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"content": "\u003cp>It’s a heartbreaking week for artists and venues in the North Bay, with the fires still raging in Sonoma, Napa and Mendocino. Electronic music pioneer \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/bernie-krauses-equipment-decades-of-musical-memorabilia-lost-in-fires/\" target=\"_blank\" rel=\"noopener\">Bernie Krause lost his home\u003c/a>, all his equipment and his two cats. The \u003ca href=\"https://www.facebook.com/pg/lutherburbankcenter/posts/?ref=page_internal\" target=\"_blank\" rel=\"noopener\">Luther Burbank Center in Santa Rosa suffered some damage\u003c/a>, and along with the \u003ca href=\"https://www.facebook.com/search/str/Green+music+Center/keywords_blended_featured_posts?esd=eyJlc2lkIjoiUzpfSTEzOTcwNzI4Mjc0ODk0ODpWSzo1MjQzNjc2MTEyMzEwNDgiLCJwc2lkIjp7IjEzOTcwNzI4Mjc0ODk0ODo1MjQzNjc2MTEyMzEwNDgiOiJVenBmU1RFek9UY3dOekk0TWpjME9EazBPRHBXU3pvMU1qUXpOamMyTVRFeU16RXdORGc9In0sImNyY3QiOiJ0ZXh0IiwiY3NpZCI6IjA2NjE0OTVlZmM1N2Q1NmJiY2VhY2YzYzg0YjA0ZWNiIn0%3D\" target=\"_blank\" rel=\"noopener\">Green Music Center\u003c/a> and other venues, remains closed indefinitely. Same for the di Rosa in Napa, the Napa Museum, and the Napa Valley Performing Arts Center. The \u003ca href=\"http://www.mystictheatre.com/\" target=\"_blank\" rel=\"noopener\">Mystic Theatre in Petaluma\u003c/a> opened its doors as a shelter, but resumes programming on Friday (Oct. 13).\u003c/p>\n\u003cp>The\u003ca href=\"https://www.facebook.com/pg/hopmonksebastopol/posts/?ref=page_internal\" target=\"_blank\" rel=\"noopener\"> Hop Monk Taverns\u003c/a> in Sonoma and Sebastopol are canceling weekend music shows, but owner Dean Biersch says they’re still hoping to do a Sunday show with John Doe of the band X at their Novato venue, depending on air quality. \u003ca href=\"https://www.facebook.com/winecountryspokenwordfestival/\" target=\"_blank\" rel=\"noopener\">The Inaugural Wine Country Spoken Word Festival\u003c/a> is offering a special rate of five dollars for tickets to their Ghost Stories event at \u003ca href=\"http://brewstersbeergarden.com/\" target=\"_blank\" rel=\"noopener\">Brewsters Beer Garden\u003c/a> in Petaluma (Oct. 13), and for their shows on Saturday (Oct. 14), with half the proceeds to be donated to fire victims and their families. Our thoughts are with you all you.\u003c/p>\n\u003cp>Meanwhile here’s our show, a refuge against stress, of joy through art, in the midst of tragedy, with my colleague, Interactive Producer Kevin Jones, as co-host.\u003c/p>\n\u003cp>\u003cstrong>Oct. 20-21:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/soul-music-that-drifts-through-space/\" target=\"_blank\" rel=\"noopener\">Nick Hakim plays trippy soul music that seems to drift through space at a pair of gigs in San Francisco and Oakland.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 12-22: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/a-play-about-syrian-refugees-told-through-the-language-of-food/\" target=\"_blank\" rel=\"noopener\">The play \u003cem>My Sweet Land\u003c/em> presents its tale of Syrian refugees in home and community kitchens through the cooking of a batch of kibbeh.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Oct. 14\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/a-celebration-of-culture-that-unites-the-two-koreas/\" target=\"_blank\" rel=\"noopener\">Concerts and seminars at U.C. Santa Cruz and U.C. Berkeley present music from a united Korean culture from before the country divided.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 7-Jan. 21, 2018\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/an-inflatable-sculpture-designed-to-fight-existential-dread/\" target=\"_blank\" rel=\"noopener\">An inflatable sculpture at the Oakland Museum of California battles existential dread.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 14:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/fantastic-negrito-makes-music-about-our-times-and-troubles/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito makes music to inspire and unite.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 18 & 19: \u003c/strong>MacArthur Fellow and writer Viet Thanh Nguyen (\u003cem>The Sympathizer\u003c/em>) speaks at \u003ca href=\"http://www.litart.org/viet-thanh-nguyen/\" target=\"_blank\" rel=\"noopener\">San Jose State Oct. 18 \u003c/a>and at \u003ca href=\"https://lwcal.scu.edu/index.php#!event_id/37896/view/event/date/20171019\" target=\"_blank\" rel=\"noopener\">Santa Clara University Oct. 19.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct 13, 14: \u003c/strong>\u003ca href=\"https://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=316725~983c845f-a11a-4407-a254-d45cc3fdaab3&epguid=a1ad63af-e5ba-48a3-940d-9a52532417fb&\" target=\"_blank\" rel=\"noopener\">The documentary \u003cem>On the Sly: In Search of the Family Stone \u003c/em>plays at the Mill Valley Film Festival \u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 14\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/a-celebration-of-culture-that-unites-the-two-koreas/\" target=\"_blank\" rel=\"noopener\">Concerts and seminars at U.C. Santa Cruz and U.C. Berkeley present music from a united Korean culture from before the country divided.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 7-Jan. 21, 2018\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/an-inflatable-sculpture-designed-to-fight-existential-dread/\" target=\"_blank\" rel=\"noopener\">An inflatable sculpture at the Oakland Museum of California battles existential dread.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 14:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/fantastic-negrito-makes-music-about-our-times-and-troubles/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito makes music to inspire and unite.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 18 & 19: \u003c/strong>MacArthur Fellow and writer Viet Thanh Nguyen (\u003cem>The Sympathizer\u003c/em>) speaks at \u003ca href=\"http://www.litart.org/viet-thanh-nguyen/\" target=\"_blank\" rel=\"noopener\">San Jose State Oct. 18 \u003c/a>and at \u003ca href=\"https://lwcal.scu.edu/index.php#!event_id/37896/view/event/date/20171019\" target=\"_blank\" rel=\"noopener\">Santa Clara University Oct. 19.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct 13, 14: \u003c/strong>\u003ca href=\"https://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=316725~983c845f-a11a-4407-a254-d45cc3fdaab3&epguid=a1ad63af-e5ba-48a3-940d-9a52532417fb&\" target=\"_blank\" rel=\"noopener\">The documentary \u003cem>On the Sly: In Search of the Family Stone \u003c/em>plays at the Mill Valley Film Festival \u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I am a Vietnamese American, a refugee, and I grew up learning about the Vietnam War the same way most people do here: through movies like \u003cem>Platoon\u003c/em> and \u003cem>Born on the Fourth of July\u003c/em> and \u003cem>Forrest Gump\u003c/em>, and during the brief amount of time spent on the war in history classes. Everything I learned focused on American lives lost and on how the war divided America. No one dwelled on Vietnamese lives lost. People talked about Vietnam as an object, a strategy, a source of tragic upheaval. There was no idea of it without war.\u003c/p>\n\u003cp>My family had been refugees twice. The first time was in 1954, when they left Hanoi for Saigon. Then my father and his three brothers became soldiers in the South Vietnamese Army. They weren’t high-ranking officials who might have been promised evacuation (promises, we now know, that would have been hollow). Yet on April 29, 1975, the night before the end of Saigon, they found a way out — a boat on the river that would take them to a naval ship in the South China Seas.\u003c/p>\n\u003cp>We became refugees. I was 8 months old; my sister was 2 years old. We would grow up in the American Midwest, with another language and culture.\u003c/p>\n\u003cp>Imagine realizing you have to leave your country. Not just your house and home but your entire country. Imagine leaving in the night, in a city gripped with panic and chaos. You don’t know where you will go or if you will even survive. But you know that it is safer to try than it is to stay. So you leave everything you’ve known. You take what you can and you go.\u003c/p>\n\u003cfigure id=\"attachment_13811061\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811061\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/grandmother-children-800x1076.jpg\" alt=\"Nguyen's grandmother with her children, not too long after they moved from the north to the south in 1954\" width=\"800\" height=\"1076\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-800x1076.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-160x215.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-768x1033.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-1020x1372.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-1180x1587.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-960x1291.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-240x323.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-375x504.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-520x699.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nguyen’s grandmother with her children, not too long after they moved from the north to the south in 1954 \u003ccite>(Courtesy of Beth Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I told myself I had to watch \u003cem>The Vietnam War\u003c/em> by Ken Burns and Lynn Novick because it would surely be hailed as “definitive” (which it has been by several reviewers) and because I needed to understand what much of America would think and see as “definitive.” I didn’t want to watch. I didn’t want to face what I knew would come: 18 hours that focused mainly on (white) American pain and relegated Vietnamese people, as ever, to being secondary in their own story.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Most people in the United States who, like me, have ideas of Vietnam informed by Hollywood, are used to seeing Vietnamese people depicted and referred to as gooks, violent guerillas, and whores. This is so expected that I fear it’s what people actually believe.\u003c/p>\n\u003cp>\u003cem>The Vietnam War\u003c/em> doesn’t quite dispel this notion, but Burns and Novick do bring in commentary from both North Vietnamese and South Vietnamese people. This inclusion of Vietnamese voices has been lauded, but maybe that’s because prior texts on the war are so lacking in Vietnamese voices that any inclusion is seen as a profound advancement. Still, the film heavily favors white American voices. And while it doesn’t avoid violence, it does try to avoid discussing inherent racism on the part of the Americans and, except for a section on My Lai, issues of sexual assault, rape, and the treatment of women. It mentions, in one sentence, the thousands of half-American children who were left in Vietnam after U.S. troops left.\u003c/p>\n\u003cp>I keep saying to people that the documentary should be subtitled “The American Experience” (or more accurately, “The Mostly White American Experience”). But perhaps that would be redundant. I do not think that the filmmakers intended offense, in the way that most good liberals never intend offense. It’s more that their perspective is so trenchant, so supported, that they seem to have had no need to reconsider it.\u003c/p>\n\u003cp>So I watched the first episode as it premiered. Within the first ten minutes, the filmmakers opt for a strange reverse-sequence of events. We see the famous image of the naked, napalmed Vietnamese girl, running backward instead of forward. We see helicopters coming up from the water instead of being pushed into it. I suppose these reversed moments could be seen as a literal notion of rewind, a way to start at the beginning. But the visual result is awkward and even accidentally mocking. The rest of the episode is worse. At first, it seems that the filmmakers will provide a history of Vietnam, possibly covering the complicated history of colonization. Yet the filmmakers interject this history with flash-forwards to images of combat in 1960s, when the U.S. is very much involved in Vietnam. The message is clear: the Americans think of the war as their experience; the history of Vietnam on its own doesn’t matter. To me, it feels like the same erasure or diminishment of the Vietnamese experience that we have always seen.\u003c/p>\n\u003cfigure id=\"attachment_13811060\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811060\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-800x1161.jpg\" alt=\"Nguyen's uncle in the United States\" width=\"800\" height=\"1161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-800x1161.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-768x1115.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-1020x1481.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-960x1394.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-240x348.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-375x544.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-520x755.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nguyen’s uncle in the United States \u003ccite>(Courtesy of Beth Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, I had resolved to watch this entire series. I tried to focus on the footage and photos, which are extraordinary and prove once again how heroic and necessary journalists are. I tried to focus, too, on what I could learn. I found myself wanting to hear so much more from Bao Ninh, author of \u003cem>The Sorrow of War\u003c/em>, who provides beautiful and moving commentary throughout the series. I wanted to hear more from African American soldiers and non-white soldiers, who had to endure racism no matter their rank and no matter where they went. I wished for a more explicit discussion of how much U.S. involvement hinged on the fear of Communism spreading and its toxic masculinity, and how the Americans could not bear the thought of losing or surrendering, so they kept going even when they knew they shouldn’t. I tried to focus on all the now-iconic music that emerged from the Vietnam war era. (Much of it now seems cliché but that’s not the music’s fault.) I was glad to take a break from the violent images to consider presidential power, protest power, and Nixon’s idea of the “silent majority.”\u003c/p>\n\u003cp>Though no Vietnamese person in this 18-hour documentary gets a profile on a scale equal to any white American who is profiled, I tried to get as much as I could from their limited time on screen. What it was like to be North Vietnamese during the war? What it was like to be South Vietnamese during the war? I kept hoping to see more commentary from those who fought, especially on the South Vietnamese side, but that hope was not fulfilled.\u003c/p>\n\u003cp>It is painful to hear Lyndon Johnson saying, “There ain’t no daylight in Vietnam.” To hear Kissinger say to Nixon that soon Vietnam will be a backwater. To hear Maj. Charles Beckwith quoted as saying, “You can shoot the little brown men outside the wire. You may not shoot the little brown men inside the wire. They are mine.” It is difficult to hear a U.S. veteran say about those left dead after a battle: “I wouldn’t let the Vietnamese touch the Americans.”