \u003ca href=\"http://mostlybritish.org\" target=\"_blank\" rel=\"noopener\">Mostly British Film Festival\u003c/a> (Feb. 15-22 at the Vogue) has gone beyond and below the \u003cem>Masterpiece Theatre\u003c/em> period affairs so beloved by KQED viewers. Long before Brexit was merely a crass, bad idea in some dodgy politician’s bonnet, the MBFF’s lifeblood has always been the gritty realities of contemporary Britain, augmented with a choice selection of edgy classics from yesteryear. Like most festivals, Mostly British sandwiches the tougher-minded fare, which typically doesn’t receive theatrical distribution, between hunks of well-appointed, crowd-comforting ci-ne-mah.\u003c/p>\n\u003cfigure id=\"attachment_13823723\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/AllamRidgeHippopotamus_1200.jpg\" alt=\"Roger Allam and Dean Ridge in 'The Hippopotamus.'\" width=\"1200\" height=\"530\" class=\"size-full wp-image-13823723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllamRidgeHippopotamus_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllamRidgeHippopotamus_1200-160x71.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllamRidgeHippopotamus_1200-800x353.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllamRidgeHippopotamus_1200-768x339.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllamRidgeHippopotamus_1200-1020x451.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllamRidgeHippopotamus_1200-1180x521.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllamRidgeHippopotamus_1200-960x424.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllamRidgeHippopotamus_1200-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllamRidgeHippopotamus_1200-375x166.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllamRidgeHippopotamus_1200-520x230.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Roger Allam and Dean Ridge in ‘The Hippopotamus.’ \u003ccite>(Courtesy of Mostly British Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So you’ll see lots of familiar faces, notably David Tennant (of \u003cem>Broadchurch\u003c/em> and \u003cem>Dr. Who\u003c/em>) as innovative Scottish psychotherapist Dr. RD Laing in the fest opener \u003cem>Mad to be Normal\u003c/em> (Feb. 15) and \u003cem>Downton Abbey\u003c/em>’s Joanne Froggatt fielding questions on the Vogue stage before she appears as a psychic’s partner in the new American indie \u003cem>A Crooked Somebody\u003c/em> (Feb. 16). \u003cem>Orlando\u003c/em> director Sally Potter’s scabrous black comedy of manners \u003cem>The Party\u003c/em> (Feb. 16) boasts the brilliant Kristin Scott-Thomas and Timothy Spall, while John Jenck’s adaptation of Stephen Fry’s cuttingly funny novel, \u003cem>The Hippopotamus\u003c/em> (Feb. 17), catalogs a failed writer’s drunken shenanigans on a country getaway. Smart people with messy lives, you say, but where’s the grit? Oh, it’s there, all right.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\u003ci>The Mostly British Film Festival plays Feb. 12-22 at the Vogue Theatre in San Francisco. For tickets and more information, \u003ca href=\"http://mostlybritish.org/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From its inception 10 years ago, the annual \u003ca href=\"http://mostlybritish.org\" target=\"_blank\" rel=\"noopener\">Mostly British Film Festival\u003c/a> (Feb. 15-22 at the Vogue) has gone beyond and below the \u003cem>Masterpiece Theatre\u003c/em> period affairs so beloved by KQED viewers. Long before Brexit was merely a crass, bad idea in some dodgy politician’s bonnet, the MBFF’s lifeblood has always been the gritty realities of contemporary Britain, augmented with a choice selection of edgy classics from yesteryear. Like most festivals, Mostly British sandwiches the tougher-minded fare, which typically doesn’t receive theatrical distribution, between hunks of well-appointed, crowd-comforting ci-ne-mah.\u003c/p>\n\u003cfigure id=\"attachment_13823723\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/AllamRidgeHippopotamus_1200.jpg\" alt=\"Roger Allam and Dean Ridge in 'The Hippopotamus.'\" width=\"1200\" height=\"530\" class=\"size-full wp-image-13823723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllamRidgeHippopotamus_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllamRidgeHippopotamus_1200-160x71.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllamRidgeHippopotamus_1200-800x353.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllamRidgeHippopotamus_1200-768x339.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllamRidgeHippopotamus_1200-1020x451.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllamRidgeHippopotamus_1200-1180x521.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllamRidgeHippopotamus_1200-960x424.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllamRidgeHippopotamus_1200-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllamRidgeHippopotamus_1200-375x166.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AllamRidgeHippopotamus_1200-520x230.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Roger Allam and Dean Ridge in ‘The Hippopotamus.’ \u003ccite>(Courtesy of Mostly British Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So you’ll see lots of familiar faces, notably David Tennant (of \u003cem>Broadchurch\u003c/em> and \u003cem>Dr. Who\u003c/em>) as innovative Scottish psychotherapist Dr. RD Laing in the fest opener \u003cem>Mad to be Normal\u003c/em> (Feb. 15) and \u003cem>Downton Abbey\u003c/em>’s Joanne Froggatt fielding questions on the Vogue stage before she appears as a psychic’s partner in the new American indie \u003cem>A Crooked Somebody\u003c/em> (Feb. 16). \u003cem>Orlando\u003c/em> director Sally Potter’s scabrous black comedy of manners \u003cem>The Party\u003c/em> (Feb. 16) boasts the brilliant Kristin Scott-Thomas and Timothy Spall, while John Jenck’s adaptation of Stephen Fry’s cuttingly funny novel, \u003cem>The Hippopotamus\u003c/em> (Feb. 17), catalogs a failed writer’s drunken shenanigans on a country getaway. Smart people with messy lives, you say, but where’s the grit? Oh, it’s there, all right.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\u003ci>The Mostly British Film Festival plays Feb. 12-22 at the Vogue Theatre in San Francisco. For tickets and more information, \u003ca href=\"http://mostlybritish.org/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Jill Messick, Producer Embroiled in Weinstein Scandal, Dies by Suicide",
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"content": "\u003cp>Veteran Hollywood producer Jill Messick, who in recent months found herself caught in the middle of the Harvey Weinstein scandal, has killed herself, her family said in a statement. She was 50.\u003c/p>\n\u003cp>Messick had been a manager for Rose McGowan in 1997, when the actress says Weinstein raped her — a charge that he has denied.\u003c/p>\n\u003cp>McGowan has been one of Weinstein’s most vocal accusers and her public shaming of him helped bring other women with allegations to the forefront.\u003c/p>\n\u003cp>Messick, who was executive producer the films \u003cem>Masterminds\u003c/em> and \u003cem>Baby Mama\u003c/em>, had bipolar disorder and depression, her family said. Nevertheless, in a statement, the family strongly suggests that finding herself in the middle of the high-profile Weinstein-McGowan story drove her to take her own life. \u003c/p>\n\u003cp>“Seeing her name in headlines again and again, as part of one person’s attempt to gain more attention for her personal cause, along with Harvey’s desperate attempt to vindicate himself, was devastating for her,” the family said in \u003ca href=\"https://www.hollywoodreporter.com/news/jill-messicks-family-issues-blistering-statement-harvey-weinstein-rose-mcgowan-1083173\" target=\"_blank\" rel=\"noopener\">a statement to The Hollywood Reporter.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Those headlines included \u003ca href=\"https://www.nytimes.com/2017/10/28/us/rose-mcgowan-harvey-weinstein.html?smid=tw-share\" target=\"_blank\" rel=\"noopener\">a New York Times story\u003c/a> from October in which McGowan detailed the back-and-forth with Messick at the time of the assault, claiming that Messick had initially comforted her and helped arrange a settlement with Weinstein, but that ultimately, McGowan was “shocked when, only a few months afterward, Ms. Messick accepted a job working as vice president for development at Miramax, then run by Mr. Weinstein.”\u003c/p>\n\u003cp>According to The Associated Press, “Messick’s family says McGowan reported the (1997) incident to her without calling it rape, but that Messick, realizing something inappropriate if not illegal had happened, reported it to her senior bosses months before she went to work under Weinstein at Miramax.”\u003c/p>\n\u003cp>“Jill was victimized by our new culture of unlimited information sharing and a willingness to accept statement as fact,” the family said. “The speed of disseminating information has carried mistruths about Jill as a person, which she was unable and unwilling to challenge. She became collateral damage in an already horrific story.”\u003c/p>\n\u003cp>Actor and writer Tina Fey, who worked with Messick on the 2004 film \u003cem>Mean Girls\u003c/em>, called her “a dedicated producer and kind person,” \u003ca href=\"https://www.hollywoodreporter.com/news/jill-messick-dead-producer-rose-mcgowan-manager-was-50-1083161\" target=\"_blank\" rel=\"noopener\">according to Hollywood Reporter\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Director Mark Waters said Messick helped get him hired to direct on \u003cem>Mean Girls\u003c/em>. He told the magazine that she was “a terrific producer, there with me every day on set, and always a tireless, positive presence. She will be sadly missed by all of us who knew her.” \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=Jill+Messick%2C+Hollywood+Producer+Embroiled+In+Weinstein+Scandal%2C+Dies+By+Suicide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Veteran Hollywood producer Jill Messick, who in recent months found herself caught in the middle of the Harvey Weinstein scandal, has killed herself, her family said in a statement. She was 50.\u003c/p>\n\u003cp>Messick had been a manager for Rose McGowan in 1997, when the actress says Weinstein raped her — a charge that he has denied.\u003c/p>\n\u003cp>McGowan has been one of Weinstein’s most vocal accusers and her public shaming of him helped bring other women with allegations to the forefront.\u003c/p>\n\u003cp>Messick, who was executive producer the films \u003cem>Masterminds\u003c/em> and \u003cem>Baby Mama\u003c/em>, had bipolar disorder and depression, her family said. Nevertheless, in a statement, the family strongly suggests that finding herself in the middle of the high-profile Weinstein-McGowan story drove her to take her own life. \u003c/p>\n\u003cp>“Seeing her name in headlines again and again, as part of one person’s attempt to gain more attention for her personal cause, along with Harvey’s desperate attempt to vindicate himself, was devastating for her,” the family said in \u003ca href=\"https://www.hollywoodreporter.com/news/jill-messicks-family-issues-blistering-statement-harvey-weinstein-rose-mcgowan-1083173\" target=\"_blank\" rel=\"noopener\">a statement to The Hollywood Reporter.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those headlines included \u003ca href=\"https://www.nytimes.com/2017/10/28/us/rose-mcgowan-harvey-weinstein.html?smid=tw-share\" target=\"_blank\" rel=\"noopener\">a New York Times story\u003c/a> from October in which McGowan detailed the back-and-forth with Messick at the time of the assault, claiming that Messick had initially comforted her and helped arrange a settlement with Weinstein, but that ultimately, McGowan was “shocked when, only a few months afterward, Ms. Messick accepted a job working as vice president for development at Miramax, then run by Mr. Weinstein.”\u003c/p>\n\u003cp>According to The Associated Press, “Messick’s family says McGowan reported the (1997) incident to her without calling it rape, but that Messick, realizing something inappropriate if not illegal had happened, reported it to her senior bosses months before she went to work under Weinstein at Miramax.”\u003c/p>\n\u003cp>“Jill was victimized by our new culture of unlimited information sharing and a willingness to accept statement as fact,” the family said. “The speed of disseminating information has carried mistruths about Jill as a person, which she was unable and unwilling to challenge. She became collateral damage in an already horrific story.”\u003c/p>\n\u003cp>Actor and writer Tina Fey, who worked with Messick on the 2004 film \u003cem>Mean Girls\u003c/em>, called her “a dedicated producer and kind person,” \u003ca href=\"https://www.hollywoodreporter.com/news/jill-messick-dead-producer-rose-mcgowan-manager-was-50-1083161\" target=\"_blank\" rel=\"noopener\">according to Hollywood Reporter\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Director Mark Waters said Messick helped get him hired to direct on \u003cem>Mean Girls\u003c/em>. He told the magazine that she was “a terrific producer, there with me every day on set, and always a tireless, positive presence. She will be sadly missed by all of us who knew her.” \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=Jill+Messick%2C+Hollywood+Producer+Embroiled+In+Weinstein+Scandal%2C+Dies+By+Suicide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Fifty Shades Freed' is Out of Tricks as it Ties Up Loose Ends",