\u003c/p>\n\u003cp>This is not painful because it is new information but because the words, spoken out loud, confirm what I’ve always known — what I’ve always read in the faces of so many white Americans. As a Vietnamese refugee says in the documentary about the humiliation of loss: “I carry that humiliation with me to the United States, when I get in line to sign up for jobs. I remind them of the war in Vietnam, which the Americans hate.”\u003c/p>\n\u003cp>The Americans were not in Vietnam, fighting a war, for the love of Vietnamese people — the American soldiers were fighting because they’d been told to. In episode three, a screen image of a once-top secret plan of action document shows that 70 percent of U.S. aims were “to avoid a humiliating U.S. defeat (to our reputation).” To the Americans, the South Vietnamese will always be seen as incompetent and corrupt, while the Americans were supposed to be the providers and the saviors. And when that failed, they didn’t know what to do. Failure and retreat go against all the exceptionalism we are taught in American schools.\u003c/p>\n\u003cfigure id=\"attachment_13811058\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811058\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Dad-motorcycle-800x1138.jpg\" alt=\"Nguyen's dad with a motorcycle in Vietnam\" width=\"800\" height=\"1138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dad-motorcycle-800x1138.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dad-motorcycle-160x228.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dad-motorcycle-768x1092.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dad-motorcycle-240x341.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dad-motorcycle-375x533.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dad-motorcycle-520x740.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dad-motorcycle.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nguyen: “My dad and the motorcycle he would end up using to get us to the Saigon river where we would find passage toward refugee life” \u003ccite>(Courtesy of Beth Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The last episode of the series spends fewer than 15 minutes on the refugee crisis and what life was in like in Vietnam after 1975. Any sense of reconciliation or “healing” — that old phrase “healing wounds” is invoked more than once — is for the Americans. You can do aerial shots of a country that is green again, the scorch of napalm replaced by new growth. You can do pans of a city in the midst of bustle. It can look like the present, the future — it can look like reconciliation. Plenty of time is given to the Vietnam Veterans Memorial in Washington DC and the experience of U.S. soldiers who visit it. More time is given to the stories of soldiers who returned to Vietnam, twenty years after the end of the war, to see former battlegrounds and to shake hands and smile with former enemies. It is beyond jarring, beyond disconcerting, to see this after so many hours of violence.\u003c/p>\n\u003cp>And so the Americans can get a little more healing. As for the Vietnamese… Well, it’s unclear. Their lives and experiences aren’t given as much space for viewers to find out. Vietnam may exist on its own now but the Americans still view it through their own lens: as a place for closure or tourism or commerce. The country, as ever, matters only in terms of what it can do for the Americans.\u003c/p>\n\u003cp>In \u003cem>The Vietnam War\u003c/em>, white American men get the first and last words in the film, and most of the profiles and words in between. In the United States, I grew up understanding that no Vietnamese life is worth the same as an American life; that over two million Vietnamese dead is always overshadowed by 58,000 U.S. soldiers dead. I grew up respecting U.S. veterans but seeing no respect given to Vietnamese veterans.\u003c/p>\n\u003cp>For years, even still, people have asked me what “side” my family was on. The question always baffles me. Isn’t it obvious that if we’re in the United States as refugees, having lost a war and a country — isn’t it obvious what “side” we were on? Somehow, many Americans still don’t know the history of what in Vietnam is called The American War. Burns and Novick had a chance to change that in a more substantial, equitable way, one that did not fall back on the same old assumption that the American perspective must be dominant.\u003c/p>\n\u003cp>My father, a veteran — a South Vietnamese who found a way for his family to leave Saigon, who has been here for decades now and has grown his family and his community, does not want to watch this documentary. I can’t blame him. The film tells us to feel sorry for the Vietnamese, but it demands that we feel for the Americans.\u003c/p>\n\u003cp>My father and my uncles and every Vietnamese refugee in America live with the shame that Americans feel about the war in Vietnam. We are seen as reminders of that shame, and we are asked to bear it with no word in return except gratitude. I remind them of the war in Vietnam, which the Americans hate. I have felt this my whole life.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003cbr>\n\u003ca href=\"http://www.bichminhnguyen.com/about-me/\" target=\"_blank\" rel=\"noopener noreferrer\">Beth Nguyen \u003c/a>is the author of three books, including ‘Stealing Buddha’s Dinner.’ She teaches in and directs the MFA in Writing Program at the University of San Francisco.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To see more stories and photographs from KQED’s series about the impact of the Vietnam War on the Bay Area and other communities in California, visit \u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\" target=\"_blank\" rel=\"noopener noreferrer\">kqed.org/vietnamwar\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I am a Vietnamese American, a refugee, and I grew up learning about the Vietnam War the same way most people do here: through movies like \u003cem>Platoon\u003c/em> and \u003cem>Born on the Fourth of July\u003c/em> and \u003cem>Forrest Gump\u003c/em>, and during the brief amount of time spent on the war in history classes. Everything I learned focused on American lives lost and on how the war divided America. No one dwelled on Vietnamese lives lost. People talked about Vietnam as an object, a strategy, a source of tragic upheaval. There was no idea of it without war.\u003c/p>\n\u003cp>My family had been refugees twice. The first time was in 1954, when they left Hanoi for Saigon. Then my father and his three brothers became soldiers in the South Vietnamese Army. They weren’t high-ranking officials who might have been promised evacuation (promises, we now know, that would have been hollow). Yet on April 29, 1975, the night before the end of Saigon, they found a way out — a boat on the river that would take them to a naval ship in the South China Seas.\u003c/p>\n\u003cp>We became refugees. I was 8 months old; my sister was 2 years old. We would grow up in the American Midwest, with another language and culture.\u003c/p>\n\u003cp>Imagine realizing you have to leave your country. Not just your house and home but your entire country. Imagine leaving in the night, in a city gripped with panic and chaos. You don’t know where you will go or if you will even survive. But you know that it is safer to try than it is to stay. So you leave everything you’ve known. You take what you can and you go.\u003c/p>\n\u003cfigure id=\"attachment_13811061\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811061\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/grandmother-children-800x1076.jpg\" alt=\"Nguyen's grandmother with her children, not too long after they moved from the north to the south in 1954\" width=\"800\" height=\"1076\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-800x1076.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-160x215.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-768x1033.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-1020x1372.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-1180x1587.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-960x1291.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-240x323.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-375x504.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-520x699.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nguyen’s grandmother with her children, not too long after they moved from the north to the south in 1954 \u003ccite>(Courtesy of Beth Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I told myself I had to watch \u003cem>The Vietnam War\u003c/em> by Ken Burns and Lynn Novick because it would surely be hailed as “definitive” (which it has been by several reviewers) and because I needed to understand what much of America would think and see as “definitive.” I didn’t want to watch. I didn’t want to face what I knew would come: 18 hours that focused mainly on (white) American pain and relegated Vietnamese people, as ever, to being secondary in their own story.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most people in the United States who, like me, have ideas of Vietnam informed by Hollywood, are used to seeing Vietnamese people depicted and referred to as gooks, violent guerillas, and whores. This is so expected that I fear it’s what people actually believe.\u003c/p>\n\u003cp>\u003cem>The Vietnam War\u003c/em> doesn’t quite dispel this notion, but Burns and Novick do bring in commentary from both North Vietnamese and South Vietnamese people. This inclusion of Vietnamese voices has been lauded, but maybe that’s because prior texts on the war are so lacking in Vietnamese voices that any inclusion is seen as a profound advancement. Still, the film heavily favors white American voices. And while it doesn’t avoid violence, it does try to avoid discussing inherent racism on the part of the Americans and, except for a section on My Lai, issues of sexual assault, rape, and the treatment of women. It mentions, in one sentence, the thousands of half-American children who were left in Vietnam after U.S. troops left.\u003c/p>\n\u003cp>I keep saying to people that the documentary should be subtitled “The American Experience” (or more accurately, “The Mostly White American Experience”). But perhaps that would be redundant. I do not think that the filmmakers intended offense, in the way that most good liberals never intend offense. It’s more that their perspective is so trenchant, so supported, that they seem to have had no need to reconsider it.\u003c/p>\n\u003cp>So I watched the first episode as it premiered. Within the first ten minutes, the filmmakers opt for a strange reverse-sequence of events. We see the famous image of the naked, napalmed Vietnamese girl, running backward instead of forward. We see helicopters coming up from the water instead of being pushed into it. I suppose these reversed moments could be seen as a literal notion of rewind, a way to start at the beginning. But the visual result is awkward and even accidentally mocking. The rest of the episode is worse. At first, it seems that the filmmakers will provide a history of Vietnam, possibly covering the complicated history of colonization. Yet the filmmakers interject this history with flash-forwards to images of combat in 1960s, when the U.S. is very much involved in Vietnam. The message is clear: the Americans think of the war as their experience; the history of Vietnam on its own doesn’t matter. To me, it feels like the same erasure or diminishment of the Vietnamese experience that we have always seen.\u003c/p>\n\u003cfigure id=\"attachment_13811060\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811060\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-800x1161.jpg\" alt=\"Nguyen's uncle in the United States\" width=\"800\" height=\"1161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-800x1161.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-768x1115.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-1020x1481.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-960x1394.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-240x348.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-375x544.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-520x755.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nguyen’s uncle in the United States \u003ccite>(Courtesy of Beth Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, I had resolved to watch this entire series. I tried to focus on the footage and photos, which are extraordinary and prove once again how heroic and necessary journalists are. I tried to focus, too, on what I could learn. I found myself wanting to hear so much more from Bao Ninh, author of \u003cem>The Sorrow of War\u003c/em>, who provides beautiful and moving commentary throughout the series. I wanted to hear more from African American soldiers and non-white soldiers, who had to endure racism no matter their rank and no matter where they went. I wished for a more explicit discussion of how much U.S. involvement hinged on the fear of Communism spreading and its toxic masculinity, and how the Americans could not bear the thought of losing or surrendering, so they kept going even when they knew they shouldn’t. I tried to focus on all the now-iconic music that emerged from the Vietnam war era. (Much of it now seems cliché but that’s not the music’s fault.) I was glad to take a break from the violent images to consider presidential power, protest power, and Nixon’s idea of the “silent majority.”\u003c/p>\n\u003cp>Though no Vietnamese person in this 18-hour documentary gets a profile on a scale equal to any white American who is profiled, I tried to get as much as I could from their limited time on screen. What it was like to be North Vietnamese during the war? What it was like to be South Vietnamese during the war? I kept hoping to see more commentary from those who fought, especially on the South Vietnamese side, but that hope was not fulfilled.\u003c/p>\n\u003cp>It is painful to hear Lyndon Johnson saying, “There ain’t no daylight in Vietnam.” To hear Kissinger say to Nixon that soon Vietnam will be a backwater. To hear Maj. Charles Beckwith quoted as saying, “You can shoot the little brown men outside the wire. You may not shoot the little brown men inside the wire. They are mine.” It is difficult to hear a U.S. veteran say about those left dead after a battle: “I wouldn’t let the Vietnamese touch the Americans.”\u003c/p>\n\u003cp>This is not painful because it is new information but because the words, spoken out loud, confirm what I’ve always known — what I’ve always read in the faces of so many white Americans. As a Vietnamese refugee says in the documentary about the humiliation of loss: “I carry that humiliation with me to the United States, when I get in line to sign up for jobs. I remind them of the war in Vietnam, which the Americans hate.”\u003c/p>\n\u003cp>The Americans were not in Vietnam, fighting a war, for the love of Vietnamese people — the American soldiers were fighting because they’d been told to. In episode three, a screen image of a once-top secret plan of action document shows that 70 percent of U.S. aims were “to avoid a humiliating U.S. defeat (to our reputation).” To the Americans, the South Vietnamese will always be seen as incompetent and corrupt, while the Americans were supposed to be the providers and the saviors. And when that failed, they didn’t know what to do. Failure and retreat go against all the exceptionalism we are taught in American schools.\u003c/p>\n\u003cfigure id=\"attachment_13811058\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811058\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Dad-motorcycle-800x1138.jpg\" alt=\"Nguyen's dad with a motorcycle in Vietnam\" width=\"800\" height=\"1138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dad-motorcycle-800x1138.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dad-motorcycle-160x228.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dad-motorcycle-768x1092.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dad-motorcycle-240x341.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dad-motorcycle-375x533.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dad-motorcycle-520x740.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dad-motorcycle.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nguyen: “My dad and the motorcycle he would end up using to get us to the Saigon river where we would find passage toward refugee life” \u003ccite>(Courtesy of Beth Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The last episode of the series spends fewer than 15 minutes on the refugee crisis and what life was in like in Vietnam after 1975. Any sense of reconciliation or “healing” — that old phrase “healing wounds” is invoked more than once — is for the Americans. You can do aerial shots of a country that is green again, the scorch of napalm replaced by new growth. You can do pans of a city in the midst of bustle. It can look like the present, the future — it can look like reconciliation. Plenty of time is given to the Vietnam Veterans Memorial in Washington DC and the experience of U.S. soldiers who visit it. More time is given to the stories of soldiers who returned to Vietnam, twenty years after the end of the war, to see former battlegrounds and to shake hands and smile with former enemies. It is beyond jarring, beyond disconcerting, to see this after so many hours of violence.\u003c/p>\n\u003cp>And so the Americans can get a little more healing. As for the Vietnamese… Well, it’s unclear. Their lives and experiences aren’t given as much space for viewers to find out. Vietnam may exist on its own now but the Americans still view it through their own lens: as a place for closure or tourism or commerce. The country, as ever, matters only in terms of what it can do for the Americans.\u003c/p>\n\u003cp>In \u003cem>The Vietnam War\u003c/em>, white American men get the first and last words in the film, and most of the profiles and words in between. In the United States, I grew up understanding that no Vietnamese life is worth the same as an American life; that over two million Vietnamese dead is always overshadowed by 58,000 U.S. soldiers dead. I grew up respecting U.S. veterans but seeing no respect given to Vietnamese veterans.\u003c/p>\n\u003cp>For years, even still, people have asked me what “side” my family was on. The question always baffles me. Isn’t it obvious that if we’re in the United States as refugees, having lost a war and a country — isn’t it obvious what “side” we were on? Somehow, many Americans still don’t know the history of what in Vietnam is called The American War. Burns and Novick had a chance to change that in a more substantial, equitable way, one that did not fall back on the same old assumption that the American perspective must be dominant.\u003c/p>\n\u003cp>My father, a veteran — a South Vietnamese who found a way for his family to leave Saigon, who has been here for decades now and has grown his family and his community, does not want to watch this documentary. I can’t blame him. The film tells us to feel sorry for the Vietnamese, but it demands that we feel for the Americans.\u003c/p>\n\u003cp>My father and my uncles and every Vietnamese refugee in America live with the shame that Americans feel about the war in Vietnam. We are seen as reminders of that shame, and we are asked to bear it with no word in return except gratitude. I remind them of the war in Vietnam, which the Americans hate. I have felt this my whole life.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003cbr>\n\u003ca href=\"http://www.bichminhnguyen.com/about-me/\" target=\"_blank\" rel=\"noopener noreferrer\">Beth Nguyen \u003c/a>is the author of three books, including ‘Stealing Buddha’s Dinner.’ She teaches in and directs the MFA in Writing Program at the University of San Francisco.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>To see more stories and photographs from KQED’s series about the impact of the Vietnam War on the Bay Area and other communities in California, visit \u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\" target=\"_blank\" rel=\"noopener noreferrer\">kqed.org/vietnamwar\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ai Weiwei’s ambitious and valuable documentary \u003cem>Human Flow\u003c/em> (opening Oct. 20) confronts the viewer with the enormous number of refugees in our world. There are many, many catalysts, but the U.S. invasion of Iraq (and its aftermath) and the civil war in Syria deserve special mention for impelling hundreds of thousands of people to flee their homes. In what’s likely to be one of the most sobering programs in the \u003ca href=\"http://fest.arabfilmfestival.org/2017/\" rel=\"noopener\" target=\"_blank\">Arab Film Festival\u003c/a> (Oct. 13-22 in San Francisco, Berkeley and Oakland), “Refugee Stories: Migration, Displacement, Hope” (Oct. 18 at the New Parkway) collects five short documentary portraits that distill the humanity from the headlines.\u003c/p>\n\u003cfigure id=\"attachment_13810875\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/nilehilton_1200.jpg\" alt=\"Still from 'The Nile Hilton Incident.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13810875\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Nile Hilton Incident.’ \u003ccite>(Courtesy of the Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A form of displacement, as well as varying degrees of alienation, gnaw at the three vibrant Palestinian women sharing a Tel Aviv flat in writer-director Maysaloun Hamoud’s acclaimed feature debut, \u003cem>In Between\u003c/em> (Oct. 14 at the Roxie). Another behind-the-headlines saga, \u003cem>The Nile Hilton Incident\u003c/em> (also Oct. 14 at the Roxie), follows a corrupt Egyptian cop whose murder investigation leads to rarefied circles of power. (If you hadn’t noticed, the crime thriller has become the international go-to genre for examining institutional and governmental malfeasance.)\u003c/p>\n\u003cp>Clearly, the Arab Film Festival does not shy away from serious subjects. For something in a lighter vein, the opening night film Oct. 13 at the Castro, \u003cem>Solitaire\u003c/em> (\u003cem>Mahbas\u003c/em>), is a barbed comedy about a Lebanese woman’s efforts to derail the engagement of her daughter to a — wait for it — Syrian. The beat of reality, from decades-old war wounds to the present-day refugee crisis, underscores the high jinks. Dare we root for a happy ending?\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>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ai Weiwei’s ambitious and valuable documentary \u003cem>Human Flow\u003c/em> (opening Oct. 20) confronts the viewer with the enormous number of refugees in our world. There are many, many catalysts, but the U.S. invasion of Iraq (and its aftermath) and the civil war in Syria deserve special mention for impelling hundreds of thousands of people to flee their homes. In what’s likely to be one of the most sobering programs in the \u003ca href=\"http://fest.arabfilmfestival.org/2017/\" rel=\"noopener\" target=\"_blank\">Arab Film Festival\u003c/a> (Oct. 13-22 in San Francisco, Berkeley and Oakland), “Refugee Stories: Migration, Displacement, Hope” (Oct. 18 at the New Parkway) collects five short documentary portraits that distill the humanity from the headlines.\u003c/p>\n\u003cfigure id=\"attachment_13810875\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/nilehilton_1200.jpg\" alt=\"Still from 'The Nile Hilton Incident.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13810875\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Nile Hilton Incident.’ \u003ccite>(Courtesy of the Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A form of displacement, as well as varying degrees of alienation, gnaw at the three vibrant Palestinian women sharing a Tel Aviv flat in writer-director Maysaloun Hamoud’s acclaimed feature debut, \u003cem>In Between\u003c/em> (Oct. 14 at the Roxie). Another behind-the-headlines saga, \u003cem>The Nile Hilton Incident\u003c/em> (also Oct. 14 at the Roxie), follows a corrupt Egyptian cop whose murder investigation leads to rarefied circles of power. (If you hadn’t noticed, the crime thriller has become the international go-to genre for examining institutional and governmental malfeasance.)\u003c/p>\n\u003cp>Clearly, the Arab Film Festival does not shy away from serious subjects. For something in a lighter vein, the opening night film Oct. 13 at the Castro, \u003cem>Solitaire\u003c/em> (\u003cem>Mahbas\u003c/em>), is a barbed comedy about a Lebanese woman’s efforts to derail the engagement of her daughter to a — wait for it — Syrian. The beat of reality, from decades-old war wounds to the present-day refugee crisis, underscores the high jinks. Dare we root for a happy ending?\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": "\u003cp>Hollywood mogul Harvey Weinstein is taking a leave of absence from his company following a \u003cem>New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=a-lede-package-region®ion=top-news&WT.nav=top-news\" target=\"_blank\" rel=\"noopener\">story\u003c/a> that he sexually harassed female assistants, executives and actresses for decades. The\u003cem> Times\u003c/em> report also says Weinstein settled complaints with at least eight women.\u003c/p>\n\u003cp>Weinstein is one of the most powerful men in Hollywood. He co-founded Miramax, which has produced such Academy Award-winning films as \u003cem>Pulp Fiction, Chicago, The English Patient\u003c/em> and \u003cem>Shakespeare in Love.\u003c/em> He and his brother, Bob, head The Weinstein Co. Along with movies, the Weinsteins have produced a number of Tony Award-winning shows on Broadway.\u003c/p>\n\u003cp>Harvey Weinstein is also known for his temper and, the \u003cem>Times\u003c/em> story says, his inappropriate behavior toward women has been discussed within his companies for years. The story begins with actress Ashley Judd being invited to what she thought was a business breakfast with Weinstein at the Peninsula Hotel in Los Angeles. Instead, she says, she was sent to his room where he asked her to give him a massage or watch him shower.\u003c/p>\n\u003cp>“How do I get out of the room as fast as possible without alienating Harvey Weinstein?” Judd is quoted as saying in the article.\u003c/p>\n\u003cp>Weinstein \u003ca href=\"https://www.nytimes.com/interactive/2017/10/05/us/statement-from-harvey-weinstein.html\" target=\"_blank\" rel=\"noopener\">released a statement\u003c/a> in response to the allegations. He apologizes for some of his behavior by saying that times have changed since he began in the movie business:\u003c/p>\n\u003cblockquote>\n\u003cp>“I came of age in the 60’s and 70’s, when all the rules about behavior and workplaces were different. That was the culture then.\u003c/p>\n\u003cp>I have since learned it’s not an excuse, in the office — or out of it. To anyone.\u003c/p>\n\u003cp>I realized some time ago that I needed to be a better person and my interactions with the people I work with have changed.\u003c/p>\n\u003cp>I appreciate the way I’ve behaved with colleagues in the past has caused a lot of pain, and I sincerely apologize for it.”\u003c/p>\n\u003c/blockquote>\n\u003cp>At the same time, one of Weinstein’s lawyers, Lisa Bloom, released a statement saying “he denies many of the accusations as patently false.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Weinstein says he will take time to “conquer his demons.” He also says he will use the time to fight the National Rifle Association. Weinstein is a longtime donor to Democratic candidates and liberal causes. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Amid+Harassment+Reports%2C+Harvey+Weinstein+Takes+Leave+Of+Absence&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hollywood mogul Harvey Weinstein is taking a leave of absence from his company following a \u003cem>New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=a-lede-package-region®ion=top-news&WT.nav=top-news\" target=\"_blank\" rel=\"noopener\">story\u003c/a> that he sexually harassed female assistants, executives and actresses for decades. The\u003cem> Times\u003c/em> report also says Weinstein settled complaints with at least eight women.\u003c/p>\n\u003cp>Weinstein is one of the most powerful men in Hollywood. He co-founded Miramax, which has produced such Academy Award-winning films as \u003cem>Pulp Fiction, Chicago, The English Patient\u003c/em> and \u003cem>Shakespeare in Love.\u003c/em> He and his brother, Bob, head The Weinstein Co. Along with movies, the Weinsteins have produced a number of Tony Award-winning shows on Broadway.\u003c/p>\n\u003cp>Harvey Weinstein is also known for his temper and, the \u003cem>Times\u003c/em> story says, his inappropriate behavior toward women has been discussed within his companies for years. The story begins with actress Ashley Judd being invited to what she thought was a business breakfast with Weinstein at the Peninsula Hotel in Los Angeles. Instead, she says, she was sent to his room where he asked her to give him a massage or watch him shower.\u003c/p>\n\u003cp>“How do I get out of the room as fast as possible without alienating Harvey Weinstein?” Judd is quoted as saying in the article.\u003c/p>\n\u003cp>Weinstein \u003ca href=\"https://www.nytimes.com/interactive/2017/10/05/us/statement-from-harvey-weinstein.html\" target=\"_blank\" rel=\"noopener\">released a statement\u003c/a> in response to the allegations. He apologizes for some of his behavior by saying that times have changed since he began in the movie business:\u003c/p>\n\u003cblockquote>\n\u003cp>“I came of age in the 60’s and 70’s, when all the rules about behavior and workplaces were different. That was the culture then.\u003c/p>\n\u003cp>I have since learned it’s not an excuse, in the office — or out of it. To anyone.\u003c/p>\n\u003cp>I realized some time ago that I needed to be a better person and my interactions with the people I work with have changed.\u003c/p>\n\u003cp>I appreciate the way I’ve behaved with colleagues in the past has caused a lot of pain, and I sincerely apologize for it.”\u003c/p>\n\u003c/blockquote>\n\u003cp>At the same time, one of Weinstein’s lawyers, Lisa Bloom, released a statement saying “he denies many of the accusations as patently false.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“The goddamn punks are running the country!”\u003c/p>\n\u003cp>That outraged remark, delivered by the upright protagonist of \u003cem>Mark Felt: The Man Who Brought Down the White House\u003c/em>, might suggest to some viewers that the movie was made with one eye on the current White House. But that is an interpretation supported by only a few moments in the film, which wrapped production before the 2016 Republican National Convention.\u003c/p>\n\u003cp>In fact, writer-director Peter Landesman draws barely any contemporary parallels and offers little help to less history-minded viewers. \u003cem>Mark Felt\u003c/em> is designed for people who already know something about the Watergate affair — or at least have seen the most prominent previous treatment of the subject.