"headTitle": "‘Fifty Shades Freed’ is Out of Tricks as it Ties Up Loose Ends | KQED",
"content": "\u003cp>“Less plot, more ladders.”\u003c/p>\n\u003cp>That’s a philosophy espoused by a college friend of mine with a fondness for Jackie Chan movies. Chan is known for incredibly inventive action sequences in which he fights using whatever is handy — including, in \u003cem>First Strike\u003c/em>, a ladder. But what my friend does not want from Jackie Chan movies is a lot of time unwinding a boring, byzantine plot. \u003cem>Less plot\u003c/em>, he would demand. \u003cem>More ladders. \u003c/em>\u003c/p>\n\u003cp>And this, for a couple of reasons, is what I found myself thinking about at a screening of \u003cem>Fifty Shades Freed\u003c/em>. Directed by James Foley from the E.L. James books, it’s the third and final (?) installment in the story of creepy weird billionaire Christian Grey (Jamie Dornan) and Anastasia Steele (really!) (Dakota Johnson), the woman he met when she was a nervous virgin and taught to enjoy light spanking and private jets. The wealth he has accumulated from his business, which appears to be professional suit-wearing, allows them to travel, hire a large and obsequious staff, and maintain a big sex room. (It’s only meant to be a sex room, so when I watched Ana lie down on the couch in the sex room just for a nap, I almost screamed, “Don’t lie down on that!”)\u003c/p>\n\u003cp>https://youtu.be/nJCc5HRPxYA\u003c/p>\n\u003cp>\u003cem>Fifty Shades Freed \u003c/em>— and before it, middle installment \u003cem>Fifty Shades Darker\u003c/em> — have increasingly relied on more plot and fewer ladders. Here, by “plot” I mean “plot,” and by “ladders” I mean “allegedly adventurous sex that rarely constitutes anything you wouldn’t find at an all-inclusive resort’s Spice Up Your Life workshop for recent divorcees.” The first film, \u003cem>Fifty Shades Of Grey\u003c/em>, is all about the development of a (not realistic!) dominant/submissive sexual relationship, and while it’s awful, it’s not without its legitimately interesting moments. How often, after all, do you see a long sequence that’s intended to be sexy in which consent is carefully negotiated, act by act? At least there are lots of ladders in that one.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But as the trilogy progresses, and as Christian and Ana settle into married life, you can’t just keep showing them having fights with the same ladders, if you see my point. Not only that, but these are R-rated movies, and to keep your R-rating, there are limitations on the number of ladders, the height of the ladders, and whether you can show them vertically or only horizontally. Metaphorically speaking. Therefore, there’s only so much you can do with the ladders. That leaves you … with plot.\u003c/p>\n\u003cp>The plot of \u003cem>Fifty Shades Freed\u003c/em>, such as it is — and never has “such as it is” been meant with such a deliberate arch of the eyebrow — relies upon both Christian’s terrible childhood and Ana’s promotion to fiction editor of an independent book publisher that Christian purchased while she was employed there as a jerk’s personal assistant. The jerk — named Jack (Eric Johnson) — then became a menace. Surprisingly enough, Jack’s motive for hating Christian and Ana is \u003cem>not\u003c/em> that Ana became a fiction editor at a publisher and her major contributions, as seen in this film, are finding an author named “Boyce Fox” (could’ve sworn my accountant worked at Boyce Fox) and increasing a font size by two points.\u003c/p>\n\u003cp>[Side note: If this is the \u003cem>Fifty Shades\u003c/em> theory of what fiction editors are for, \u003cem>much\u003c/em> is explained.]\u003c/p>\n\u003cp>In this third film, Jack is menacing all over the place, so Christian is his usual “overprotective” self, which for him means ordering Ana around, limiting her movements, surveilling her, yelling at her, and — in perhaps the moment that will provoke the most anger from actual practitioners of the sexual habits Christian and Ana enjoy — using his power in their sexual relationship to punish her for perceived slights elsewhere in their personal life. (Pretty sure that’s a no-no.) But Christian remains the romantic hero at all times. So the film feels a little bit like \u003cem>Sleeping With The Enemy\u003c/em> if Julia Roberts eventually decided that her controlling husband was a pretty good guy who just had a hard life and wanted what was best for her.\u003c/p>\n\u003cp>It’s easy to write off \u003cem>Fifty Shades Freed\u003c/em> with the same sneer the books have been subjected to since they appeared, which is to treat it as an inherently hilarious effort to appeal to the prurient interests of square, easily scandalized middle-aged women. (Appealing to the prurient interests of square, easily scandalized middle-aged men is called “premium cable.” Ha ha! Just kidding, it’s also a \u003cem>lot\u003c/em> of basic cable.) There’s nothing wrong with erotic literature — or film — for women. There’s nothing wrong or surprising about fantasy material for moms or aunts or whatever you want to call it. It just would be nice if it were … better.\u003c/p>\n\u003cp>The thing a lot of romance readers know is that this model, in which a virgin meets a worldly, wealthy man who educates her in the ways of her own body, in which she is \u003cem>shocked\u003c/em> to find that she enjoys sex, including non-procreative sex, is not new. \u003cem>Fifty Shades\u003c/em> is just every story of a roguish duke and a pink-cheeked innocent, translated into a world of hedge-fund managers. It has all the weird traps of that trope, in which sex is treated as the natural territory of men, to which women need introduction. (There’s much more about this in a book called \u003ci>\u003ca href=\"https://www.goodreads.com/book/show/5660117-beyond-heaving-bosoms\">Beyond Heaving Bosoms\u003c/a>\u003c/i> that I commend to you.) And those novels, just like novels in genres like science fiction and mystery, share common elements but vary in quality, depending on how well they’re written. Films are the same way.\u003c/p>\n\u003cp>What’s wrong with this movie, and the other movies, and these books, is not that they’re shameful or that there’s something wrong with or something silly about explicit content. It’s just that they’re not good. They’re not inventively sexy — in fact, the desultory handcuffery early in \u003cem>Fifty Shades Freed\u003c/em> feels kind of half-hearted, like the umpteenth time you heard an Olsen twin say “You got it, dude!” on \u003cem>Full House\u003c/em>. They tell dumb, half-baked stories about boring people who are lethargically acted. They don’t know how to make Christian seem like a human being, so they settle for having him sing and play “Maybe I’m Amazed” on the piano. (The singing is new; if you’ve seen the other movies, you know he likes to have sex and then play the piano with no shirt on.)\u003c/p>\n\u003cp>Don’t skip these movies because of what they are. Skip them because they’re bad at \u003cem>being\u003c/em> what they are, and when you don’t have plot \u003cem>or\u003c/em> ladders? You’re no match for Jackie Chan.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Less plot, more ladders.”\u003c/p>\n\u003cp>That’s a philosophy espoused by a college friend of mine with a fondness for Jackie Chan movies. Chan is known for incredibly inventive action sequences in which he fights using whatever is handy — including, in \u003cem>First Strike\u003c/em>, a ladder. But what my friend does not want from Jackie Chan movies is a lot of time unwinding a boring, byzantine plot. \u003cem>Less plot\u003c/em>, he would demand. \u003cem>More ladders. \u003c/em>\u003c/p>\n\u003cp>And this, for a couple of reasons, is what I found myself thinking about at a screening of \u003cem>Fifty Shades Freed\u003c/em>. Directed by James Foley from the E.L. James books, it’s the third and final (?) installment in the story of creepy weird billionaire Christian Grey (Jamie Dornan) and Anastasia Steele (really!) (Dakota Johnson), the woman he met when she was a nervous virgin and taught to enjoy light spanking and private jets. The wealth he has accumulated from his business, which appears to be professional suit-wearing, allows them to travel, hire a large and obsequious staff, and maintain a big sex room. (It’s only meant to be a sex room, so when I watched Ana lie down on the couch in the sex room just for a nap, I almost screamed, “Don’t lie down on that!”)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nJCc5HRPxYA'\n title='//www.youtube.com/embed/nJCc5HRPxYA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Fifty Shades Freed \u003c/em>— and before it, middle installment \u003cem>Fifty Shades Darker\u003c/em> — have increasingly relied on more plot and fewer ladders. Here, by “plot” I mean “plot,” and by “ladders” I mean “allegedly adventurous sex that rarely constitutes anything you wouldn’t find at an all-inclusive resort’s Spice Up Your Life workshop for recent divorcees.” The first film, \u003cem>Fifty Shades Of Grey\u003c/em>, is all about the development of a (not realistic!) dominant/submissive sexual relationship, and while it’s awful, it’s not without its legitimately interesting moments. How often, after all, do you see a long sequence that’s intended to be sexy in which consent is carefully negotiated, act by act? At least there are lots of ladders in that one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But as the trilogy progresses, and as Christian and Ana settle into married life, you can’t just keep showing them having fights with the same ladders, if you see my point. Not only that, but these are R-rated movies, and to keep your R-rating, there are limitations on the number of ladders, the height of the ladders, and whether you can show them vertically or only horizontally. Metaphorically speaking. Therefore, there’s only so much you can do with the ladders. That leaves you … with plot.\u003c/p>\n\u003cp>The plot of \u003cem>Fifty Shades Freed\u003c/em>, such as it is — and never has “such as it is” been meant with such a deliberate arch of the eyebrow — relies upon both Christian’s terrible childhood and Ana’s promotion to fiction editor of an independent book publisher that Christian purchased while she was employed there as a jerk’s personal assistant. The jerk — named Jack (Eric Johnson) — then became a menace. Surprisingly enough, Jack’s motive for hating Christian and Ana is \u003cem>not\u003c/em> that Ana became a fiction editor at a publisher and her major contributions, as seen in this film, are finding an author named “Boyce Fox” (could’ve sworn my accountant worked at Boyce Fox) and increasing a font size by two points.\u003c/p>\n\u003cp>[Side note: If this is the \u003cem>Fifty Shades\u003c/em> theory of what fiction editors are for, \u003cem>much\u003c/em> is explained.]\u003c/p>\n\u003cp>In this third film, Jack is menacing all over the place, so Christian is his usual “overprotective” self, which for him means ordering Ana around, limiting her movements, surveilling her, yelling at her, and — in perhaps the moment that will provoke the most anger from actual practitioners of the sexual habits Christian and Ana enjoy — using his power in their sexual relationship to punish her for perceived slights elsewhere in their personal life. (Pretty sure that’s a no-no.) But Christian remains the romantic hero at all times. So the film feels a little bit like \u003cem>Sleeping With The Enemy\u003c/em> if Julia Roberts eventually decided that her controlling husband was a pretty good guy who just had a hard life and wanted what was best for her.\u003c/p>\n\u003cp>It’s easy to write off \u003cem>Fifty Shades Freed\u003c/em> with the same sneer the books have been subjected to since they appeared, which is to treat it as an inherently hilarious effort to appeal to the prurient interests of square, easily scandalized middle-aged women. (Appealing to the prurient interests of square, easily scandalized middle-aged men is called “premium cable.” Ha ha! Just kidding, it’s also a \u003cem>lot\u003c/em> of basic cable.) There’s nothing wrong with erotic literature — or film — for women. There’s nothing wrong or surprising about fantasy material for moms or aunts or whatever you want to call it. It just would be nice if it were … better.\u003c/p>\n\u003cp>The thing a lot of romance readers know is that this model, in which a virgin meets a worldly, wealthy man who educates her in the ways of her own body, in which she is \u003cem>shocked\u003c/em> to find that she enjoys sex, including non-procreative sex, is not new. \u003cem>Fifty Shades\u003c/em> is just every story of a roguish duke and a pink-cheeked innocent, translated into a world of hedge-fund managers. It has all the weird traps of that trope, in which sex is treated as the natural territory of men, to which women need introduction. (There’s much more about this in a book called \u003ci>\u003ca href=\"https://www.goodreads.com/book/show/5660117-beyond-heaving-bosoms\">Beyond Heaving Bosoms\u003c/a>\u003c/i> that I commend to you.) And those novels, just like novels in genres like science fiction and mystery, share common elements but vary in quality, depending on how well they’re written. Films are the same way.\u003c/p>\n\u003cp>What’s wrong with this movie, and the other movies, and these books, is not that they’re shameful or that there’s something wrong with or something silly about explicit content. It’s just that they’re not good. They’re not inventively sexy — in fact, the desultory handcuffery early in \u003cem>Fifty Shades Freed\u003c/em> feels kind of half-hearted, like the umpteenth time you heard an Olsen twin say “You got it, dude!” on \u003cem>Full House\u003c/em>. They tell dumb, half-baked stories about boring people who are lethargically acted. They don’t know how to make Christian seem like a human being, so they settle for having him sing and play “Maybe I’m Amazed” on the piano. (The singing is new; if you’ve seen the other movies, you know he likes to have sex and then play the piano with no shirt on.)\u003c/p>\n\u003cp>Don’t skip these movies because of what they are. Skip them because they’re bad at \u003cem>being\u003c/em> what they are, and when you don’t have plot \u003cem>or\u003c/em> ladders? You’re no match for Jackie Chan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp style=\"padding-left: 30px\">Marc Bamuthi Joseph is back as co-host on The Do List this week. He’s the chief of program and pedagogy at Yerba Buena Center for the Arts, and also a dancer, poet, and opera librettist. We talk about the San Jose Jazz Winter Fest, some classic plays at Ubuntu, SF Playhouse and the Aurora, and a special \u003cem>Black Panther\u003c/em> double bill. You can feel the show just lift off when Marc talks about why art matters. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>Feb. 15-28: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/stars-come-out-to-play-at-san-jose-jazz-winter-fest/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Winter Fest lights up San Jose\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 11:\u003c/strong> \u003ca href=\"https://www.facebook.com/events/1832991043409977/\" target=\"_blank\" rel=\"noopener\">Jon Santos explores the sacred roots of Latin jazz at a Sunday concert in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/new-steps-for-a-classic-ballet-featuring-aaron-coplands-music/\" target=\"_blank\" rel=\"noopener\">The San Francisco Ballet showcases Justin Peck’s new take on Aaron Copland’s \u003cem>Rodeo\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 23-March 10:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/post-wwii-play-born-yesterday-feels-relevant-today/\" target=\"_blank\" rel=\"noopener\">The post-war play\u003cem> Born Yesterday\u003c/em>, about corruption in Washington, feels especially relevant today\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb. 2-25: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/a-streetcar-line-divides-the-genders-and-classes/\" target=\"_blank\" rel=\"noopener\">A \u003cem>Streetcar Named Desire\u003c/em> made for the streets of Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 26-March 4:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/when-moral-principles-lose-out-to-love/\" target=\"_blank\" rel=\"noopener\"> GB Shaw’s first play is an indictment of capitalism and a moral tale about moral principles bowing to love\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 20-21:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/shabazz-palaces-marries-afrofuturism-with-hip-hop/\" target=\"_blank\" rel=\"noopener\">Shabazz Palaces bring their blend of Afrofuturism and hip-hop to San Jose and Noise Pop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 20:\u003c/strong>\u003ca href=\"https://www.eventbrite.com/e/ta-nehisi-coates-and-film-screening-of-marvels-black-panther-tickets-42285828050\" target=\"_blank\" rel=\"noopener\"> A literary double bill pairs Ta-Nehisi Coates and the new film \u003cem>Black Panther\u003c/em> at the Grand Lake Theater\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 14: \u003c/strong>\u003ca href=\"https://oakland.impacthub.net/event/the-power-of-radical-self-love-book-tour-launch-party-with-sonya-renee-taylor/\" target=\"_blank\" rel=\"noopener\">Sonya Renee Taylor reads from her new book \u003cem>The Body is Not an Apology: The Power of Radical Self-Love\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 21:\u003c/strong> \u003ca href=\"https://calperformances.org/performances/2017-18/berkeley-talks/tony-kushner-and-sarah-vowell-the-lincoln-legacy-the-man-and-his-presidency.php\" target=\"_blank\" rel=\"noopener\">Tony Kushner and Sarah Vowell talk about American and Hollywood history, Lincoln, and assassinations at Cal Performances\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13823952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823952\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-800x380.jpg\" alt=\"Marc Bamuthi Joseph and Cy Musiker in the studio at KQED\" width=\"800\" height=\"380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-800x380.jpg 800w, 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"excerpt": "The Do List's Cy Musiker is joined by Marc Bamuthi Joseph to talk 'Black Panther,' Shabazz Palaces, 'Born Yesterday,' Sonya Renee Taylor and more.",
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"title": "On the Air: Cy and Marc's Do List Picks for Feb. 9, 2018 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp style=\"padding-left: 30px\">Marc Bamuthi Joseph is back as co-host on The Do List this week. He’s the chief of program and pedagogy at Yerba Buena Center for the Arts, and also a dancer, poet, and opera librettist. We talk about the San Jose Jazz Winter Fest, some classic plays at Ubuntu, SF Playhouse and the Aurora, and a special \u003cem>Black Panther\u003c/em> double bill. You can feel the show just lift off when Marc talks about why art matters. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>Feb. 15-28: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/stars-come-out-to-play-at-san-jose-jazz-winter-fest/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Winter Fest lights up San Jose\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 11:\u003c/strong> \u003ca href=\"https://www.facebook.com/events/1832991043409977/\" target=\"_blank\" rel=\"noopener\">Jon Santos explores the sacred roots of Latin jazz at a Sunday concert in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/new-steps-for-a-classic-ballet-featuring-aaron-coplands-music/\" target=\"_blank\" rel=\"noopener\">The San Francisco Ballet showcases Justin Peck’s new take on Aaron Copland’s \u003cem>Rodeo\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 23-March 10:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/post-wwii-play-born-yesterday-feels-relevant-today/\" target=\"_blank\" rel=\"noopener\">The post-war play\u003cem> Born Yesterday\u003c/em>, about corruption in Washington, feels especially relevant today\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 2-25: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/a-streetcar-line-divides-the-genders-and-classes/\" target=\"_blank\" rel=\"noopener\">A \u003cem>Streetcar Named Desire\u003c/em> made for the streets of Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 26-March 4:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/when-moral-principles-lose-out-to-love/\" target=\"_blank\" rel=\"noopener\"> GB Shaw’s first play is an indictment of capitalism and a moral tale about moral principles bowing to love\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 20-21:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/shabazz-palaces-marries-afrofuturism-with-hip-hop/\" target=\"_blank\" rel=\"noopener\">Shabazz Palaces bring their blend of Afrofuturism and hip-hop to San Jose and Noise Pop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 20:\u003c/strong>\u003ca href=\"https://www.eventbrite.com/e/ta-nehisi-coates-and-film-screening-of-marvels-black-panther-tickets-42285828050\" target=\"_blank\" rel=\"noopener\"> A literary double bill pairs Ta-Nehisi Coates and the new film \u003cem>Black Panther\u003c/em> at the Grand Lake Theater\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 14: \u003c/strong>\u003ca href=\"https://oakland.impacthub.net/event/the-power-of-radical-self-love-book-tour-launch-party-with-sonya-renee-taylor/\" target=\"_blank\" rel=\"noopener\">Sonya Renee Taylor reads from her new book \u003cem>The Body is Not an Apology: The Power of Radical Self-Love\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 21:\u003c/strong> \u003ca href=\"https://calperformances.org/performances/2017-18/berkeley-talks/tony-kushner-and-sarah-vowell-the-lincoln-legacy-the-man-and-his-presidency.php\" target=\"_blank\" rel=\"noopener\">Tony Kushner and Sarah Vowell talk about American and Hollywood history, Lincoln, and assassinations at Cal Performances\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13823952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823952\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-800x380.jpg\" alt=\"Marc Bamuthi Joseph and Cy Musiker in the studio at KQED\" width=\"800\" height=\"380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-800x380.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-768x365.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-1020x484.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-1920x911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-1180x560.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-960x456.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-240x114.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-375x178.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-520x247.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marc Bamuthi Joseph and Cy Musiker in the studio at KQED. \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\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\n\u003c/div>\u003c/p>",
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"title": "Tarantino Says Uma Thurman's Car Stunt was 'One of the Biggest Regrets of My Life'",
"headTitle": "Tarantino Says Uma Thurman’s Car Stunt was ‘One of the Biggest Regrets of My Life’ | KQED",