\u003c/p>\n\u003cp>https://youtu.be/MR1IjeAdevI\u003c/p>\n\u003cp>\u003cem>Mark Felt\u003c/em> flips the setup of 1976’s \u003cem>All the President’s Men\u003c/em> by pulling Felt out of the shadows inhabited, in the earlier movie, by Hal Holbrook playing a leaker then known to the world only as Deep Throat. Liam Neeson’s Felt is the center of this story — even when Landesman occasionally attempts to disclose something about the people around him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film opens in police-procedural mode, as Felt gets dressed while an electronic score pulses and news crackles on the radio. He is off to the White House, where presidential counsel John Dean (Michael D. Hall) and a few other Nixon then-loyalists sound him out on how to remove FBI director J. Edgar Hoover.\u003c/p>\n\u003cp>Felt declines to assist them, responding with Oskar-Schindler-like nobility but also gentlemanly menace. Hoover soon dies, allowing Nixon to appoint his own acting FBI director just as word of a puzzling burglary at the Watergate complex reaches the bureau.\u003c/p>\n\u003cp>L. Patrick Gray (Martin Csokas) gets the job Felt wanted and, his colleagues believe, deserved. Felt’s disappointment, the script suggests, has as much to do with his becoming Deep Throat as his disgust at the White House bullies who order the FBI’s Watergate investigation closed.\u003c/p>\n\u003cp>There is also another factor: Gray announces his intention to name as his new No. 2 a former FBI agent (Tom Sizemore) who personifies the excesses of the Hoover years. Felt abhors the guy and what he represents.\u003c/p>\n\u003cp>And another: As he defends his beloved bureau from Nixonian mischief, Felt is himself bending rules in his investigations of the Weather Underground and similar organizations. Felt fears that his runaway daughter (Maika Monroe) might be involved with violent leftists and hopes that locating her might ease the pain of his alcoholic wife (Diane Lane).\u003c/p>\n\u003cp>Felt starts talking to journalists he already knows. He meets Bob Woodward (Julian Morris) in that parking garage, but the movie spends more time at Felt’s parleys with Time magazine’s Sandy Smith (Bruce Greenwood). Although the diner where they meet is less murky than the garage, Adam Kimmel’s camera is nearly always parked in some sort of gloom.\u003c/p>\n\u003cp>As complications pile up, \u003cem>Mark Felt\u003c/em> loses the drive that distinguishes its first half. That is due in part to the fact that the ultimate result of Felt and Nixon’s duel-by-proxy is so well-known and anticlimactic. No satisfying crime movie ends with the perp’s retirement to New Jersey to write public-policy books. Also, the final half-hour is rushed and patchy, with frustrating jumps in continuity that require viewers to fill in some pretty big blanks.\u003c/p>\n\u003cp>If the movie disappoints as a cops-and-burglars flick, its biggest failure is as a character study. Despite all the revelations about Felt’s career and family, he is no more complex a character at the end than at the beginning. Neeson’s performance is all steel-spined bearing and resonant intonation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s up to the actor to carry the movie, which he does. He just doesn’t lug it anyplace particularly illuminating.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The goddamn punks are running the country!”\u003c/p>\n\u003cp>That outraged remark, delivered by the upright protagonist of \u003cem>Mark Felt: The Man Who Brought Down the White House\u003c/em>, might suggest to some viewers that the movie was made with one eye on the current White House. But that is an interpretation supported by only a few moments in the film, which wrapped production before the 2016 Republican National Convention.\u003c/p>\n\u003cp>In fact, writer-director Peter Landesman draws barely any contemporary parallels and offers little help to less history-minded viewers. \u003cem>Mark Felt\u003c/em> is designed for people who already know something about the Watergate affair — or at least have seen the most prominent previous treatment of the subject.\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/MR1IjeAdevI'\n title='//www.youtube.com/embed/MR1IjeAdevI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Mark Felt\u003c/em> flips the setup of 1976’s \u003cem>All the President’s Men\u003c/em> by pulling Felt out of the shadows inhabited, in the earlier movie, by Hal Holbrook playing a leaker then known to the world only as Deep Throat. Liam Neeson’s Felt is the center of this story — even when Landesman occasionally attempts to disclose something about the people around him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film opens in police-procedural mode, as Felt gets dressed while an electronic score pulses and news crackles on the radio. He is off to the White House, where presidential counsel John Dean (Michael D. Hall) and a few other Nixon then-loyalists sound him out on how to remove FBI director J. Edgar Hoover.\u003c/p>\n\u003cp>Felt declines to assist them, responding with Oskar-Schindler-like nobility but also gentlemanly menace. Hoover soon dies, allowing Nixon to appoint his own acting FBI director just as word of a puzzling burglary at the Watergate complex reaches the bureau.\u003c/p>\n\u003cp>L. Patrick Gray (Martin Csokas) gets the job Felt wanted and, his colleagues believe, deserved. Felt’s disappointment, the script suggests, has as much to do with his becoming Deep Throat as his disgust at the White House bullies who order the FBI’s Watergate investigation closed.\u003c/p>\n\u003cp>There is also another factor: Gray announces his intention to name as his new No. 2 a former FBI agent (Tom Sizemore) who personifies the excesses of the Hoover years. Felt abhors the guy and what he represents.\u003c/p>\n\u003cp>And another: As he defends his beloved bureau from Nixonian mischief, Felt is himself bending rules in his investigations of the Weather Underground and similar organizations. Felt fears that his runaway daughter (Maika Monroe) might be involved with violent leftists and hopes that locating her might ease the pain of his alcoholic wife (Diane Lane).\u003c/p>\n\u003cp>Felt starts talking to journalists he already knows. He meets Bob Woodward (Julian Morris) in that parking garage, but the movie spends more time at Felt’s parleys with Time magazine’s Sandy Smith (Bruce Greenwood). Although the diner where they meet is less murky than the garage, Adam Kimmel’s camera is nearly always parked in some sort of gloom.\u003c/p>\n\u003cp>As complications pile up, \u003cem>Mark Felt\u003c/em> loses the drive that distinguishes its first half. That is due in part to the fact that the ultimate result of Felt and Nixon’s duel-by-proxy is so well-known and anticlimactic. No satisfying crime movie ends with the perp’s retirement to New Jersey to write public-policy books. Also, the final half-hour is rushed and patchy, with frustrating jumps in continuity that require viewers to fill in some pretty big blanks.\u003c/p>\n\u003cp>If the movie disappoints as a cops-and-burglars flick, its biggest failure is as a character study. Despite all the revelations about Felt’s career and family, he is no more complex a character at the end than at the beginning. Neeson’s performance is all steel-spined bearing and resonant intonation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s up to the actor to carry the movie, which he does. He just doesn’t lug it anyplace particularly illuminating.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Singer-songwriter and music producer (\u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener\">Tiny Telephone\u003c/a>) John Vanderslice returns to the show this week as co-host; he’s such a warm presence on the air, and he knows the local music scene cold. And don’t miss an event we didn’t get to — John’s hosting a party to celebrate Tiny Telephone’s 20th anniversary, with food, beer and music by Toro y Moi, Astronauts Etc. and others. \u003ca href=\"https://www.facebook.com/johnvanderslicemusic/photos/a.456020247811602.1073741826.115335001880130/1490638474349769/?type=1&theater\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>Now here’s the Do List:\u003c/p>\n\u003cp>\u003cstrong>Oct. 8–13:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWIy\" target=\"_blank\" rel=\"noopener\">Panamanian pianist Danilo Perez pays tribute to the genius of Thelonious Monk on the composer’s 100th birthday\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 5–15:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWII\" target=\"_blank\" rel=\"noopener\"> Oscar contenders aplenty at the Mill Valley Film Fest\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 7\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VWJb\" target=\"_blank\" rel=\"noopener\">Poetry and chamber music tell a story about gentrification in San Francisco\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Oct. 5–14:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWK0\" target=\"_blank\" rel=\"noopener\">Where poetry, fiction, non-fiction, authors and drinking all mix beautifully\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 6–8: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWKt\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass returns with its much needed spirit of generosity and plenty of banjos\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13810407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810407\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-800x450.jpg\" alt=\"Indie music producer John Vanderslice cohosts the Do List for Oct. 6, 2017 with KQED‘s Cy Musiker\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Indie music producer John Vanderslice cohosts the Do List for Oct. 6, 2017 with KQED‘s Cy Musiker. \u003ccite>(Photo: Howard Gelman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Singer-songwriter and music producer (\u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener\">Tiny Telephone\u003c/a>) John Vanderslice returns to the show this week as co-host; he’s such a warm presence on the air, and he knows the local music scene cold. And don’t miss an event we didn’t get to — John’s hosting a party to celebrate Tiny Telephone’s 20th anniversary, with food, beer and music by Toro y Moi, Astronauts Etc. and others. \u003ca href=\"https://www.facebook.com/johnvanderslicemusic/photos/a.456020247811602.1073741826.115335001880130/1490638474349769/?type=1&theater\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>Now here’s the Do List:\u003c/p>\n\u003cp>\u003cstrong>Oct. 8–13:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWIy\" target=\"_blank\" rel=\"noopener\">Panamanian pianist Danilo Perez pays tribute to the genius of Thelonious Monk on the composer’s 100th birthday\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 5–15:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWII\" target=\"_blank\" rel=\"noopener\"> Oscar contenders aplenty at the Mill Valley Film Fest\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 7\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VWJb\" target=\"_blank\" rel=\"noopener\">Poetry and chamber music tell a story about gentrification in San Francisco\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If you want to see movies that are sure to compete for the Oscars, the Mill Valley Valley Film Festival, celebrating its 40th anniversary, is where it’s at the next 10 days. The festival may be small, and kind of pain to get to from anywhere but Marin, but it draws the elite of studio and indie films. The heavy hitters include \u003cem>Wonderstruck\u003c/em>, directed by Todd Haynes (\u003cem>Far From Heaven\u003c/em>, \u003cem>Carol\u003c/em>), \u003cem>Lady Bird\u003c/em>, actress Greta Gerwig’s directorial debut, and \u003cem>Mudbound\u003c/em>, by director Dee Rees (\u003cem>Pariah\u003c/em>), a tale about the Jim Crow south after World War II. My Do List co-host John Vanderslice was excited about\u003cem> I, Tonya\u003c/em>, about the figure skater Tonya Harding, directed by Craig Gillespie (\u003cem>Lars and the Real Girl\u003c/em>), and \u003cem>Downsizing, \u003c/em>a surreal take on modern problems directed by Alexander Payne (\u003cem>Nebraska\u003c/em>, \u003cem>The Descendants\u003c/em>). Oh, and there are tributes to Haynes, Marin resident Sean Penn, and (all bow in respect) Holly Hunter. The festival runs Oct. 5–15; \u003ca href=\"https://www.mvff.com/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o1vV0oorclg\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vAZWhFI9lLQ&t=37s\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UCrBICYM0yM\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you want to see movies that are sure to compete for the Oscars, the Mill Valley Valley Film Festival, celebrating its 40th anniversary, is where it’s at the next 10 days. The festival may be small, and kind of pain to get to from anywhere but Marin, but it draws the elite of studio and indie films. The heavy hitters include \u003cem>Wonderstruck\u003c/em>, directed by Todd Haynes (\u003cem>Far From Heaven\u003c/em>, \u003cem>Carol\u003c/em>), \u003cem>Lady Bird\u003c/em>, actress Greta Gerwig’s directorial debut, and \u003cem>Mudbound\u003c/em>, by director Dee Rees (\u003cem>Pariah\u003c/em>), a tale about the Jim Crow south after World War II. My Do List co-host John Vanderslice was excited about\u003cem> I, Tonya\u003c/em>, about the figure skater Tonya Harding, directed by Craig Gillespie (\u003cem>Lars and the Real Girl\u003c/em>), and \u003cem>Downsizing, \u003c/em>a surreal take on modern problems directed by Alexander Payne (\u003cem>Nebraska\u003c/em>, \u003cem>The Descendants\u003c/em>). Oh, and there are tributes to Haynes, Marin resident Sean Penn, and (all bow in respect) Holly Hunter. The festival runs Oct. 5–15; \u003ca href=\"https://www.mvff.com/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\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/o1vV0oorclg'\n title='//www.youtube.com/embed/o1vV0oorclg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \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/vAZWhFI9lLQ'\n title='//www.youtube.com/embed/vAZWhFI9lLQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A filmmaker and historian, Rick Tejada-Flores has made a nice career out of telling other people’s stories: Cesar Chavez (\u003cem>The Fight in the Fields\u003c/em>), Diego Rivera (\u003cem>Rivera in America\u003c/em>) and José Clemente Orozco (\u003cem>Orozco: Man of Fire\u003c/em>), among others. Like the vast majority of documentary filmmakers, the veteran East Bay producer-director and all-around mensch was deeply allergic to stepping in front of the camera and making himself the subject. Ultimately, he realized he had no choice in order to recount his family’s saga in Bolivia.\u003c/p>\n\u003cp>The patiently probing and highly rewarding \u003cem>My Bolivia, Remembering What I Never Knew\u003c/em> traces the strands of the Tejada clan from La Paz to Los Angeles (where the filmmaker was born) back to La Paz and on to the isolated rural countryside. Tejada-Flores’ personal journey expands into a mini-history of Bolivia in the 20th century, an edifying and gratifying development for viewers (like this correspondent) whose entire knowledge of the landlocked South American country was gleaned from \u003cem>Butch Cassidy and the Sundance Kid\u003c/em>.