"content": "\u003cp>Hollywood director Quentin Tarantino acknowledged that he is responsible for insisting that actress Uma Thurman perform a car stunt that resulted in a crash that nearly killed her 15 years ago.\u003c/p>\n\u003cp>Thurman’s \u003ca href=\"https://www.nytimes.com/2018/02/03/opinion/sunday/this-is-why-uma-thurman-is-angry.html\">account of the accident\u003c/a>, which chilled relations between Thurman and Tarantino for years, was detailed in a \u003cem>New York Times story\u003c/em> over the weekend. Much of the article centers on Thurman’s allegations that she had been sexually assaulted by movie mogul Harvey Weinstein.\u003c/p>\n\u003cp>Thurman said the accident happened in Mexico near the end of the shooting of the 2004 release \u003cem>Kill Bill Vol. 2\u003c/em> after she had expressed her reluctance to drive a blue Karmann Ghia down a sandy road. She said she had been warned that the car was not operating correctly after its manual transmission was reconfigured to an automatic. She said she wanted a stunt driver to do the shot.\u003c/p>\n\u003cp>But Tarantino insisted that she drive the car. Thurman posted footage of the crash on Instagram.\u003c/p>\n\u003cp>https://www.instagram.com/p/Be0x6OCFRwQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thurman told the \u003cem>Times \u003c/em>the crash caused permanent damage to her knees and neck.\u003c/p>\n\u003cp>Tarantino offered his version of the story in an interview with \u003ca href=\"http://deadline.com/2018/02/quentin-tarantino-uma-thurman-harvey-weinstein-kill-bill-car-crash-new-york-times-1202278988/\">Deadline Hollywood.\u003c/a>\u003c/p>\n\u003cp>Tarantino said in retrospect the road he thought was safe actually was not and he faulted himself for not doing a double-check. “That was one of my most horrendous mistakes, that I didn’t take the time to run the road, one more time, just to see what I would see,” he said.\u003c/p>\n\u003cp>Instead, believing that the road wasn’t a problem, he convinced Thurman to drive around 30-45 mph.\u003c/p>\n\u003cblockquote>\n\u003cp>“Uma’s response was … ‘OK’ because she believed me, because she trusted me. I told her it would be OK. I told her the road was a straight line. I told her it would be safe. And it wasn’t. I was wrong. I didn’t force her into the car. She got into it because she trusted me. And she believed me.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Watching the star of his movie crash was “just horrible,” Tarantino said.\u003c/p>\n\u003cblockquote>\n\u003cp>“It was heartbreaking. Beyond one of the biggest regrets of my career, it is one of the biggest regrets of my life.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Tarantino said he went back over the road later and found “a little mini S-curve” that hadn’t been clear to him earlier. He also said he had misjudged how much sand there was in the dirt road.\u003c/p>\n\u003cp>Tarantino said “a trust was broken” and he and Thurman were at odds “for the next two to three years,” before coming to terms with what had happened.\u003c/p>\n\u003cblockquote>\n\u003cp>“We had a big dinner in the Soho House in New York and there we dealt with all the car stuff, and all the resentments she had toward me. The things she felt I could have done better in protecting her in that movie. And we hashed it all out, put it behind her and we’ve been fantastic friends ever since.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>In the \u003cem>New York Times \u003c/em>article, Thurman said that Tarantino atoned for the accident by giving her what she had demanded for years — the film footage of the crash. In her Instagram post she alleges that the producers of \u003cem>Kill Bill Vol. 2\u003c/em>, including Weinstein, tried to suppress the footage. \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=Tarantino+Says+Uma+Thurman%27s+Car+Stunt+Was+%27One+Of+The+Biggest+Regrets+Of+My+Life%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hollywood director Quentin Tarantino acknowledged that he is responsible for insisting that actress Uma Thurman perform a car stunt that resulted in a crash that nearly killed her 15 years ago.\u003c/p>\n\u003cp>Thurman’s \u003ca href=\"https://www.nytimes.com/2018/02/03/opinion/sunday/this-is-why-uma-thurman-is-angry.html\">account of the accident\u003c/a>, which chilled relations between Thurman and Tarantino for years, was detailed in a \u003cem>New York Times story\u003c/em> over the weekend. Much of the article centers on Thurman’s allegations that she had been sexually assaulted by movie mogul Harvey Weinstein.\u003c/p>\n\u003cp>Thurman said the accident happened in Mexico near the end of the shooting of the 2004 release \u003cem>Kill Bill Vol. 2\u003c/em> after she had expressed her reluctance to drive a blue Karmann Ghia down a sandy road. She said she had been warned that the car was not operating correctly after its manual transmission was reconfigured to an automatic. She said she wanted a stunt driver to do the shot.\u003c/p>\n\u003cp>But Tarantino insisted that she drive the car. Thurman posted footage of the crash on Instagram.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thurman told the \u003cem>Times \u003c/em>the crash caused permanent damage to her knees and neck.\u003c/p>\n\u003cp>Tarantino offered his version of the story in an interview with \u003ca href=\"http://deadline.com/2018/02/quentin-tarantino-uma-thurman-harvey-weinstein-kill-bill-car-crash-new-york-times-1202278988/\">Deadline Hollywood.\u003c/a>\u003c/p>\n\u003cp>Tarantino said in retrospect the road he thought was safe actually was not and he faulted himself for not doing a double-check. “That was one of my most horrendous mistakes, that I didn’t take the time to run the road, one more time, just to see what I would see,” he said.\u003c/p>\n\u003cp>Instead, believing that the road wasn’t a problem, he convinced Thurman to drive around 30-45 mph.\u003c/p>\n\u003cblockquote>\n\u003cp>“Uma’s response was … ‘OK’ because she believed me, because she trusted me. I told her it would be OK. I told her the road was a straight line. I told her it would be safe. And it wasn’t. I was wrong. I didn’t force her into the car. She got into it because she trusted me. And she believed me.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Watching the star of his movie crash was “just horrible,” Tarantino said.\u003c/p>\n\u003cblockquote>\n\u003cp>“It was heartbreaking. Beyond one of the biggest regrets of my career, it is one of the biggest regrets of my life.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Tarantino said he went back over the road later and found “a little mini S-curve” that hadn’t been clear to him earlier. He also said he had misjudged how much sand there was in the dirt road.\u003c/p>\n\u003cp>Tarantino said “a trust was broken” and he and Thurman were at odds “for the next two to three years,” before coming to terms with what had happened.\u003c/p>\n\u003cblockquote>\n\u003cp>“We had a big dinner in the Soho House in New York and there we dealt with all the car stuff, and all the resentments she had toward me. The things she felt I could have done better in protecting her in that movie. And we hashed it all out, put it behind her and we’ve been fantastic friends ever since.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>In the \u003cem>New York Times \u003c/em>article, Thurman said that Tarantino atoned for the accident by giving her what she had demanded for years — the film footage of the crash. In her Instagram post she alleges that the producers of \u003cem>Kill Bill Vol. 2\u003c/em>, including Weinstein, tried to suppress the footage. \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=Tarantino+Says+Uma+Thurman%27s+Car+Stunt+Was+%27One+Of+The+Biggest+Regrets+Of+My+Life%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Paul Clipson, the San Francisco-based experimental filmmaker once described as a “poet of cinema,” died unexpectedly Saturday at the age of 53.\u003c/p>\n\u003cp>Clipson made dozens of short films and collaborated frequently with experimental musicians like Grouper, Maggi Payne and Black Spirituals. His psychedelic, non-narrative work brought him international acclaim, with his films appearing at several festivals, including the New York Film Festival, Edinburgh Film Festival, and the Rotterdam International Film Festival.\u003c/p>\n\u003cp>“Paul Clipson — a criminally unsung luminary of the moving image — has died. His images, layers upon layers of light and energy and feeling has been an inspiration,” filmmaker Scott Barely wrote \u003ca href=\"https://twitter.com/ScottBarleyFilm/status/960474340541255682\" rel=\"noopener\" target=\"_blank\">on Twitter\u003c/a>. \u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/109943175\u003cbr>\n\u003c/aside>\n\u003cp>Born in 1965, Clipson grew up in Michigan as a film fanatic and began making movies as a teenager.\u003c/p>\n\u003cp>“I love film — just the history, everything. As soon as I could get a Super 8 camera, I was making films where I grew up in Michigan,” Clipson told writer \u003ca href=\"https://medium.com/@geetadayal/interview-with-paul-clipson-8ea786a20f29\" rel=\"noopener\" target=\"_blank\">Geeta Dayal in 2015\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”hPBxVtlxY9ajfWZ54q20IoVDOanjDizb”]\u003c/p>\n\u003cp>Clipson later moved to San Francisco and in the ’90s, he made a series of Super 8 films with guerrilla performance artist Adam Heavenrich called the \u003ca href=\"https://openspace.sfmoma.org/2010/06/paul-clipson-and-adam-heavenrichs-super-8-bucky-cycle/\" rel=\"noopener\" target=\"_blank\">\u003cem>BUCKY\u003c/em> cycle\u003c/a>. Each \u003cem>BUCKY\u003c/em> film — eight in total — ran about two minutes long and were edited in-camera, which would become a principal aspect of Clipson’s process.\u003c/p>\n\u003cp>The style that Clipson became known for didn’t develop until 2006, when he began working with musicians like Jefre Cantu-Ledesma, who at the time played in the local band Tarentel. Clipson later said he appreciated musicians’ freedom to create on a whim, so he jettisoned scripts and narratives to create his own form of improvised film. Using a mix of Super 8 and 16mm projectors, Clipson developed a way to layer and “play” the films live.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/39011646\u003cbr>\n\u003c/aside>\n\u003cp>“As a filmmaker I had been trained to plan and wait — and have a script, and raise money. I wanted to work more like a musician, or a painter or a writer, where you just write whenever, at 3 in the morning,” Clipson told Dayal. “But I just started to work more rapidly — it made me incredibly productive in a different way, and [I was] also showing work in the way that music is presented. Not always as a finalized thing.”\u003c/p>\n\u003cp>Clipson’s revelation led to a prolific period of creativity. He began collaborating with Tarentel, providing visuals for their live performances. He then went on to collaborate with other experimental musicians, for both live performances and his own shorts. In the past few years, Clipson received several commissions for work from organizations like the Exploratorium, and his films would be often compared to the work of Stan Brakhage. \u003c/p>\n\u003cp>https://twitter.com/thomaslogoreci/status/960661729373052928\u003c/p>\n\u003cp>But Clipson’s creativity wasn’t limited to film. A projectionist by trade, Clipson released a book titled \u003ca href=\"https://mubi.com/notebook/posts/paul-clipsons-reel--2\" rel=\"noopener\" target=\"_blank\">\u003ci>REEL\u003c/i>\u003c/a> with local publishers LAND AND SEA. It featured diagrams and instructions he drew for his fellow projectionists at SFMOMA, where Clipson worked for over a decade.\u003c/p>\n\u003cfigure id=\"attachment_13823754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-800x533.jpeg\" alt=\"Paul Clipson\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13823754\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting.jpeg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paul Clipson. \u003ccite>(Courtesy of Maxwell August Croy )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though friends and family confirmed he died Saturday, details surrounding his passing were not released. What’s known is that he performed the night before at the \u003ca href=\"http://landandseaeditions.virb.com/\" rel=\"noopener\" target=\"_blank\">LAND AND SEA gallery\u003c/a> in Oakland with Byron Westbrook and Zachary James Watkins. \u003c/p>\n\u003cp>A \u003ca href=\"https://www.gofundme.com/paul-clipson-family-memorial-fund\">GoFundMe page\u003c/a> is raising funding for his memorial and to help support his family.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Paul Clipson, the San Francisco-based experimental filmmaker once described as a “poet of cinema,” died unexpectedly Saturday at the age of 53.\u003c/p>\n\u003cp>Clipson made dozens of short films and collaborated frequently with experimental musicians like Grouper, Maggi Payne and Black Spirituals. His psychedelic, non-narrative work brought him international acclaim, with his films appearing at several festivals, including the New York Film Festival, Edinburgh Film Festival, and the Rotterdam International Film Festival.\u003c/p>\n\u003cp>“Paul Clipson — a criminally unsung luminary of the moving image — has died. His images, layers upon layers of light and energy and feeling has been an inspiration,” filmmaker Scott Barely wrote \u003ca href=\"https://twitter.com/ScottBarleyFilm/status/960474340541255682\" rel=\"noopener\" target=\"_blank\">on Twitter\u003c/a>. \u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/109943175\u003cbr>\n\u003c/aside>\n\u003cp>Born in 1965, Clipson grew up in Michigan as a film fanatic and began making movies as a teenager.\u003c/p>\n\u003cp>“I love film — just the history, everything. As soon as I could get a Super 8 camera, I was making films where I grew up in Michigan,” Clipson told writer \u003ca href=\"https://medium.com/@geetadayal/interview-with-paul-clipson-8ea786a20f29\" rel=\"noopener\" target=\"_blank\">Geeta Dayal in 2015\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Clipson later moved to San Francisco and in the ’90s, he made a series of Super 8 films with guerrilla performance artist Adam Heavenrich called the \u003ca href=\"https://openspace.sfmoma.org/2010/06/paul-clipson-and-adam-heavenrichs-super-8-bucky-cycle/\" rel=\"noopener\" target=\"_blank\">\u003cem>BUCKY\u003c/em> cycle\u003c/a>. Each \u003cem>BUCKY\u003c/em> film — eight in total — ran about two minutes long and were edited in-camera, which would become a principal aspect of Clipson’s process.\u003c/p>\n\u003cp>The style that Clipson became known for didn’t develop until 2006, when he began working with musicians like Jefre Cantu-Ledesma, who at the time played in the local band Tarentel. Clipson later said he appreciated musicians’ freedom to create on a whim, so he jettisoned scripts and narratives to create his own form of improvised film. Using a mix of Super 8 and 16mm projectors, Clipson developed a way to layer and “play” the films live.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/39011646\u003cbr>\n\u003c/aside>\n\u003cp>“As a filmmaker I had been trained to plan and wait — and have a script, and raise money. I wanted to work more like a musician, or a painter or a writer, where you just write whenever, at 3 in the morning,” Clipson told Dayal. “But I just started to work more rapidly — it made me incredibly productive in a different way, and [I was] also showing work in the way that music is presented. Not always as a finalized thing.”\u003c/p>\n\u003cp>Clipson’s revelation led to a prolific period of creativity. He began collaborating with Tarentel, providing visuals for their live performances. He then went on to collaborate with other experimental musicians, for both live performances and his own shorts. In the past few years, Clipson received several commissions for work from organizations like the Exploratorium, and his films would be often compared to the work of Stan Brakhage. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>But Clipson’s creativity wasn’t limited to film. A projectionist by trade, Clipson released a book titled \u003ca href=\"https://mubi.com/notebook/posts/paul-clipsons-reel--2\" rel=\"noopener\" target=\"_blank\">\u003ci>REEL\u003c/i>\u003c/a> with local publishers LAND AND SEA. It featured diagrams and instructions he drew for his fellow projectionists at SFMOMA, where Clipson worked for over a decade.\u003c/p>\n\u003cfigure id=\"attachment_13823754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-800x533.jpeg\" alt=\"Paul Clipson\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13823754\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Paul-Clipson-sitting.jpeg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paul Clipson. \u003ccite>(Courtesy of Maxwell August Croy )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though friends and family confirmed he died Saturday, details surrounding his passing were not released. What’s known is that he performed the night before at the \u003ca href=\"http://landandseaeditions.virb.com/\" rel=\"noopener\" target=\"_blank\">LAND AND SEA gallery\u003c/a> in Oakland with Byron Westbrook and Zachary James Watkins. \u003c/p>\n\u003cp>A \u003ca href=\"https://www.gofundme.com/paul-clipson-family-memorial-fund\">GoFundMe page\u003c/a> is raising funding for his memorial and to help support his family.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://sfindie.com/celebrating-20-years-of-independent-cinema-in-san-francisco/\" rel=\"noopener\" target=\"_blank\">SF IndieFest\u003c/a>, as the San Francisco Independent Film Festival has been affectionately known from the day Jeff Ross conceived it 20 years ago, is a million miles from Hollywood. \u003c/p>\n\u003cp>It’s even further removed, if that’s possible, from an American independent cinema that long ago evolved from a bunch of pissed-off outsiders into a sedate, Sundance-sanctioned niche where respected character actors play the leads in small-scale adult dramas. (These worlds intersect at the Academy Awards, where a couple indies every year are embraced as underdog mascots. It’s become so routine that nobody even sees it anymore as proof of Hollywood’s abandonment of movies for adults.)\u003c/p>\n\u003cfigure id=\"attachment_13823706\" class=\"wp-caption aligncenter\" style=\"max-width: 780px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Withdrawn.jpg\" alt=\"Still from 'Withdrawn.'\" width=\"780\" height=\"519\" class=\"size-full wp-image-13823706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Withdrawn.jpg 780w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Withdrawn-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Withdrawn-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Withdrawn-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Withdrawn-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Withdrawn-520x346.jpg 520w\" sizes=\"(max-width: 780px) 100vw, 780px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Withdrawn.’ \u003ccite>(Courtesy of SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You’ll rarely recognize the director or the stars of a SF IndieFest film, which feeds into the festival’s ethos of discovery and experimentation. This year’s program, unspooling Feb. 1-15 primarily at the Roxie and Victoria, is something of an exception due to the array of familiar titles (\u003cem>Bubba Ho-Tep\u003c/em>, \u003cem>Funny Ha Ha\u003c/em>) revived from previous Indiefests. \u003c/p>\n\u003cp>But gravitate to the unknowns, for the festival’s true allure is entering the world of an iconoclast with a narrow but distinct view of the world. Writer/director/actor Adrian Murray, for example, who blurs the existential and practical lines between slacking and scamming in \u003cem>Withdrawn\u003c/em> (Feb. 2 and 8). Or Australian writer-director-actress Hannah Barlow, who pushes even further into quasi-autobiography with her contemporary California road movie \u003cem>For Now\u003c/em>. DIY filmmaking has come of age, and the results are pretty consistently exciting rather than pretty and polished.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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 fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The 20th San Francisco Independent Film Festival plays through Feb. 15, 2018 at the Roxie and Victoria theaters in San Francisco. For tickets and more information, \u003ca href=\"http://sfindie.com/festivals/sf-indiefest/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://sfindie.com/celebrating-20-years-of-independent-cinema-in-san-francisco/\" rel=\"noopener\" target=\"_blank\">SF IndieFest\u003c/a>, as the San Francisco Independent Film Festival has been affectionately known from the day Jeff Ross conceived it 20 years ago, is a million miles from Hollywood. \u003c/p>\n\u003cp>It’s even further removed, if that’s possible, from an American independent cinema that long ago evolved from a bunch of pissed-off outsiders into a sedate, Sundance-sanctioned niche where respected character actors play the leads in small-scale adult dramas. (These worlds intersect at the Academy Awards, where a couple indies every year are embraced as underdog mascots. It’s become so routine that nobody even sees it anymore as proof of Hollywood’s abandonment of movies for adults.)\u003c/p>\n\u003cfigure id=\"attachment_13823706\" class=\"wp-caption aligncenter\" style=\"max-width: 780px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Withdrawn.jpg\" alt=\"Still from 'Withdrawn.'\" width=\"780\" height=\"519\" class=\"size-full wp-image-13823706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Withdrawn.jpg 780w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Withdrawn-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Withdrawn-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Withdrawn-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Withdrawn-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Withdrawn-520x346.jpg 520w\" sizes=\"(max-width: 780px) 100vw, 780px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Withdrawn.’ \u003ccite>(Courtesy of SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You’ll rarely recognize the director or the stars of a SF IndieFest film, which feeds into the festival’s ethos of discovery and experimentation. This year’s program, unspooling Feb. 1-15 primarily at the Roxie and Victoria, is something of an exception due to the array of familiar titles (\u003cem>Bubba Ho-Tep\u003c/em>, \u003cem>Funny Ha Ha\u003c/em>) revived from previous Indiefests. \u003c/p>\n\u003cp>But gravitate to the unknowns, for the festival’s true allure is entering the world of an iconoclast with a narrow but distinct view of the world. Writer/director/actor Adrian Murray, for example, who blurs the existential and practical lines between slacking and scamming in \u003cem>Withdrawn\u003c/em> (Feb. 2 and 8). Or Australian writer-director-actress Hannah Barlow, who pushes even further into quasi-autobiography with her contemporary California road movie \u003cem>For Now\u003c/em>. DIY filmmaking has come of age, and the results are pretty consistently exciting rather than pretty and polished.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\u003c/p>\n\u003cp>\u003ci>The 20th San Francisco Independent Film Festival plays through Feb. 15, 2018 at the Roxie and Victoria theaters in San Francisco. For tickets and more information, \u003ca href=\"http://sfindie.com/festivals/sf-indiefest/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "West Oakland's Musical Legacy Still Something to Crow About",