\u003c/p>\n\u003cp>Tejada-Flores informs us at the beginning of \u003cem>My Bolivia\u003c/em> of his ancestors’ prominence: He knew as a small boy that his grandfather had been president (José Luis Tejada Sorzano, from 1934 to 1936). But he was intentionally kept in the dark for decades about the ways in which the Tejadas gained—and lost—their wealth and influence. It’s a shocking legacy, and how Tejada-Flores decides to handle it gives the one-hour doc its transcendently bittersweet ending.\u003c/p>\n\u003cp>\u003cem>My Bolivia\u003c/em>, which premiered in May at the inaugural DocLands Documentary Film Festival in Marin County, airs Sunday, Oct. 8 at 7 at 11pm and Monday, Oct. 9 at 7am and 1pm on KQED World as part of the Doc World series. If you miss it or forget to record it, \u003cem>My Bolivia\u003c/em> will be available to stream for 90 days thereafter at the \u003ca href=\"http://worldchannel.org/programs/episode/dw-s2-201-my-bolivia/\" rel=\"noopener\" target=\"_blank\">Doc World\u003c/a> site. (Be forewarned, the trailer doesn’t accurately reflect the tone and pacing of the film.)\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>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A filmmaker and historian, Rick Tejada-Flores has made a nice career out of telling other people’s stories: Cesar Chavez (\u003cem>The Fight in the Fields\u003c/em>), Diego Rivera (\u003cem>Rivera in America\u003c/em>) and José Clemente Orozco (\u003cem>Orozco: Man of Fire\u003c/em>), among others. Like the vast majority of documentary filmmakers, the veteran East Bay producer-director and all-around mensch was deeply allergic to stepping in front of the camera and making himself the subject. Ultimately, he realized he had no choice in order to recount his family’s saga in Bolivia.\u003c/p>\n\u003cp>The patiently probing and highly rewarding \u003cem>My Bolivia, Remembering What I Never Knew\u003c/em> traces the strands of the Tejada clan from La Paz to Los Angeles (where the filmmaker was born) back to La Paz and on to the isolated rural countryside. Tejada-Flores’ personal journey expands into a mini-history of Bolivia in the 20th century, an edifying and gratifying development for viewers (like this correspondent) whose entire knowledge of the landlocked South American country was gleaned from \u003cem>Butch Cassidy and the Sundance Kid\u003c/em>.\u003c/p>\n\u003cp>Tejada-Flores informs us at the beginning of \u003cem>My Bolivia\u003c/em> of his ancestors’ prominence: He knew as a small boy that his grandfather had been president (José Luis Tejada Sorzano, from 1934 to 1936). But he was intentionally kept in the dark for decades about the ways in which the Tejadas gained—and lost—their wealth and influence. It’s a shocking legacy, and how Tejada-Flores decides to handle it gives the one-hour doc its transcendently bittersweet ending.\u003c/p>\n\u003cp>\u003cem>My Bolivia\u003c/em>, which premiered in May at the inaugural DocLands Documentary Film Festival in Marin County, airs Sunday, Oct. 8 at 7 at 11pm and Monday, Oct. 9 at 7am and 1pm on KQED World as part of the Doc World series. If you miss it or forget to record it, \u003cem>My Bolivia\u003c/em> will be available to stream for 90 days thereafter at the \u003ca href=\"http://worldchannel.org/programs/episode/dw-s2-201-my-bolivia/\" rel=\"noopener\" target=\"_blank\">Doc World\u003c/a> site. (Be forewarned, the trailer doesn’t accurately reflect the tone and pacing of the film.)\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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"title": "Take Me To The Pilot: 'American Made' Soars",
"headTitle": "Take Me To The Pilot: ‘American Made’ Soars | KQED",
"content": "\u003cp>Slickness is a virtue in \u003cem>American Made\u003c/em>, a cheerfully blistering yarn starring Tom Cruise as real-life-TWA-pilot-turned-CIA-stooge-turned-cocaine-smuggler Barry Seal. Piquant and picaresque, it’s essentially a hybrid of \u003cem>Goodfellas\u003c/em> and \u003cem>Air America\u003c/em>. Those movies — one rightly revered, the other all but forgotten — were released about a month apart from one another back in 1990, a long-ago cinematic era when either one might nevertheless have starred… Tom Cruise.\u003c/p>\n\u003cp>He’d just scored an Oscar nomination playing real-life Vietnam vet-turned-antiwar activist Ron Kovic in \u003cem>Born on the Fourth of July\u003c/em>, then immediately re-upped with \u003cem>Top Gun\u003c/em> director Tony Scott for the NASCAR action flick \u003cem>Days of Thunder\u003c/em>. Sure, \u003cem>Goodfellas\u003c/em> was the \u003cem>best\u003c/em> American film of 1990, but \u003cem>Days of Thunder\u003c/em> grossed nearly twice as much. A few years shy of 30, Cruise had found the golden mean of artistic cred and bankability that few movie stars achieve. Four years later, no longer content to race stock cars at 200 miles per hour, he would earn his pilot’s license. \u003cem>American Made\u003c/em> director Doug Liman claims the star performed all of Seal’s daredevil low-altitude flying scenes himself.\u003c/p>\n\u003cp>We’d \u003cem>infer\u003c/em> that, at this point. Among its other virtues, \u003cem>American Made\u003c/em> takes the longest-lived, most hands-on A-lister in the history of cinema and gives him a line — repeated twice in the movie — that sums up his range and staying power better than anything Maverick or Jerry Maguire or the top-knotted MRA guru he played in \u003cem>Magnolia\u003c/em> ever said: “I’m the gringo who always delivers.”\u003c/p>\n\u003cp>Undeniably. Incontrovertibly.\u003c/p>\n\u003cp>Disclosure: I have not seen \u003cem>The Mummy\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But I have seen \u003cem>American Made\u003c/em>, and I am here to tell you it’s everything you could want from a flashy true-crime biopic skewering the hypocrisy and malice of the Reagan Administration’s covert war in Central and South America. That included the C.I.A.’s recruitment of skilled, flexibly-scrupled pilots like Seal to work as snoops and gunrunners.\u003c/p>\n\u003cp>https://youtu.be/AEBIJRAkujM\u003c/p>\n\u003cp>Gary Spinelli’s screenplay takes liberties with the facts of Seal’s life, but not with the sheer scale of the conspiracy. Liman calls the film “a fun lie based on a true story.” That’s notable only because it’s a story to which the director has a personal connection: His father, Arthur Liman, was chief counsel of the Senate Iran-Contra committee of the late 1980s. By the time the elder Liman was among those questioning Oliver North about his role in government-sanctioned drug trafficking on live TV, Seal had already been dead for more than a year.\u003c/p>\n\u003cp>In this telling, Cruise’s Seal is so bored flying for TWA circa 1978 that he fakes an episode of turbulence, scaring a cabin full of passengers awake. The ubiquitous Irish actor Domhnall Gleeson, playing a white-collar spook who knows all about Seal’s sideline smuggling Cuban cigars, fast-talks him into serving his country while also indulging his need for speed, setting him up with a sleek Piper Aerostar 600 equipped with special cameras. The scenes between Gleeson and Cruise are especially fun: Cruise’s character is a huckster himself, so he knows he’s being taken. Game recognize game.\u003c/p>\n\u003cp>Seal is a reliable, daring pilot, but also easily led by the nose and good at keeping his mouth shut, so his employers turn a blind eye once he begins flying shipments of cocaine from Medellín, Colombia to Louisiana, dropping the bags in the swamp for pickup before landing. Liman shot on location in Colombia, and these scenes are alive with tension and detail, right down to the sweat stains that threaten to dissolve the fibers of Cruise’s enviable wardrobe of pearl-snap shirts. Seal forms a not-entirely-voluntary compact with young Pablo Escobar (Colombian actor Mauricio Mejía), soon to become the Steve Jobs of coke smuggling.\u003c/p>\n\u003cp>Liman and Spinelli do a good job with the practical how-tos of dope smuggling, and they make great comic hay of Seal’s increasingly desperate attempts to launder or just-plain-store his gym bags full of cash. (A FBI agent drives down the main street of tiny Mena, Arkansas, where the Agency has set up Seal and his family once the local cops drive him out of Louisiana, and finds nothing but banks with fresh paint on their signs.) As competing law-enforcement agencies close in, the Reagan administration’s shadow war — backing the Contras against the Sandinistas — becomes Seal’s saving grace. Liman works in real clips of First Lady Nancy Reagan urging American children to “just say no” and the President answering reporters’ questions about what he knew and when he knew it with bromides about how delicious his Thanksgiving turkey is going to be. A sub-two-hour movie covering an eight-year period inevitably means dollops of exposition, but Liman handles this adroitly, with a mix of animated segments and VHS video diaries from Cruise. Seal really made videos like this, so it doesn’t feel like cheating.\u003c/p>\n\u003cp>Cruise affects a mild Louisiana accent, but he hasn’t gained weight or shaved his hairline back or made any other awards-baiting attempt to resemble the historical Seal, who was almost a decade younger than Cruise when he died. He’s past all that now. The arguments for this are the same as the ones for casting Cruise as the tall, blonde literary antiheroes Lestat and Jack Reacher: His room-filling energy is more notable than any distinguishing physical feature. He’s a huckster. He has the liar’s superpower of being able to make himself believe anything he needs to believe.\u003c/p>\n\u003cp>\u003cem>American Made\u003c/em> is also a perfect fit for Liman, who began his career with the sweaty indie comedy \u003cem>Swingers,\u003c/em> was nearly fired from the franchise-launching \u003cem>The Bourne Identity\u003c/em> (Universal did not invite him back for the sequels), and found common cause with Cruise on \u003cem>Edge of Tomorrow\u003c/em>, one of the shrewdest and most original shoulda-been-a-blockbusters of the 21st century. He’s got almost as many misfires on his resume as hits, and that’s because he allows a perceptible measure of chaos into his movies. In the case of even a fictionalized biopic of a guy like Seal — a man who literally flew by the seat of his pants, low enough to brush the treetops, until what would eventually become known as the Medellín cartel caught up to him in a parking lot — that Demme-esque wildness is exactly the right method. And Liman is tireless: He shot, edited, and released the micro-budget war thriller \u003cem>The Wall\u003c/em> for Amazon Studios during the interval while \u003cem>American Made\u003c/em> was in postproduction. He’s at least as much a one-for-them, one-for-me guy as Christopher Nolan or Steven Soderbergh.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In\u003cem> American Made,\u003c/em> he’s found his shaggy-dog happy place: It’s one for us.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Slickness is a virtue in \u003cem>American Made\u003c/em>, a cheerfully blistering yarn starring Tom Cruise as real-life-TWA-pilot-turned-CIA-stooge-turned-cocaine-smuggler Barry Seal. Piquant and picaresque, it’s essentially a hybrid of \u003cem>Goodfellas\u003c/em> and \u003cem>Air America\u003c/em>. Those movies — one rightly revered, the other all but forgotten — were released about a month apart from one another back in 1990, a long-ago cinematic era when either one might nevertheless have starred… Tom Cruise.\u003c/p>\n\u003cp>He’d just scored an Oscar nomination playing real-life Vietnam vet-turned-antiwar activist Ron Kovic in \u003cem>Born on the Fourth of July\u003c/em>, then immediately re-upped with \u003cem>Top Gun\u003c/em> director Tony Scott for the NASCAR action flick \u003cem>Days of Thunder\u003c/em>. Sure, \u003cem>Goodfellas\u003c/em> was the \u003cem>best\u003c/em> American film of 1990, but \u003cem>Days of Thunder\u003c/em> grossed nearly twice as much. A few years shy of 30, Cruise had found the golden mean of artistic cred and bankability that few movie stars achieve. Four years later, no longer content to race stock cars at 200 miles per hour, he would earn his pilot’s license. \u003cem>American Made\u003c/em> director Doug Liman claims the star performed all of Seal’s daredevil low-altitude flying scenes himself.\u003c/p>\n\u003cp>We’d \u003cem>infer\u003c/em> that, at this point. Among its other virtues, \u003cem>American Made\u003c/em> takes the longest-lived, most hands-on A-lister in the history of cinema and gives him a line — repeated twice in the movie — that sums up his range and staying power better than anything Maverick or Jerry Maguire or the top-knotted MRA guru he played in \u003cem>Magnolia\u003c/em> ever said: “I’m the gringo who always delivers.”\u003c/p>\n\u003cp>Undeniably. Incontrovertibly.\u003c/p>\n\u003cp>Disclosure: I have not seen \u003cem>The Mummy\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But I have seen \u003cem>American Made\u003c/em>, and I am here to tell you it’s everything you could want from a flashy true-crime biopic skewering the hypocrisy and malice of the Reagan Administration’s covert war in Central and South America. That included the C.I.A.’s recruitment of skilled, flexibly-scrupled pilots like Seal to work as snoops and gunrunners.\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/AEBIJRAkujM'\n title='//www.youtube.com/embed/AEBIJRAkujM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gary Spinelli’s screenplay takes liberties with the facts of Seal’s life, but not with the sheer scale of the conspiracy. Liman calls the film “a fun lie based on a true story.” That’s notable only because it’s a story to which the director has a personal connection: His father, Arthur Liman, was chief counsel of the Senate Iran-Contra committee of the late 1980s. By the time the elder Liman was among those questioning Oliver North about his role in government-sanctioned drug trafficking on live TV, Seal had already been dead for more than a year.\u003c/p>\n\u003cp>In this telling, Cruise’s Seal is so bored flying for TWA circa 1978 that he fakes an episode of turbulence, scaring a cabin full of passengers awake. The ubiquitous Irish actor Domhnall Gleeson, playing a white-collar spook who knows all about Seal’s sideline smuggling Cuban cigars, fast-talks him into serving his country while also indulging his need for speed, setting him up with a sleek Piper Aerostar 600 equipped with special cameras. The scenes between Gleeson and Cruise are especially fun: Cruise’s character is a huckster himself, so he knows he’s being taken. Game recognize game.\u003c/p>\n\u003cp>Seal is a reliable, daring pilot, but also easily led by the nose and good at keeping his mouth shut, so his employers turn a blind eye once he begins flying shipments of cocaine from Medellín, Colombia to Louisiana, dropping the bags in the swamp for pickup before landing. Liman shot on location in Colombia, and these scenes are alive with tension and detail, right down to the sweat stains that threaten to dissolve the fibers of Cruise’s enviable wardrobe of pearl-snap shirts. Seal forms a not-entirely-voluntary compact with young Pablo Escobar (Colombian actor Mauricio Mejía), soon to become the Steve Jobs of coke smuggling.