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"content": "\u003cp>For Black History Month, a Bay Area filmmaker is touring San Mateo County libraries to talk about the history of West Oakland blues. Most of us have heard about it, in general terms, but there’s a lot to love in the nitty gritty.\u003c/p>\n\u003cp>Director Cheryl Fabio covers a lot of ground in her documentary, \u003ca href=\"https://evolutionarybluesfilm.com\" target=\"_blank\" rel=\"noopener\">Evolutionary Blues: West Oakland’s Music Legacy\u003c/a>. “I mean, I even discovered music that I had grown up with and didn’t realize it was coming out of Oakland!” Fabio says.\u003c/p>\n\u003cp>Take \u003cem>The Thrill Is Gone\u003c/em>. Originally recorded in Oakland in 1951, it became a huge crossover hit for B.B. King years later in 1969.\u003c/p>\n\u003cfigure id=\"attachment_13823597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823597\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-800x450.jpg\" alt=\""Certainly, the pain and suffering won't go anywhere. So, there'll be a need to sing the blues for a long time," says club owner Geoffrey Pete in the documentary "Evolutionary Blues."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM.jpg 841w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Certainly, the pain and suffering won’t go anywhere. So, there’ll be a need to sing the blues for a long time,” says club owner Geoffrey Pete in the documentary “Evolutionary Blues.” \u003ccite>(Photo: Courtesy of Cheryl Fabio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fabio recalls another song, \u003ci>As We Were. \u003c/i>She was shocked to discover it was written by Paul Tillman Smith, who is local. “I knew Paul in high school. I had no idea that was his song! That just floored me, because it’s one of my favorite songs.”\u003c/p>\n\u003cp>The glory days of Oakland blues lasted from the 1920s through the early 60s. So where did that blues scene go? urban quote-unquote redevelopment in the 1960s devastated what was once a vibrant neighborhood home to musicians, clubs and the people who filled those clubs. In more recent years, rising rents have forced even more people out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But today, as in yesteryear, there are plenty of reasons to continue singing the blues. Fabio says, “It’s the story of being done badly, and so anybody can participate in that story.”\u003c/p>\n\u003cfigure id=\"attachment_13823598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13823598 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-800x445.jpg\" alt=\"Faye Carol, a blues and jazz singer, says in the documentary "Evolutionary Blues" that the genre has evolved dynamically over the years. "It morphs itself in so many ways, that you don't even know it's the blues."\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-240x133.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-520x289.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM.jpg 847w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Faye Carol, a blues and jazz singer, says in the documentary “Evolutionary Blues” that the genre has evolved dynamically over the years. “It morphs itself in so many ways, that you don’t even know it’s the blues.” \u003ccite>(Photo: Courtesy of Cheryl Fabio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The documentary chronicles the rise of blues music in the Jim Crow south, as well as how the Great Migration brought an influx of African-Americans keen to hear the music they grew up with. Bay Area musicians were more than happy to oblige, and they collaborated with each other to produce new musical innovations and influence artists all over the country.\u003c/p>\n\u003cp>This explains why you can hear the influence of the blues in jazz, R&B, soul, hip hop, and rap. Although it must be said there are still plenty of people who compose and perform blues music today, in the Bay Area and beyond.\u003c/p>\n\u003cp>Fortunately for us, a lot of the old time music is available online — but not “Evolutionary Blues,” which \u003ca href=\"https://ww2.kqed.org/arts/2017/09/25/evolutionary-blues-resurrects-west-oaklands-musical-legacy/\" target=\"_blank\" rel=\"noopener\">premiered Sept. 27\u003c/a> at Oakland’s Grand Lake Theatre. Fabio doesn’t have theatrical rights lined up yet, but she’s been running community screenings all over the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>To learn more about where and when the documentary is playing, look \u003ca href=\"https://evolutionarybluesfilm.com/screenings\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Black History Month, a Bay Area filmmaker is touring San Mateo County libraries to talk about the history of West Oakland blues. Most of us have heard about it, in general terms, but there’s a lot to love in the nitty gritty.\u003c/p>\n\u003cp>Director Cheryl Fabio covers a lot of ground in her documentary, \u003ca href=\"https://evolutionarybluesfilm.com\" target=\"_blank\" rel=\"noopener\">Evolutionary Blues: West Oakland’s Music Legacy\u003c/a>. “I mean, I even discovered music that I had grown up with and didn’t realize it was coming out of Oakland!” Fabio says.\u003c/p>\n\u003cp>Take \u003cem>The Thrill Is Gone\u003c/em>. Originally recorded in Oakland in 1951, it became a huge crossover hit for B.B. King years later in 1969.\u003c/p>\n\u003cfigure id=\"attachment_13823597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823597\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-800x450.jpg\" alt=\""Certainly, the pain and suffering won't go anywhere. So, there'll be a need to sing the blues for a long time," says club owner Geoffrey Pete in the documentary "Evolutionary Blues."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM.jpg 841w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Certainly, the pain and suffering won’t go anywhere. So, there’ll be a need to sing the blues for a long time,” says club owner Geoffrey Pete in the documentary “Evolutionary Blues.” \u003ccite>(Photo: Courtesy of Cheryl Fabio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fabio recalls another song, \u003ci>As We Were. \u003c/i>She was shocked to discover it was written by Paul Tillman Smith, who is local. “I knew Paul in high school. I had no idea that was his song! That just floored me, because it’s one of my favorite songs.”\u003c/p>\n\u003cp>The glory days of Oakland blues lasted from the 1920s through the early 60s. So where did that blues scene go? urban quote-unquote redevelopment in the 1960s devastated what was once a vibrant neighborhood home to musicians, clubs and the people who filled those clubs. In more recent years, rising rents have forced even more people out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But today, as in yesteryear, there are plenty of reasons to continue singing the blues. Fabio says, “It’s the story of being done badly, and so anybody can participate in that story.”\u003c/p>\n\u003cfigure id=\"attachment_13823598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13823598 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-800x445.jpg\" alt=\"Faye Carol, a blues and jazz singer, says in the documentary "Evolutionary Blues" that the genre has evolved dynamically over the years. "It morphs itself in so many ways, that you don't even know it's the blues."\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-240x133.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-520x289.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM.jpg 847w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Faye Carol, a blues and jazz singer, says in the documentary “Evolutionary Blues” that the genre has evolved dynamically over the years. “It morphs itself in so many ways, that you don’t even know it’s the blues.” \u003ccite>(Photo: Courtesy of Cheryl Fabio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The documentary chronicles the rise of blues music in the Jim Crow south, as well as how the Great Migration brought an influx of African-Americans keen to hear the music they grew up with. Bay Area musicians were more than happy to oblige, and they collaborated with each other to produce new musical innovations and influence artists all over the country.\u003c/p>\n\u003cp>This explains why you can hear the influence of the blues in jazz, R&B, soul, hip hop, and rap. Although it must be said there are still plenty of people who compose and perform blues music today, in the Bay Area and beyond.\u003c/p>\n\u003cp>Fortunately for us, a lot of the old time music is available online — but not “Evolutionary Blues,” which \u003ca href=\"https://ww2.kqed.org/arts/2017/09/25/evolutionary-blues-resurrects-west-oaklands-musical-legacy/\" target=\"_blank\" rel=\"noopener\">premiered Sept. 27\u003c/a> at Oakland’s Grand Lake Theatre. Fabio doesn’t have theatrical rights lined up yet, but she’s been running community screenings all over the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>To learn more about where and when the documentary is playing, look \u003ca href=\"https://evolutionarybluesfilm.com/screenings\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When Orlando (Francisco Reyes) enters a rooftop supper-club in Santiago at the beginning of the film, he can’t take his eyes off Marina (Daniela Vega), a striking young vocalist who’s crooning lyrics about throwing her boyfriend out with the garbage because, she sings, his love “is like yesterday’s newspaper.” \u003c/p>\n\u003cp>She sings that line straight to Orlando, with a little smile. She’s definitely not throwing \u003cem>him\u003c/em> away … she’s moving into his apartment as soon as they celebrate her 27th birthday. \u003c/p>\n\u003cp>But that night, things take a terrible turn. Orlando wakes up feeling ill. Marina rushes him to the hospital, where less than half an hour later, he dies due to an aneurysm. \u003c/p>\n\u003cp>At that point, Marina’s ordeal is only beginning. The doctors who couldn’t save Orlando look at Marina in the harsh hospital lighting and begin to treat her as a suspect. A policeman demands to see identification and frowns at the fact that the name on her ID card is “Daniel.”\u003c/p>\n\u003cp>https://youtu.be/PJHex4ZitgA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>A Fantastic Woman\u003c/em> is Chile’s submission to this year’s Academy Awards, and it’ll be one of the five films up for best foreign language film on Oscar night. Director Sebastian Lelio often makes films with strong, complicated women at their centers — his 2013 awards-circuit hit, \u003cem>Gloria\u003c/em> for instance. In Marina, he’s got a uniquely striking heroine, whom he is forever surrounding with mirrors and reflective surfaces, as if determined that we should see her from every possible angle. \u003c/p>\n\u003cp>The director first encountered Daniela Vega, who plays Marina, while researching Santiago’s transgender community. Initially a consultant, Vega not only won the part, she clearly influenced it — she is herself a trans woman, and an opera-trained singer who supplies her own vocals throughout the film. Vega gives Marina a fierce dignity that the character needs when dealing with Orlando’s son and with his ex-wife, who refuses even to see Marina as a woman.\u003c/p>\n\u003cp>“When I look at you I don’t know what I’m seeing” she says bluntly, but she also uses the word “perversion” — which suggests she at least knows what she \u003cem>thinks\u003c/em> about what she’s seeing. And she’s adamant that Marina not attend Orlando’s funeral, something she emphasizes by always addressing him as Daniel.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Complicated,” she says at one point, “quantum physics complicated.” The film reflects that, while also acknowledging that things don’t have to be. Even as she copes with her own grief, Marina must deal with being mistreated, misjudged, even mugged. And then there’ll be a moment of grace — as a gentleman simply stands aside to let her enter an elevator first. Someone who can navigate all that, and remain resilient, assertive, even charismatic? Yes — she’s a fantastic woman.\u003c/p>\n\n",