\u003c/p>\n\u003cp>Liman and Spinelli do a good job with the practical how-tos of dope smuggling, and they make great comic hay of Seal’s increasingly desperate attempts to launder or just-plain-store his gym bags full of cash. (A FBI agent drives down the main street of tiny Mena, Arkansas, where the Agency has set up Seal and his family once the local cops drive him out of Louisiana, and finds nothing but banks with fresh paint on their signs.) As competing law-enforcement agencies close in, the Reagan administration’s shadow war — backing the Contras against the Sandinistas — becomes Seal’s saving grace. Liman works in real clips of First Lady Nancy Reagan urging American children to “just say no” and the President answering reporters’ questions about what he knew and when he knew it with bromides about how delicious his Thanksgiving turkey is going to be. A sub-two-hour movie covering an eight-year period inevitably means dollops of exposition, but Liman handles this adroitly, with a mix of animated segments and VHS video diaries from Cruise. Seal really made videos like this, so it doesn’t feel like cheating.\u003c/p>\n\u003cp>Cruise affects a mild Louisiana accent, but he hasn’t gained weight or shaved his hairline back or made any other awards-baiting attempt to resemble the historical Seal, who was almost a decade younger than Cruise when he died. He’s past all that now. The arguments for this are the same as the ones for casting Cruise as the tall, blonde literary antiheroes Lestat and Jack Reacher: His room-filling energy is more notable than any distinguishing physical feature. He’s a huckster. He has the liar’s superpower of being able to make himself believe anything he needs to believe.\u003c/p>\n\u003cp>\u003cem>American Made\u003c/em> is also a perfect fit for Liman, who began his career with the sweaty indie comedy \u003cem>Swingers,\u003c/em> was nearly fired from the franchise-launching \u003cem>The Bourne Identity\u003c/em> (Universal did not invite him back for the sequels), and found common cause with Cruise on \u003cem>Edge of Tomorrow\u003c/em>, one of the shrewdest and most original shoulda-been-a-blockbusters of the 21st century. He’s got almost as many misfires on his resume as hits, and that’s because he allows a perceptible measure of chaos into his movies. In the case of even a fictionalized biopic of a guy like Seal — a man who literally flew by the seat of his pants, low enough to brush the treetops, until what would eventually become known as the Medellín cartel caught up to him in a parking lot — that Demme-esque wildness is exactly the right method. And Liman is tireless: He shot, edited, and released the micro-budget war thriller \u003cem>The Wall\u003c/em> for Amazon Studios during the interval while \u003cem>American Made\u003c/em> was in postproduction. He’s at least as much a one-for-them, one-for-me guy as Christopher Nolan or Steven Soderbergh.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Going back to the Gold Rush days, our little burg was a freewheeling town with an undercurrent of debauchery. San Franciscans’ long tradition of personal freedom and communal celebration manifests itself nowadays in the annual \u003ca href=\"http://www.carnavalsanfrancisco.org/festival\" target=\"_blank\" rel=\"noopener\">Carnaval\u003c/a> parade, as well as various Mardi Gras bashes and the Folsom Street Fair. \u003c/p>\n\u003cp>The new MOAD exhibition, \u003ca href=\"http://www.moadsf.org/exhibition/en-mas-carnival-and-performance-art-of-the-caribbean/\" target=\"_blank\" rel=\"noopener\">\u003ci>En Mas’\u003c/i>\u003c/a>, expands our understanding of Caribbean Carnival events — typically presented in the media as hot-weather, half-naked, let-loose blowouts — to performances filtered through the experiences of colonialism and independence, slavery and civil rights. The accompanying six-week film series, \u003ci>\u003ca href=\"http://www.moadsf.org/blog/jump-up-the-en-mas-film-series/\" target=\"_blank\" rel=\"noopener\">Jump Up\u003c/a>\u003c/i>, serves up music-infused dramas and documentaries that transport viewers from Trinidad to New Orleans to New York.\u003c/p>\n\u003cp>\u003ci>Jump Up\u003c/i> begins this Thursday, Sept. 28 with an immersive trip to Salvador, Bahia. The 2010 short documentary \u003cem>\u003ca href=\"http://www.moadsf.org/event/jump-up-the-en-mas-film-series-o-pai-o/\" target=\"_blank\" rel=\"noopener\">Ebony Goddess: Queen of Ilê Aiyê\u003c/a>\u003c/em> lays down the beat with a portrait of three young women vying for the carnaval crown of the stalwart titular Afro-Brazilian group. Aurelina, Talita and Joseanne proudly display their stunning African-style costumes and traditional dance moves in a setting that prizes black consciousness, and provokes the ire of Bahia’s Eurocentric minority. \u003c/p>\n\u003cp>Monique Gardenberg’s 2007 narrative feature, \u003cem>Ó Pai, Ó!\u003c/em> (\u003cem>Look at This\u003c/em>), throws a half-dozen disparate neighborhood characters into a first-day-of-carnaval stew that encompasses broad comedy and social commentary. The movie spawned a Brazilian TV series that lasted one season and 10 episodes, which might be as much carnaval as the average human body can stand.\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>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Going back to the Gold Rush days, our little burg was a freewheeling town with an undercurrent of debauchery. San Franciscans’ long tradition of personal freedom and communal celebration manifests itself nowadays in the annual \u003ca href=\"http://www.carnavalsanfrancisco.org/festival\" target=\"_blank\" rel=\"noopener\">Carnaval\u003c/a> parade, as well as various Mardi Gras bashes and the Folsom Street Fair. \u003c/p>\n\u003cp>The new MOAD exhibition, \u003ca href=\"http://www.moadsf.org/exhibition/en-mas-carnival-and-performance-art-of-the-caribbean/\" target=\"_blank\" rel=\"noopener\">\u003ci>En Mas’\u003c/i>\u003c/a>, expands our understanding of Caribbean Carnival events — typically presented in the media as hot-weather, half-naked, let-loose blowouts — to performances filtered through the experiences of colonialism and independence, slavery and civil rights. The accompanying six-week film series, \u003ci>\u003ca href=\"http://www.moadsf.org/blog/jump-up-the-en-mas-film-series/\" target=\"_blank\" rel=\"noopener\">Jump Up\u003c/a>\u003c/i>, serves up music-infused dramas and documentaries that transport viewers from Trinidad to New Orleans to New York.\u003c/p>\n\u003cp>\u003ci>Jump Up\u003c/i> begins this Thursday, Sept. 28 with an immersive trip to Salvador, Bahia. The 2010 short documentary \u003cem>\u003ca href=\"http://www.moadsf.org/event/jump-up-the-en-mas-film-series-o-pai-o/\" target=\"_blank\" rel=\"noopener\">Ebony Goddess: Queen of Ilê Aiyê\u003c/a>\u003c/em> lays down the beat with a portrait of three young women vying for the carnaval crown of the stalwart titular Afro-Brazilian group. Aurelina, Talita and Joseanne proudly display their stunning African-style costumes and traditional dance moves in a setting that prizes black consciousness, and provokes the ire of Bahia’s Eurocentric minority. \u003c/p>\n\u003cp>Monique Gardenberg’s 2007 narrative feature, \u003cem>Ó Pai, Ó!\u003c/em> (\u003cem>Look at This\u003c/em>), throws a half-dozen disparate neighborhood characters into a first-day-of-carnaval stew that encompasses broad comedy and social commentary. The movie spawned a Brazilian TV series that lasted one season and 10 episodes, which might be as much carnaval as the average human body can stand.\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": "\u003cp>It’s an oft-told tale, in Hollywood: A good man wracked by his envy of others he deems more successful than he at scoring the usual American-Dream jackpots of money, status, and fame. He eats himself alive over this at self-defeating length that’s both funny and sad. At the climax other, mostly female, not-rich salts of the earth swoop in to persuade him that, OMG, it’s a wonderful life just as it is. \u003c/p>\n\u003cp>Should we smell a rat when such tales are peddled by men whose bling exceeds all our blah prospects put together? Maybe, but when Mike White weighs in, it’s worth following along with the nervously inventive mind that brought wonderfully skewed angles to bear on the lives of disgruntled plebs in movies from \u003cem>The Good Girl\u003c/em> to \u003cem>Chuck & Buck\u003c/em> to the recent \u003cem>Beatriz at Dinner\u003c/em>.\u003c/p>\n\u003cp>https://youtu.be/eJQWL74p02Q\u003c/p>\n\u003cp>“First-world problems,” I heard someone mutter coming out of a critics’ screening of \u003cem>Brad’s Status\u003c/em>, a dramedy written and directed by White about a middle-aged, middle-income family man freaking out while on a college tour with his teenaged son. Maybe so, but a Mike White movie rarely goes where you think it’s going, even if it slots into place by the finish. Though it’s less a departure from the mold than a meander home, \u003cem>Brad’s Status\u003c/em> offers usefully excruciating insights into the wild swings between hubris and self-laceration that fuel our daily efforts to solidify a coherent self. \u003c/p>\n\u003cp>No center holds for long in the head of Brad Sloan (Ben Stiller), a comfortably-off fellow who runs a non-profit in Sacramento, where his loving wife (Jenna Fischer) works for the Government. Even before he sets off with his college-bound son, Troy (\u003cem>The Walking Dead\u003c/em>‘s Austin Abrams), Brad lies awake at night obsessing over the achievements of his former college posse at Tufts University, now pulling in the big bucks respectively as a Hollywood big cheese (White himself), a hedge fund manager (Luke Wilson), a retired tech entrepreneur (Jemaine Clement) living it up on a pleasure island, and a preening political pundit amusingly undercooked by Michael Sheen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Once arrived in Boston, the perfect stage for a face-off between elite dreams and rest-of-the-world reality, Brad misses no opportunity to act out. He embarrasses his son and alienates everyone from Harvard Deans to other parents patiently waiting their turns, to some pretty cool undergrads with life-lessons to impart if he were only listening. There’s some situational goofball here, interspersed with frequent cutaways to lurid scenarios in which Brad fantasizes how his former college pals live. \u003c/p>\n\u003cp>Like many comic actors Stiller can be tenaciously dour in a dramatic role, but, give or take a few too many close-ups of Brad gazing like a frightened deer into the camera, he makes a pretty convincing Everyman in free fall. Still, the movie is really a two-man show, and Abrams is magnificently downbeat as Troy, a remarkably sane, strategically monosyllabic kid who knows intuitively that he doesn’t yet know what he wants from life, nor should he. The serious joke that drives \u003cem>Brad’s Status\u003c/em> is that at 17 years old, Troy is way more together and less tortured than his father and putative guide.\u003c/p>\n\u003cp>The less Brad knows, the more he projects his fears and desires onto others. It goes without saying that he will learn, via a clued-in stranger who’s younger than he by several decades, that real people are complicated and mysterious: one friend with a rather crooked success story can also be a devoted family man, another a self-promoting opportunist who’s also genuinely delighted to catch up with an old college friend, still another who’s too strung out to notice he’s supposed to be having the time of his life. \u003c/p>\n\u003cp>But the most interesting moments in \u003cem>Brad’s Status\u003c/em> unfold inside its protagonist’s head — always the place where White as a filmmakeris most at home — with a suitably whiny atonal violin sawing away on the soundtrack to mirror his feverishly insecure voiceover. Instead of the usual steady advance to enlightenment, Brad’s journey is a choppy sequence of clouds forming and parting. Every return to equilibrium presages a detour into a fresh illusory fantasy, a new source of envy, followed by a desperate clawing back to equilibrium, and so on. Things fall into place with disarming ease, and I came out wishing that \u003cem>Brad’s Status\u003c/em> militated a little less for an individual attitude adjustment and a little more for a reset of the American Dreams that drive us crazy. Rarely, though, has a mainstream movie so pointedly documented the free-floating anxieties of our time and place along the way. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Luckily, the kids are all right.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s an oft-told tale, in Hollywood: A good man wracked by his envy of others he deems more successful than he at scoring the usual American-Dream jackpots of money, status, and fame. He eats himself alive over this at self-defeating length that’s both funny and sad. At the climax other, mostly female, not-rich salts of the earth swoop in to persuade him that, OMG, it’s a wonderful life just as it is. \u003c/p>\n\u003cp>Should we smell a rat when such tales are peddled by men whose bling exceeds all our blah prospects put together? Maybe, but when Mike White weighs in, it’s worth following along with the nervously inventive mind that brought wonderfully skewed angles to bear on the lives of disgruntled plebs in movies from \u003cem>The Good Girl\u003c/em> to \u003cem>Chuck & Buck\u003c/em> to the recent \u003cem>Beatriz at Dinner\u003c/em>.\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/eJQWL74p02Q'\n title='//www.youtube.com/embed/eJQWL74p02Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“First-world problems,” I heard someone mutter coming out of a critics’ screening of \u003cem>Brad’s Status\u003c/em>, a dramedy written and directed by White about a middle-aged, middle-income family man freaking out while on a college tour with his teenaged son. Maybe so, but a Mike White movie rarely goes where you think it’s going, even if it slots into place by the finish. Though it’s less a departure from the mold than a meander home, \u003cem>Brad’s Status\u003c/em> offers usefully excruciating insights into the wild swings between hubris and self-laceration that fuel our daily efforts to solidify a coherent self. \u003c/p>\n\u003cp>No center holds for long in the head of Brad Sloan (Ben Stiller), a comfortably-off fellow who runs a non-profit in Sacramento, where his loving wife (Jenna Fischer) works for the Government. Even before he sets off with his college-bound son, Troy (\u003cem>The Walking Dead\u003c/em>‘s Austin Abrams), Brad lies awake at night obsessing over the achievements of his former college posse at Tufts University, now pulling in the big bucks respectively as a Hollywood big cheese (White himself), a hedge fund manager (Luke Wilson), a retired tech entrepreneur (Jemaine Clement) living it up on a pleasure island, and a preening political pundit amusingly undercooked by Michael Sheen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Once arrived in Boston, the perfect stage for a face-off between elite dreams and rest-of-the-world reality, Brad misses no opportunity to act out. He embarrasses his son and alienates everyone from Harvard Deans to other parents patiently waiting their turns, to some pretty cool undergrads with life-lessons to impart if he were only listening. There’s some situational goofball here, interspersed with frequent cutaways to lurid scenarios in which Brad fantasizes how his former college pals live. \u003c/p>\n\u003cp>Like many comic actors Stiller can be tenaciously dour in a dramatic role, but, give or take a few too many close-ups of Brad gazing like a frightened deer into the camera, he makes a pretty convincing Everyman in free fall. Still, the movie is really a two-man show, and Abrams is magnificently downbeat as Troy, a remarkably sane, strategically monosyllabic kid who knows intuitively that he doesn’t yet know what he wants from life, nor should he. The serious joke that drives \u003cem>Brad’s Status\u003c/em> is that at 17 years old, Troy is way more together and less tortured than his father and putative guide.\u003c/p>\n\u003cp>The less Brad knows, the more he projects his fears and desires onto others. It goes without saying that he will learn, via a clued-in stranger who’s younger than he by several decades, that real people are complicated and mysterious: one friend with a rather crooked success story can also be a devoted family man, another a self-promoting opportunist who’s also genuinely delighted to catch up with an old college friend, still another who’s too strung out to notice he’s supposed to be having the time of his life. \u003c/p>\n\u003cp>But the most interesting moments in \u003cem>Brad’s Status\u003c/em> unfold inside its protagonist’s head — always the place where White as a filmmakeris most at home — with a suitably whiny atonal violin sawing away on the soundtrack to mirror his feverishly insecure voiceover. Instead of the usual steady advance to enlightenment, Brad’s journey is a choppy sequence of clouds forming and parting. Every return to equilibrium presages a detour into a fresh illusory fantasy, a new source of envy, followed by a desperate clawing back to equilibrium, and so on. Things fall into place with disarming ease, and I came out wishing that \u003cem>Brad’s Status\u003c/em> militated a little less for an individual attitude adjustment and a little more for a reset of the American Dreams that drive us crazy. Rarely, though, has a mainstream movie so pointedly documented the free-floating anxieties of our time and place along the way. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Luckily, the kids are all right.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After 50 years, Peter Coyote still hasn’t changed his opinion on the Summer of Love. \u003c/p>\n\u003cp>“It was crap,” the 75-year-old Coyote says. “Who cares?”\u003c/p>\n\u003cp>Coyote’s talked a lot about the ’60s this past year — in case you hadn’t heard, it’s the \u003ca href=\"https://ww2.kqed.org/arts/programs/summer-of-love/\" target=\"_blank\" rel=\"noopener\">Summer of Love’s 50th anniversary\u003c/a> — and to hear Coyote tell it, the experience has been miserable. Cable news channels and other organizations have “dragged” Coyote “out of the old hippie diorama to talk,” and they rarely discuss the revolutionary ideas he helped germinate with the \u003ca href=\"http://www.diggers.org/\" target=\"_blank\" rel=\"noopener\">radical theater group the Diggers\u003c/a>. Instead, “all they wanted was the fashions, the rock and roll posters, and the music,” he says.\u003c/p>\n\u003cp>“I went to \u003ca href=\"https://ww2.kqed.org/arts/2017/04/12/de-young-summer-of-love-50th-anniversary/\" target=\"_blank\" rel=\"noopener\">the deYoung show\u003c/a>, which I narrated, and it was an embarrassment,” Coyote adds. “There were a lot of people who were putting their lives on the line to make change, and you would think everyone was just going to rock and roll shows and wearing bellbottom pants.”\u003c/p>\n\u003cp>But at least one project this year focuses on what was “really important” to Coyote in the 1960s: Ken Burns’ \u003ci>The Vietnam War.\u003c/i> The 18-hour long documentary series, which Coyote narrates, examines in detail the history of the conflict, its causes, and its impact on both Americans and the Vietnamese. And when Coyote looks back at his work with the Diggers, fighting the causes of the Vietnam War was at the heart of it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/TheVietnamWar_web_banners-1180x177-Ver_2-e1505759581455.png\" alt=\"\" width=\"401\" height=\"401\" class=\"alignright size-full wp-image-13808862\">\u003c/a>\u003c/p>\n\u003cp>“It wasn’t trying to be ‘radical,'” Coyote says today. “It was trying to get people to understand that the core organizing principle of American culture was profit and private property, and that led directly to the war in Vietnam.”\u003c/p>\n\u003ch3>Confronting the War\u003c/h3>\n\u003cp>In 1961, Coyote — then a student at Grinnell College — joined 11 other classmates on a trip to Washington D.C., where they held a three-day hunger strike against the continued testing of nuclear weapons. The protest caught the attention of then-President John F. Kennedy, who invited the group to visit the White House — the first time a picketing group received such an invitation from a president, according to Coyote.\u003c/p>\n\u003cp>At the time, Kennedy was in Arizona, so they met with McGeorge Bundy, a special advisor to the president.\u003c/p>\n\u003cp>“We had gone to Washington thinking we had brought information from the field to the White House. We were going to tell them what young people were thinking,” Coyote said. “I’m sitting in front of Bundy, and I realize that we are nothing to him. We are a problem for his president, and we needed to be solved.”\u003c/p>\n\u003cp>Coyote adds, “I realized the only way I was going to get this guy’s attention was to come back with an army. Two years later, I thought the counterculture was going to be that army.”\u003c/p>\n\u003cfigure id=\"attachment_13809051\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Mime-Troupe-800x1120.jpg\" alt=\"San Francisco Mime Troupe, c. 1966. Photo by Gene Anthony; Collection of the California Historical Society.\" width=\"800\" height=\"1120\" class=\"size-medium wp-image-13809051\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Mime-Troupe.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Mime-Troupe-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Mime-Troupe-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Mime-Troupe-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Mime-Troupe-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Mime-Troupe-520x728.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Mime Troupe, c. 1966. Photo by Gene Anthony; Collection of the California Historical Society. \u003ccite>(Gene Anthony/Collection of the California Historical Society. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After graduating from Grinnell, Coyote moved to San Francisco to study under the poet Robert Duncan at San Francisco State University. But he didn’t stay in school for long, as the counterculture and his acting with the guerilla theater group the San Francisco Mime Troupe became his focus. \u003c/p>\n\u003cp>No longer a student, Coyote was called in for a military service exam in order to be drafted for Vietnam. He had applied for conscientious objector status, and even offered to be a medic, but those appeals were rejected. It looked like Coyote was going to war. \u003c/p>\n\u003cp>Except that by then, Coyote was an experienced actor. \u003c/p>\n\u003cp>“I actually pretended I was completely sane,” Coyote says. “I insisted that I would do whatever they wanted — rape, looting, killing — but I would keep what I caught.”\u003c/p>\n\u003cp>His performance convinced the military service examiners that he was unfit for duty, and so Coyote went back to theater in the park instead of war in a far-off land. Today, Coyote says he would’ve fought for his country, but only if it was the one being invaded.\u003c/p>\n\u003cp>“We invaded Vietnam. People forget that,” Coyote said.\u003c/p>\n\u003ch3>Getting Revolutionary\u003c/h3>\n\u003cp>During the late ’60s, Coyote traveled all over the nation causing a ruckus with the San Francisco Mime Troupe’s brand of free, outdoor “guerilla theater.” In 1967, still using the last name Cohon (he adopted the name Coyote after peyote trip), he co-wrote and starred in a short play called \u003ci>Olive Pits\u003c/i>, based on a 16th-century commedia that Coyote updated to reflect the Vietnam War and other current events. The play was a hit, receiving rave reviews and winning the troupe its first OBIE Award from the \u003ci>Village Voice\u003c/i>.\u003c/p>\n\u003cp>[contextly_sidebar id=”A4jOe4ynIVAy29Hb1MT3rqBetuePb6i7″]\u003c/p>\n\u003cp>But Coyote became dissatisfied with theater, even with the guerrilla theater the San Francisco Mime Troupe staged.\u003c/p>\n\u003cp>“It felt too safe to be on a stage where you can control everything,“ Coyote said.\u003c/p>\n\u003cp>Coyote and six others splintered off and formed the Diggers, an anarchist collective determined to incite change through theater. But instead of staging plays, the Diggers hosted events with subliminal messages. For example, they gave away free food, but in order to be fed, one had to walk through a large yellow square called “Free Frame of Reference.” \u003c/p>\n\u003cfigure id=\"attachment_13809052\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Diggers-meal-800x1133.jpg\" alt=\"Digger Free Meal in the Panhandle, c. 1966.\" width=\"800\" height=\"1133\" class=\"size-medium wp-image-13809052\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Diggers-meal.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Diggers-meal-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Diggers-meal-768x1088.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Diggers-meal-240x340.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Diggers-meal-375x531.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Diggers-meal-520x736.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Digger Free Meal in the Panhandle, c. 1966. \u003ccite>(Photo by Gene Anthony; Collection of the California Historical Society.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was like a ceremony. You stepped through it and imagined yourself in a world with free food,” Coyote said.\u003c/p>\n\u003cp>The point of the Free Frame of Reference and later, the Free Store, was to show others what the world could be like if everything was free. Such experiments saw the Diggers not only rebelling against capitalism, but the political tactics of the established left wing.\u003c/p>\n\u003cp>“We challenged ourselves and others to imagine a world that we’d like to live in, and then make it real,” Coyote said. “We felt that if people had a life that they liked, they might be willing to defend it. They were not going to throw themselves on the barricades because they read Mao’s little red book.”\u003c/p>\n\u003cp>The Diggers evolved into the Free Family, which established a series of communes that reached from Northern California to the Pacific Northwest, and throughout the Southwest. Coyote says he loved those days, even though they subsisted on little — he averaged about $2,500 a year, and much of the commune’s funds came from welfare. But everyone seemed to do their part in terms of chores and other responsibilities, the entertainment came from board games and being with each other, and the group learned it didn’t need much to be happy. For Coyote, it was “a wonderful life.”\u003c/p>\n\u003cp>“It was the perfect confluence of living the life your art described,” Coyote said. “If I didn’t need health insurance, I would still be living on a commune.”\u003c/p>\n\u003cp>But it couldn’t last, especially after commune members began having children. Coyote says that those with families came to resent the free spirits who wanted to hang around getting high all day. And when conflicts arose, those in the commune didn’t have the tools to resolve them. In the end, members began separating themselves from the rest of the group.\u003c/p>\n\u003cp>“What we learned is that we are the problem. We grew up in this culture, with bad habits, impulses, egoism, selfishness and everything else. We could pretend we didn’t but it wasn’t actually true,” Coyote said. “We were so intent on building a new world, we didn’t concentrate as fully as we should’ve on building our lives.”\u003c/p>\n\u003cfigure id=\"attachment_13809057\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Coyote-and-Parks-800x534.jpg\" alt=\" (L-R) Park Rangers Gerard Baker, Shelton Johnson, director Ken Burns, writer Dayton Duncan, Lee Stetson, and actor Peter Coyote attend a National Parks celebration hosted by the National Parks Conservation Association and PBS at Central Park on September 23, 2009 in New York City. \" width=\"800\" height=\"534\" class=\"size-medium wp-image-13809057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Coyote-and-Parks-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Coyote-and-Parks-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Coyote-and-Parks-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Coyote-and-Parks-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Coyote-and-Parks.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Coyote-and-Parks-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Coyote-and-Parks-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Coyote-and-Parks-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Coyote-and-Parks-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Coyote-and-Parks-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Park Rangers Gerard Baker, Shelton Johnson, director Ken Burns, writer Dayton Duncan, Lee Stetson, and actor Peter Coyote attend a National Parks celebration hosted by the National Parks Conservation Association and PBS at Central Park on September 23, 2009 in New York City. \u003ccite>(Thos Robinson/Getty Images for NPCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Looking Back\u003c/h3>\n\u003cp>In 1978, Coyote returned to theater, which led to a successful acting career — he’s since been in over 70 films, including blockbusters like \u003ci>E.T. the Extra-Terrestrial\u003c/i> and \u003ci>Erin Brockovich\u003c/i>.\u003c/p>\n\u003cp>He also began a fruitful career in voice work, which has led him to become the go-to voice for documentarians such as Alex Gibney and Ken Burns. Burns and Coyote started worked together in 1992 on the documentary \u003ci>The West,\u003c/i> which Burns produced. Coyote has gone on to narrate nine of Burns’ documentaries.\u003c/p>\n\u003cp>\u003ci>The Vietnam War,\u003c/i> Burns’ newest series, is already being \u003ca href=\"https://ww2.kqed.org/arts/2017/08/02/the-vietnam-war-a-harrowing-look-back-for-viewers-and-filmmakers-alike/\" target=\"_blank\" rel=\"noopener\">hailed as his best yet\u003c/a>. Coyote narrated all 18 hours of the documentary, and he says that while working on it, “there was a lot of re-living.” \u003c/p>\n\u003cp>“I was amazed how passionately my memories and feelings about the war came up,” Coyote said. \u003c/p>\n\u003cp>He also had a major discovery from the series: that the North Vietnamese weren’t the good guys Coyote assumed they were back when he was protesting the war.\u003c/p>\n\u003cp>“People had all these romantic ideas about the VietCong and the Viet Minh. Well, those guys were just as bad as our guys,” Coyote said. “They were murdering civilians over ideological disputes, and burying them alive because they didn’t want to waste bullets.” \u003c/p>\n\u003cp>Even though Coyote can admit that he was wrong in some ways, he remains angry that the work of the counterculture was later portrayed in the media as a failure. He blames Reagan-era conservatives for shutting down surpluses and doing all they could to ensure that a left-wing counterculture never saw prominence again.\u003c/p>\n\u003cp>“It’s true that the free lifestyle is unsustainable, but it doesn’t mean you have to give up your values. Most of our kids became nurses, healers, doctors, and environmentalists, and I’m really proud of them,” Coyote says. \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_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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 floatright]\u003c/p>\n\u003cp>\u003cem>To see more stories and photographs from KQED’s series about the impact of the Vietnam War on the Bay Area and other communities in California, visit \u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\" target=\"_blank\" rel=\"noopener noreferrer\">kqed.org/vietnamwar\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "The narrator of Ken Burns' 'The Vietnam War' discusses the war, the 1960s counterculture, and what he's learned in the past 50 years.",