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"content": "\u003cp>If hip-hop fans were wondering if Kendrick Lamar and Sacramento rapper Mozzy had a collaboration in the works after K.Dot \u003ca href=\"http://www.sacbee.com/news/local/article197178319.html\" target=\"_blank\" rel=\"noopener\">quoted Mozzy\u003c/a> during his Grammys acceptance speech, we now have our answer. Earlier today, Lamar tweeted the highly anticipated tracklist for \u003cem>Black Panther\u003c/em>, the reportedly groundbreaking Marvel film directed by Ryan Coogler.\u003c/p>\n\u003cp>Coogler, who also directed \u003cem>Fruitvale Station\u003c/em> and \u003cem>Creed\u003c/em>, is originally from Oakland, so it makes sense that \u003cem>Black Panther’s\u003c/em> soundtrack shows Northern California some love. In addition to “Seasons” by Mozzy (also featuring South African artists Sjava and Reason), it includes a new song by Vallejo upstarts SOBxRBE called “Paramedic!”\u003c/p>\n\u003cp>The rest of the soundtrack, curated by Lamar, features heavy-hitters like Future, Swae Lee, the Weeknd, Travis Scott, SZA, and James Blake. Ab-Soul and Jay Rock from Lamar’s Top Dawg Entertainment also make appearances and notable newcomers like Jorja Smith, Zacari, and Khalid are on the soundtrack as well.\u003c/p>\n\u003cp>https://twitter.com/kendricklamar/status/958788331420069888\u003c/p>\n\u003cp>\u003cstrong>Tracklist\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Black Panther,” Kendrick Lamar\u003cbr>\n“All The Stars,” Kendrick Lamar, SZA\u003cbr>\n“X,” ScHoolboy Q, 2 Chainz, Saudi\u003cbr>\n“The Ways,” Khalid, Swae Lee\u003cbr>\n“Opps,” Vince Staples, Yugen Blakrok\u003cbr>\n“I Am,” Jorja Smith\u003cbr>\n“Paramedic!” SOB X RBE\u003cbr>\n“Bloody Waters,” Ab-Soul, Anderson .Paak, James Blake\u003cbr>\n“King’s Dead,” Jay Rock, Kendrick Lamar, Future, James Blake\u003cbr>\n“Redemption Interlude”\u003cbr>\n“Redemption,” Zacari, Babes Wodumo\u003cbr>\n“Seasons,” Mozzy, Sjava, Reason\u003cbr>\n“Big Shot,” Kendrick Lamar, Travis Scott\u003cbr>\n“Pray For Me,” The Weeknd, Kendrick Lamar\u003c/p>\n\u003cp>So far, only the rap scorcher “\u003ca href=\"https://soundcloud.com/topdawgent/kings-dead\" target=\"_blank\" rel=\"noopener\">King’s Dead\u003c/a>” and soaring electro-R&B track “\u003ca href=\"https://youtu.be/GfCqMv--ncA\" target=\"_blank\" rel=\"noopener\">All the Stars\u003c/a>” are out; we’ll have to wait ’til the soundtrack’s Feb. 9 release to hear more. \u003cem>Black Panther\u003c/em> hits theaters on Feb. 16.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/382202108″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If hip-hop fans were wondering if Kendrick Lamar and Sacramento rapper Mozzy had a collaboration in the works after K.Dot \u003ca href=\"http://www.sacbee.com/news/local/article197178319.html\" target=\"_blank\" rel=\"noopener\">quoted Mozzy\u003c/a> during his Grammys acceptance speech, we now have our answer. Earlier today, Lamar tweeted the highly anticipated tracklist for \u003cem>Black Panther\u003c/em>, the reportedly groundbreaking Marvel film directed by Ryan Coogler.\u003c/p>\n\u003cp>Coogler, who also directed \u003cem>Fruitvale Station\u003c/em> and \u003cem>Creed\u003c/em>, is originally from Oakland, so it makes sense that \u003cem>Black Panther’s\u003c/em> soundtrack shows Northern California some love. In addition to “Seasons” by Mozzy (also featuring South African artists Sjava and Reason), it includes a new song by Vallejo upstarts SOBxRBE called “Paramedic!”\u003c/p>\n\u003cp>The rest of the soundtrack, curated by Lamar, features heavy-hitters like Future, Swae Lee, the Weeknd, Travis Scott, SZA, and James Blake. Ab-Soul and Jay Rock from Lamar’s Top Dawg Entertainment also make appearances and notable newcomers like Jorja Smith, Zacari, and Khalid are on the soundtrack as well.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Black Panther,” Kendrick Lamar\u003cbr>\n“All The Stars,” Kendrick Lamar, SZA\u003cbr>\n“X,” ScHoolboy Q, 2 Chainz, Saudi\u003cbr>\n“The Ways,” Khalid, Swae Lee\u003cbr>\n“Opps,” Vince Staples, Yugen Blakrok\u003cbr>\n“I Am,” Jorja Smith\u003cbr>\n“Paramedic!” SOB X RBE\u003cbr>\n“Bloody Waters,” Ab-Soul, Anderson .Paak, James Blake\u003cbr>\n“King’s Dead,” Jay Rock, Kendrick Lamar, Future, James Blake\u003cbr>\n“Redemption Interlude”\u003cbr>\n“Redemption,” Zacari, Babes Wodumo\u003cbr>\n“Seasons,” Mozzy, Sjava, Reason\u003cbr>\n“Big Shot,” Kendrick Lamar, Travis Scott\u003cbr>\n“Pray For Me,” The Weeknd, Kendrick Lamar\u003c/p>\n\u003cp>So far, only the rap scorcher “\u003ca href=\"https://soundcloud.com/topdawgent/kings-dead\" target=\"_blank\" rel=\"noopener\">King’s Dead\u003c/a>” and soaring electro-R&B track “\u003ca href=\"https://youtu.be/GfCqMv--ncA\" target=\"_blank\" rel=\"noopener\">All the Stars\u003c/a>” are out; we’ll have to wait ’til the soundtrack’s Feb. 9 release to hear more. \u003cem>Black Panther\u003c/em> hits theaters on Feb. 16.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/382202108″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/382202108″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright 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\n\u003c/div>\u003c/p>",
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"title": "Whose 'Muse?' Liv Ullmann Talks Bergman and Beyond",
"headTitle": "Whose ‘Muse?’ Liv Ullmann Talks Bergman and Beyond | KQED",
"content": "\u003cp>As my phone interview with Liv Ullmann draws to a close, I hear papers rustling in her New York hotel room. “I had all these notes about Bergman,” she confides with a laugh, she never referred to them. So much the better, for the great actress (and accomplished director, in her own right) had been wondrously in the moment, drawing on a pinpoint memory to elucidate the essence of her alliance with the Swedish icon Ingmar Bergman.\u003c/p>\n\u003cp>“I had been an actress for seven years, [and] I felt that I had been an actress my whole life,” Ullmann says, recounting their meeting in the mid-1960s. “I had worked with one of his closest collaborators, Bibi Andersson, and I came to Stockholm to visit her. He was an incredible filmmaker in my mind already then. I met him on the street and he had heard about me and seen my films, and he said immediately, ‘I would like to work with you.’ Though that movie never happened, \u003cem>Persona\u003c/em> happened because of that meeting. I think he was very struck, standing there on the street with Bibi and with me, by our alikeness in the way we looked and in the way we talked.\u003c/p>\n\u003cfigure id=\"attachment_13823278\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823278\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12-.jpg\" alt=\"Liv Ullmann and Max Von Sydow in 'Shame,' 1968.\" width=\"1200\" height=\"962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12-.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--768x616.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--1020x818.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--1180x946.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--960x770.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--375x301.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--520x417.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Liv Ullmann and Max Von Sydow in ‘Shame,’ 1968. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When the picture I was supposed to be in was cancelled, Bibi and I went on a cultural tour to Poland and Czechoslovakia. We were told that Ingmar was ill and was in the hospital. But he always became ill when he didn’t want to do something. [In] Czechoslovakia we were told by the embassy that we had to come back to Sweden because he was well again and he had made a new script in the hospital, and that was \u003cem>Persona\u003c/em>.”\u003c/p>\n\u003cp>A harrowing portrayal of the identity and power dynamics between an actress who’s stopped speaking (Ullmann) and her nurse (Andersson), \u003cem>Persona\u003c/em> (1966) made international stars out of both actresses. It’s the natural choice to open \u003ca href=\"https://bampfa.org/program/bergman-100-tribute-liv-ullmann\" target=\"_blank\" rel=\"noopener\">Bergman 100: A Tribute to Liv Ullmann\u003c/a> on Thursday, Feb. 1, the first of five programs in BAMPFA’s year-long celebration of Bergman’s centennial.\u003c/p>\n\u003cp>Ullmann’s in-person appearances at BAMPFA, at this show and for \u003cem>Shame\u003c/em> (1968) on Feb. 3, are both sold out. Screenings have been added on Feb. 3 and 4, respectively, but she won’t be present. The \u003ca href=\"https://rafaelfilm.cafilm.org/liv-ullmann/\" target=\"_blank\" rel=\"noopener\">Smith Rafael Film Center\u003c/a> in San Rafael hosts Ullmann for an evening of conversation and clips on Feb. 2, and a discussion following \u003cem>Autumn Sonata\u003c/em> (1978) on Feb. 4. Ullmann will then introduce \u003cem>Faithless\u003c/em>, the 2000 film she directed from Bergman’s screenplay.\u003c/p>\n\u003cfigure id=\"attachment_13823284\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200.jpg\" alt=\"Liv Ullmann and Ingrid Bergman in 'Autumn Sonata,' 1978.\" width=\"1200\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-1180x791.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-520x348.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Liv Ullmann and Ingrid Bergman in ‘Autumn Sonata,’ 1978. \u003ccite>(Courtesy of BAMPFA )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was struck by something that he had seen with Bibi and me, and he built \u003cem>Persona\u003c/em> on that thing,” Ullmann says. “We never saw it as an incredible movie at the time. I was 25 years old, I didn’t really understand it and neither did Bibi, but we understood the feelings. I knew one thing very well, and that I was him. Not that I could verbalize what I knew or understood about him but I recognized him, and I think he recognized me. He was almost 50, he had come to a sad moment where he wanted to isolate and not talk and turn away from society and people and love and everything. And he put all of that into my part. Bibi was the other part — maybe she was him, too — that wanted to connect, to understand.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A small film but a penetrating character study, \u003cem>Persona\u003c/em> marked a change in Bergman’s moviemaking as well as Ullmann’s breakthrough. While the director advised his stock company of Max von Sydow, Erland Josephson and Bibi and Harriet Andersson not to travel or take roles in big films, he wasn’t opposed when Ullmann did it.\u003c/p>\n\u003cp>“Ingmar would sometimes be asked, ‘What about Liv, and all this world fame she got suddenly?’ ‘Well, it doesn’t matter for her because she’ll always be this girl from Norway. That’s who she is,’” Ullmann recalls. “I think what we recognized in each other was that I was doing things that he would have liked to do but he just couldn’t. That’s why very quickly after I met him he decided to live on [the island of] Gotland.”\u003c/p>\n\u003cfigure id=\"attachment_13823282\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823282\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200.jpg\" alt=\"Liv Ullmann, Max von Sydow and Gertrud Fridh in 'Hour of the Wolf,' 1968.\" width=\"1200\" height=\"940\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-800x627.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-768x602.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-1020x799.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-1180x924.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-960x752.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-375x294.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-520x407.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Liv Ullmann, Max von Sydow and Gertrud Fridh in ‘Hour of the Wolf,’ 1968. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ullmann describes Bergman and his wife jetting to New York for one night in 1975 to see her play Nora onstage in Henrik Ibsen’s \u003cem>A Doll’s House\u003c/em>, which prompts a singularly incongruous anecdote.\u003c/p>\n\u003cp>“He came once to Los Angeles and thought maybe he would do a movie there, but he packed up immediately,” Ullmann says. “Barbra Streisand called him and said, ‘I’m having a swimming pool party tomorrow, just bring your bathing suit and come over.’ That’s when he decided he had to go home very, very, very quickly. Home, and to his island. That would have never happened to me, because I would have thought, ‘Oh, what fun. I’m going to do that.’”\u003c/p>\n\u003cp>The power of Ullmann’s acting derives from her bravery — her willingness to explore raw, painful situations — matched by an ability to express thoughts and emotions with extraordinary immediacy and transparency.\u003c/p>\n\u003cfigure id=\"attachment_13823288\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200.jpg\" alt=\"Liv Ullmann in 'Saraband,' 2003.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13823288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Liv Ullmann in ‘Saraband,’ 2003. \u003ccite>(Photo by Bengt Wanselius; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m not a character actor, because I can’t do this wonderful thing that [Gary Oldman], who played Churchill [in \u003cem>Darkest Hour\u003c/em>] did. But whoever I’m supposed to be, I can let the feelings of that person go through me but it all goes through Liv. It goes through the face. I don’t have to act. I can be, and that’s my way of being an actress,” she says.\u003c/p>\n\u003cp>Bergman certainly recognized, and appreciated, that quality in Ullmann over the course of the dozen films that they made together. But she suggests that it was her ability to recognize Bergman in her characters, without their discussing it, that he appreciated the most.\u003c/p>\n\u003cp>“Like all great directors, he doesn’t tell you what you’re feeling and where you came from and your background and all those things,” Ullmann says, referring to the late director in the present tense. “But you are never allowed to change the words, and he gave you wonderful blocking without explaining too much why you get up from the chair and you walk a little here, and there, and [say] these lines, and then you end up sitting in another corner on another chair. I would always think, ‘It’s not about [my character]. This is something about Ingmar.’”\u003c/p>\n\u003cp>A related memory comes unbid to Ullmann, making her pages of notes superfluous.\u003c/p>\n\u003cfigure id=\"attachment_13823283\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200.jpg\" alt=\"Ingmar Bergman on the set of 'Saraband,' 2003.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ingmar Bergman on the set of ‘Saraband,’ 2003. \u003ccite>(Photo by Bengt Wanselius; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I did a suicide scene in \u003cem>Face to Face\u003c/em> (1976) and he never told me what to do, except to take a lot of pills and end up on the bed where I was sitting and more or less die. The only thing he did was I heard him say to somebody, ‘Did you take away the sleeping pills and put sugar pills?’ He knew I heard it. So he gave me that private fantasy: ‘Oh, maybe they didn’t.’ But I was thinking, this is a suicide that Ingmar really would like to do. And that he would do in his mother’s home.”\u003c/p>\n\u003cp>Ullmann adds, “He never said, ‘thank you, thank you,’ so I just had to invent new things. But it was all in the framework of Ingmar. It’s very hard to explain, but that’s how it was.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Bergman 100: A Tribute to Liv Ullmann runs Feb. 1—24, 2018 at the Berkeley Art Museum and Pacific Film Archive. For more information, \u003ca href=\"https://bampfa.org/program/bergman-100-tribute-liv-ullmann\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "The great actress and director discusses Ingmar Bergman's influence on her career — and his aversion to Barbara Streisand's pool parties.",