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"title": "'The Summer of Crap': Peter Coyote on Vietnam and Life in the '60s | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After 50 years, Peter Coyote still hasn’t changed his opinion on the Summer of Love. \u003c/p>\n\u003cp>“It was crap,” the 75-year-old Coyote says. “Who cares?”\u003c/p>\n\u003cp>Coyote’s talked a lot about the ’60s this past year — in case you hadn’t heard, it’s the \u003ca href=\"https://ww2.kqed.org/arts/programs/summer-of-love/\" target=\"_blank\" rel=\"noopener\">Summer of Love’s 50th anniversary\u003c/a> — and to hear Coyote tell it, the experience has been miserable. Cable news channels and other organizations have “dragged” Coyote “out of the old hippie diorama to talk,” and they rarely discuss the revolutionary ideas he helped germinate with the \u003ca href=\"http://www.diggers.org/\" target=\"_blank\" rel=\"noopener\">radical theater group the Diggers\u003c/a>. Instead, “all they wanted was the fashions, the rock and roll posters, and the music,” he says.\u003c/p>\n\u003cp>“I went to \u003ca href=\"https://ww2.kqed.org/arts/2017/04/12/de-young-summer-of-love-50th-anniversary/\" target=\"_blank\" rel=\"noopener\">the deYoung show\u003c/a>, which I narrated, and it was an embarrassment,” Coyote adds. “There were a lot of people who were putting their lives on the line to make change, and you would think everyone was just going to rock and roll shows and wearing bellbottom pants.”\u003c/p>\n\u003cp>But at least one project this year focuses on what was “really important” to Coyote in the 1960s: Ken Burns’ \u003ci>The Vietnam War.\u003c/i> The 18-hour long documentary series, which Coyote narrates, examines in detail the history of the conflict, its causes, and its impact on both Americans and the Vietnamese. And when Coyote looks back at his work with the Diggers, fighting the causes of the Vietnam War was at the heart of it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/TheVietnamWar_web_banners-1180x177-Ver_2-e1505759581455.png\" alt=\"\" width=\"401\" height=\"401\" class=\"alignright size-full wp-image-13808862\">\u003c/a>\u003c/p>\n\u003cp>“It wasn’t trying to be ‘radical,'” Coyote says today. “It was trying to get people to understand that the core organizing principle of American culture was profit and private property, and that led directly to the war in Vietnam.”\u003c/p>\n\u003ch3>Confronting the War\u003c/h3>\n\u003cp>In 1961, Coyote — then a student at Grinnell College — joined 11 other classmates on a trip to Washington D.C., where they held a three-day hunger strike against the continued testing of nuclear weapons. The protest caught the attention of then-President John F. Kennedy, who invited the group to visit the White House — the first time a picketing group received such an invitation from a president, according to Coyote.\u003c/p>\n\u003cp>At the time, Kennedy was in Arizona, so they met with McGeorge Bundy, a special advisor to the president.\u003c/p>\n\u003cp>“We had gone to Washington thinking we had brought information from the field to the White House. We were going to tell them what young people were thinking,” Coyote said. “I’m sitting in front of Bundy, and I realize that we are nothing to him. We are a problem for his president, and we needed to be solved.”\u003c/p>\n\u003cp>Coyote adds, “I realized the only way I was going to get this guy’s attention was to come back with an army. Two years later, I thought the counterculture was going to be that army.”\u003c/p>\n\u003cfigure id=\"attachment_13809051\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Mime-Troupe-800x1120.jpg\" alt=\"San Francisco Mime Troupe, c. 1966. Photo by Gene Anthony; Collection of the California Historical Society.\" width=\"800\" height=\"1120\" class=\"size-medium wp-image-13809051\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Mime-Troupe.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Mime-Troupe-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Mime-Troupe-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Mime-Troupe-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Mime-Troupe-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Mime-Troupe-520x728.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Mime Troupe, c. 1966. Photo by Gene Anthony; Collection of the California Historical Society. \u003ccite>(Gene Anthony/Collection of the California Historical Society. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After graduating from Grinnell, Coyote moved to San Francisco to study under the poet Robert Duncan at San Francisco State University. But he didn’t stay in school for long, as the counterculture and his acting with the guerilla theater group the San Francisco Mime Troupe became his focus. \u003c/p>\n\u003cp>No longer a student, Coyote was called in for a military service exam in order to be drafted for Vietnam. He had applied for conscientious objector status, and even offered to be a medic, but those appeals were rejected. It looked like Coyote was going to war. \u003c/p>\n\u003cp>Except that by then, Coyote was an experienced actor. \u003c/p>\n\u003cp>“I actually pretended I was completely sane,” Coyote says. “I insisted that I would do whatever they wanted — rape, looting, killing — but I would keep what I caught.”\u003c/p>\n\u003cp>His performance convinced the military service examiners that he was unfit for duty, and so Coyote went back to theater in the park instead of war in a far-off land. Today, Coyote says he would’ve fought for his country, but only if it was the one being invaded.\u003c/p>\n\u003cp>“We invaded Vietnam. People forget that,” Coyote said.\u003c/p>\n\u003ch3>Getting Revolutionary\u003c/h3>\n\u003cp>During the late ’60s, Coyote traveled all over the nation causing a ruckus with the San Francisco Mime Troupe’s brand of free, outdoor “guerilla theater.” In 1967, still using the last name Cohon (he adopted the name Coyote after peyote trip), he co-wrote and starred in a short play called \u003ci>Olive Pits\u003c/i>, based on a 16th-century commedia that Coyote updated to reflect the Vietnam War and other current events. The play was a hit, receiving rave reviews and winning the troupe its first OBIE Award from the \u003ci>Village Voice\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But Coyote became dissatisfied with theater, even with the guerrilla theater the San Francisco Mime Troupe staged.\u003c/p>\n\u003cp>“It felt too safe to be on a stage where you can control everything,“ Coyote said.\u003c/p>\n\u003cp>Coyote and six others splintered off and formed the Diggers, an anarchist collective determined to incite change through theater. But instead of staging plays, the Diggers hosted events with subliminal messages. For example, they gave away free food, but in order to be fed, one had to walk through a large yellow square called “Free Frame of Reference.” \u003c/p>\n\u003cfigure id=\"attachment_13809052\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Diggers-meal-800x1133.jpg\" alt=\"Digger Free Meal in the Panhandle, c. 1966.\" width=\"800\" height=\"1133\" class=\"size-medium wp-image-13809052\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Diggers-meal.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Diggers-meal-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Diggers-meal-768x1088.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Diggers-meal-240x340.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Diggers-meal-375x531.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Diggers-meal-520x736.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Digger Free Meal in the Panhandle, c. 1966. \u003ccite>(Photo by Gene Anthony; Collection of the California Historical Society.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was like a ceremony. You stepped through it and imagined yourself in a world with free food,” Coyote said.\u003c/p>\n\u003cp>The point of the Free Frame of Reference and later, the Free Store, was to show others what the world could be like if everything was free. Such experiments saw the Diggers not only rebelling against capitalism, but the political tactics of the established left wing.\u003c/p>\n\u003cp>“We challenged ourselves and others to imagine a world that we’d like to live in, and then make it real,” Coyote said. “We felt that if people had a life that they liked, they might be willing to defend it. They were not going to throw themselves on the barricades because they read Mao’s little red book.”\u003c/p>\n\u003cp>The Diggers evolved into the Free Family, which established a series of communes that reached from Northern California to the Pacific Northwest, and throughout the Southwest. Coyote says he loved those days, even though they subsisted on little — he averaged about $2,500 a year, and much of the commune’s funds came from welfare. But everyone seemed to do their part in terms of chores and other responsibilities, the entertainment came from board games and being with each other, and the group learned it didn’t need much to be happy. For Coyote, it was “a wonderful life.”\u003c/p>\n\u003cp>“It was the perfect confluence of living the life your art described,” Coyote said. “If I didn’t need health insurance, I would still be living on a commune.”\u003c/p>\n\u003cp>But it couldn’t last, especially after commune members began having children. Coyote says that those with families came to resent the free spirits who wanted to hang around getting high all day. And when conflicts arose, those in the commune didn’t have the tools to resolve them. In the end, members began separating themselves from the rest of the group.\u003c/p>\n\u003cp>“What we learned is that we are the problem. We grew up in this culture, with bad habits, impulses, egoism, selfishness and everything else. We could pretend we didn’t but it wasn’t actually true,” Coyote said. “We were so intent on building a new world, we didn’t concentrate as fully as we should’ve on building our lives.”\u003c/p>\n\u003cfigure id=\"attachment_13809057\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Coyote-and-Parks-800x534.jpg\" alt=\" (L-R) Park Rangers Gerard Baker, Shelton Johnson, director Ken Burns, writer Dayton Duncan, Lee Stetson, and actor Peter Coyote attend a National Parks celebration hosted by the National Parks Conservation Association and PBS at Central Park on September 23, 2009 in New York City. \" width=\"800\" height=\"534\" class=\"size-medium wp-image-13809057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Coyote-and-Parks-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Coyote-and-Parks-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Coyote-and-Parks-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Coyote-and-Parks-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Coyote-and-Parks.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Coyote-and-Parks-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Coyote-and-Parks-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Coyote-and-Parks-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Coyote-and-Parks-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Coyote-and-Parks-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Park Rangers Gerard Baker, Shelton Johnson, director Ken Burns, writer Dayton Duncan, Lee Stetson, and actor Peter Coyote attend a National Parks celebration hosted by the National Parks Conservation Association and PBS at Central Park on September 23, 2009 in New York City. \u003ccite>(Thos Robinson/Getty Images for NPCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Looking Back\u003c/h3>\n\u003cp>In 1978, Coyote returned to theater, which led to a successful acting career — he’s since been in over 70 films, including blockbusters like \u003ci>E.T. the Extra-Terrestrial\u003c/i> and \u003ci>Erin Brockovich\u003c/i>.\u003c/p>\n\u003cp>He also began a fruitful career in voice work, which has led him to become the go-to voice for documentarians such as Alex Gibney and Ken Burns. Burns and Coyote started worked together in 1992 on the documentary \u003ci>The West,\u003c/i> which Burns produced. Coyote has gone on to narrate nine of Burns’ documentaries.\u003c/p>\n\u003cp>\u003ci>The Vietnam War,\u003c/i> Burns’ newest series, is already being \u003ca href=\"https://ww2.kqed.org/arts/2017/08/02/the-vietnam-war-a-harrowing-look-back-for-viewers-and-filmmakers-alike/\" target=\"_blank\" rel=\"noopener\">hailed as his best yet\u003c/a>. Coyote narrated all 18 hours of the documentary, and he says that while working on it, “there was a lot of re-living.” \u003c/p>\n\u003cp>“I was amazed how passionately my memories and feelings about the war came up,” Coyote said. \u003c/p>\n\u003cp>He also had a major discovery from the series: that the North Vietnamese weren’t the good guys Coyote assumed they were back when he was protesting the war.\u003c/p>\n\u003cp>“People had all these romantic ideas about the VietCong and the Viet Minh. Well, those guys were just as bad as our guys,” Coyote said. “They were murdering civilians over ideological disputes, and burying them alive because they didn’t want to waste bullets.” \u003c/p>\n\u003cp>Even though Coyote can admit that he was wrong in some ways, he remains angry that the work of the counterculture was later portrayed in the media as a failure. He blames Reagan-era conservatives for shutting down surpluses and doing all they could to ensure that a left-wing counterculture never saw prominence again.\u003c/p>\n\u003cp>“It’s true that the free lifestyle is unsustainable, but it doesn’t mean you have to give up your values. Most of our kids became nurses, healers, doctors, and environmentalists, and I’m really proud of them,” Coyote says. \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_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>\u003cem>To see more stories and photographs from KQED’s series about the impact of the Vietnam War on the Bay Area and other communities in California, visit \u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\" target=\"_blank\" rel=\"noopener noreferrer\">kqed.org/vietnamwar\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"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.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
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