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"headline": "Whose 'Muse?' Liv Ullmann Talks Bergman and Beyond",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As my phone interview with Liv Ullmann draws to a close, I hear papers rustling in her New York hotel room. “I had all these notes about Bergman,” she confides with a laugh, she never referred to them. So much the better, for the great actress (and accomplished director, in her own right) had been wondrously in the moment, drawing on a pinpoint memory to elucidate the essence of her alliance with the Swedish icon Ingmar Bergman.\u003c/p>\n\u003cp>“I had been an actress for seven years, [and] I felt that I had been an actress my whole life,” Ullmann says, recounting their meeting in the mid-1960s. “I had worked with one of his closest collaborators, Bibi Andersson, and I came to Stockholm to visit her. He was an incredible filmmaker in my mind already then. I met him on the street and he had heard about me and seen my films, and he said immediately, ‘I would like to work with you.’ Though that movie never happened, \u003cem>Persona\u003c/em> happened because of that meeting. I think he was very struck, standing there on the street with Bibi and with me, by our alikeness in the way we looked and in the way we talked.\u003c/p>\n\u003cfigure id=\"attachment_13823278\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823278\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12-.jpg\" alt=\"Liv Ullmann and Max Von Sydow in 'Shame,' 1968.\" width=\"1200\" height=\"962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12-.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--768x616.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--1020x818.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--1180x946.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--960x770.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--375x301.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--520x417.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Liv Ullmann and Max Von Sydow in ‘Shame,’ 1968. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When the picture I was supposed to be in was cancelled, Bibi and I went on a cultural tour to Poland and Czechoslovakia. We were told that Ingmar was ill and was in the hospital. But he always became ill when he didn’t want to do something. [In] Czechoslovakia we were told by the embassy that we had to come back to Sweden because he was well again and he had made a new script in the hospital, and that was \u003cem>Persona\u003c/em>.”\u003c/p>\n\u003cp>A harrowing portrayal of the identity and power dynamics between an actress who’s stopped speaking (Ullmann) and her nurse (Andersson), \u003cem>Persona\u003c/em> (1966) made international stars out of both actresses. It’s the natural choice to open \u003ca href=\"https://bampfa.org/program/bergman-100-tribute-liv-ullmann\" target=\"_blank\" rel=\"noopener\">Bergman 100: A Tribute to Liv Ullmann\u003c/a> on Thursday, Feb. 1, the first of five programs in BAMPFA’s year-long celebration of Bergman’s centennial.\u003c/p>\n\u003cp>Ullmann’s in-person appearances at BAMPFA, at this show and for \u003cem>Shame\u003c/em> (1968) on Feb. 3, are both sold out. Screenings have been added on Feb. 3 and 4, respectively, but she won’t be present. The \u003ca href=\"https://rafaelfilm.cafilm.org/liv-ullmann/\" target=\"_blank\" rel=\"noopener\">Smith Rafael Film Center\u003c/a> in San Rafael hosts Ullmann for an evening of conversation and clips on Feb. 2, and a discussion following \u003cem>Autumn Sonata\u003c/em> (1978) on Feb. 4. Ullmann will then introduce \u003cem>Faithless\u003c/em>, the 2000 film she directed from Bergman’s screenplay.\u003c/p>\n\u003cfigure id=\"attachment_13823284\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200.jpg\" alt=\"Liv Ullmann and Ingrid Bergman in 'Autumn Sonata,' 1978.\" width=\"1200\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-1180x791.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-520x348.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Liv Ullmann and Ingrid Bergman in ‘Autumn Sonata,’ 1978. \u003ccite>(Courtesy of BAMPFA )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was struck by something that he had seen with Bibi and me, and he built \u003cem>Persona\u003c/em> on that thing,” Ullmann says. “We never saw it as an incredible movie at the time. I was 25 years old, I didn’t really understand it and neither did Bibi, but we understood the feelings. I knew one thing very well, and that I was him. Not that I could verbalize what I knew or understood about him but I recognized him, and I think he recognized me. He was almost 50, he had come to a sad moment where he wanted to isolate and not talk and turn away from society and people and love and everything. And he put all of that into my part. Bibi was the other part — maybe she was him, too — that wanted to connect, to understand.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A small film but a penetrating character study, \u003cem>Persona\u003c/em> marked a change in Bergman’s moviemaking as well as Ullmann’s breakthrough. While the director advised his stock company of Max von Sydow, Erland Josephson and Bibi and Harriet Andersson not to travel or take roles in big films, he wasn’t opposed when Ullmann did it.\u003c/p>\n\u003cp>“Ingmar would sometimes be asked, ‘What about Liv, and all this world fame she got suddenly?’ ‘Well, it doesn’t matter for her because she’ll always be this girl from Norway. That’s who she is,’” Ullmann recalls. “I think what we recognized in each other was that I was doing things that he would have liked to do but he just couldn’t. That’s why very quickly after I met him he decided to live on [the island of] Gotland.”\u003c/p>\n\u003cfigure id=\"attachment_13823282\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823282\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200.jpg\" alt=\"Liv Ullmann, Max von Sydow and Gertrud Fridh in 'Hour of the Wolf,' 1968.\" width=\"1200\" height=\"940\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-800x627.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-768x602.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-1020x799.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-1180x924.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-960x752.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-375x294.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-520x407.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Liv Ullmann, Max von Sydow and Gertrud Fridh in ‘Hour of the Wolf,’ 1968. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ullmann describes Bergman and his wife jetting to New York for one night in 1975 to see her play Nora onstage in Henrik Ibsen’s \u003cem>A Doll’s House\u003c/em>, which prompts a singularly incongruous anecdote.\u003c/p>\n\u003cp>“He came once to Los Angeles and thought maybe he would do a movie there, but he packed up immediately,” Ullmann says. “Barbra Streisand called him and said, ‘I’m having a swimming pool party tomorrow, just bring your bathing suit and come over.’ That’s when he decided he had to go home very, very, very quickly. Home, and to his island. That would have never happened to me, because I would have thought, ‘Oh, what fun. I’m going to do that.’”\u003c/p>\n\u003cp>The power of Ullmann’s acting derives from her bravery — her willingness to explore raw, painful situations — matched by an ability to express thoughts and emotions with extraordinary immediacy and transparency.\u003c/p>\n\u003cfigure id=\"attachment_13823288\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200.jpg\" alt=\"Liv Ullmann in 'Saraband,' 2003.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13823288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Liv Ullmann in ‘Saraband,’ 2003. \u003ccite>(Photo by Bengt Wanselius; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m not a character actor, because I can’t do this wonderful thing that [Gary Oldman], who played Churchill [in \u003cem>Darkest Hour\u003c/em>] did. But whoever I’m supposed to be, I can let the feelings of that person go through me but it all goes through Liv. It goes through the face. I don’t have to act. I can be, and that’s my way of being an actress,” she says.\u003c/p>\n\u003cp>Bergman certainly recognized, and appreciated, that quality in Ullmann over the course of the dozen films that they made together. But she suggests that it was her ability to recognize Bergman in her characters, without their discussing it, that he appreciated the most.\u003c/p>\n\u003cp>“Like all great directors, he doesn’t tell you what you’re feeling and where you came from and your background and all those things,” Ullmann says, referring to the late director in the present tense. “But you are never allowed to change the words, and he gave you wonderful blocking without explaining too much why you get up from the chair and you walk a little here, and there, and [say] these lines, and then you end up sitting in another corner on another chair. I would always think, ‘It’s not about [my character]. This is something about Ingmar.’”\u003c/p>\n\u003cp>A related memory comes unbid to Ullmann, making her pages of notes superfluous.\u003c/p>\n\u003cfigure id=\"attachment_13823283\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200.jpg\" alt=\"Ingmar Bergman on the set of 'Saraband,' 2003.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ingmar Bergman on the set of ‘Saraband,’ 2003. \u003ccite>(Photo by Bengt Wanselius; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I did a suicide scene in \u003cem>Face to Face\u003c/em> (1976) and he never told me what to do, except to take a lot of pills and end up on the bed where I was sitting and more or less die. The only thing he did was I heard him say to somebody, ‘Did you take away the sleeping pills and put sugar pills?’ He knew I heard it. So he gave me that private fantasy: ‘Oh, maybe they didn’t.’ But I was thinking, this is a suicide that Ingmar really would like to do. And that he would do in his mother’s home.”\u003c/p>\n\u003cp>Ullmann adds, “He never said, ‘thank you, thank you,’ so I just had to invent new things. But it was all in the framework of Ingmar. It’s very hard to explain, but that’s how it was.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Bergman 100: A Tribute to Liv Ullmann runs Feb. 1—24, 2018 at the Berkeley Art Museum and Pacific Film Archive. For more information, \u003ca href=\"https://bampfa.org/program/bergman-100-tribute-liv-ullmann\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
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