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"content": "\u003cp>In recent years, the British heartthrob Robert Pattinson has gone out of his way to prove that there is life after \u003cem>Twilight\u003c/em>. After years spent playing a shimmery, chivalrous vampire, he went all dark and dystopian in art-house chillers like \u003cem>The Rover \u003c/em>and \u003cem>Cosmopolis,\u003c/em> and he recently popped up in a terrific supporting role in \u003cem>The Lost City of Z.\u003c/em> But Pattinson has never undergone a transformation as revelatory as the one he pulls off in \u003cem>Good Time\u003c/em>, a nerve-rattling new thriller from the sibling directors Josh and Benny Safdie.\u003c/p>\n\u003cp>Pattinson plays Connie Nikas, a scuzzy, small-time crook from Queens who saunters through much of the movie sporting a gray hoodie, diamond stud earrings and cheap blond dye job. He is somehow both a catastrophically inept criminal and a quick-thinking improvisational genius, a master at getting himself out of one hair-raising situation only to plunge himself immediately into another.\u003c/p>\n\u003cp>https://youtu.be/upsR80YmwWc\u003c/p>\n\u003cp>Connie’s undoing, as well as his sole redeeming quality, is his love for his hearing-impaired, mentally disabled brother, Nick, played — in a brief but galvanizing performance — by Ben Safdie, doing a nice job of directing himself. We first meet Nick when he is undergoing a psychiatric evaluation, and his gruff, one-line responses to the therapist’s questions are a heartbreaking testimony to years of family neglect and abuse.\u003c/p>\n\u003cp>Connie has suffered the effects of that mistreatment as well, but as played with agitated live-wire intensity by Pattinson, he has clearly chosen to rebel rather than buckle under. Shortly after dragging Nick out of that evaluation, Connie makes him his accomplice in a shockingly clumsy bank robbery, played out with a mixture of tension, dread and dark humor that twists your stomach in knots. As they flee the bank, you can sense Connie’s protectiveness toward Nick, even though it was foolish to endanger him in the first place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But when a frightened Nick draws the attention of police and winds up getting arrested, Connie is left to bust him out of jail. Over the rest of this movie’s lean 100-minute running time, the Safdies sustain a surging narrative momentum, their hand-held camera racing to keep up with the fugitive Connie as he dashes from one desperate encounter to the next.\u003c/p>\n\u003cp>What makes \u003cem>Good Time\u003c/em> such a thrilling action movie is that it’s so minutely attentive to process. We’re never allowed to get ahead of Connie because much of the time, we’re watching him think and maneuver his way out of each new predicament.\u003c/p>\n\u003cp>First, he tries to persuade his naive girlfriend, sharply played by Jennifer Jason Leigh, to post Nick’s bail. When that doesn’t work, he winds up prevailing on the hospitality of a 16-year-old stranger named Crystal, played by Taliah Webster with an amusing shrug of resignation.\u003c/p>\n\u003cp>Later Connie will find himself in reluctant cahoots with a fast-talking ex-con, Ray, played by the almost-too-perfectly named actor Buddy Duress, whose access to a stash of liquid LSD gives Connie an idea for another get-rich-quick scheme.\u003c/p>\n\u003cp>\u003cem>Good Time\u003c/em> is a swift and relentless chase thriller, a sometimes appallingly funny problem-solving exercise and an exhilarating mood piece that harks back to the gritty 1970s crime thrillers of quintessential New York filmmakers like Martin Scorsese, Sidney Lumet and Abel Ferrara. It’s a feverish and enveloping exercise in style, drenched in lurid neon reds and driven by the pure sonic adrenaline of Oneohtrix Point Never’s electronic score. The combination of jittery camerawork and tight, disorienting closeups conveys both freedom of movement and a sense of entrapment.\u003c/p>\n\u003cp>But as brilliantly directed as it is, \u003cem>Good Time\u003c/em> is more than mere flash and energy, and its air of pungent seediness is hardly just for show. In a movie that effortlessly embodies the ethnic and cultural diversity of New York City, it shouldn’t escape our attention that Connie, despite his lowly upbringing, still enjoys a measure of privilege that some of the other characters do not.\u003c/p>\n\u003cp>There’s a scene in which he and Crystal are stopped by police, and the cops proceed to target the black teenager rather than the white bank robber whose face has been plastered all over the news. The Safdie brothers don’t belabor the point. As the movie’s title suggests, they certainly want you to enjoy yourself. But they’ve made the rare genre piece that leaves you feeling more connected to the real world rather than less.\u003c/p>\n\u003cp>\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In recent years, the British heartthrob Robert Pattinson has gone out of his way to prove that there is life after \u003cem>Twilight\u003c/em>. After years spent playing a shimmery, chivalrous vampire, he went all dark and dystopian in art-house chillers like \u003cem>The Rover \u003c/em>and \u003cem>Cosmopolis,\u003c/em> and he recently popped up in a terrific supporting role in \u003cem>The Lost City of Z.\u003c/em> But Pattinson has never undergone a transformation as revelatory as the one he pulls off in \u003cem>Good Time\u003c/em>, a nerve-rattling new thriller from the sibling directors Josh and Benny Safdie.\u003c/p>\n\u003cp>Pattinson plays Connie Nikas, a scuzzy, small-time crook from Queens who saunters through much of the movie sporting a gray hoodie, diamond stud earrings and cheap blond dye job. He is somehow both a catastrophically inept criminal and a quick-thinking improvisational genius, a master at getting himself out of one hair-raising situation only to plunge himself immediately into another.\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/upsR80YmwWc'\n title='//www.youtube.com/embed/upsR80YmwWc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Connie’s undoing, as well as his sole redeeming quality, is his love for his hearing-impaired, mentally disabled brother, Nick, played — in a brief but galvanizing performance — by Ben Safdie, doing a nice job of directing himself. We first meet Nick when he is undergoing a psychiatric evaluation, and his gruff, one-line responses to the therapist’s questions are a heartbreaking testimony to years of family neglect and abuse.\u003c/p>\n\u003cp>Connie has suffered the effects of that mistreatment as well, but as played with agitated live-wire intensity by Pattinson, he has clearly chosen to rebel rather than buckle under. Shortly after dragging Nick out of that evaluation, Connie makes him his accomplice in a shockingly clumsy bank robbery, played out with a mixture of tension, dread and dark humor that twists your stomach in knots. As they flee the bank, you can sense Connie’s protectiveness toward Nick, even though it was foolish to endanger him in the first place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But when a frightened Nick draws the attention of police and winds up getting arrested, Connie is left to bust him out of jail. Over the rest of this movie’s lean 100-minute running time, the Safdies sustain a surging narrative momentum, their hand-held camera racing to keep up with the fugitive Connie as he dashes from one desperate encounter to the next.\u003c/p>\n\u003cp>What makes \u003cem>Good Time\u003c/em> such a thrilling action movie is that it’s so minutely attentive to process. We’re never allowed to get ahead of Connie because much of the time, we’re watching him think and maneuver his way out of each new predicament.\u003c/p>\n\u003cp>First, he tries to persuade his naive girlfriend, sharply played by Jennifer Jason Leigh, to post Nick’s bail. When that doesn’t work, he winds up prevailing on the hospitality of a 16-year-old stranger named Crystal, played by Taliah Webster with an amusing shrug of resignation.\u003c/p>\n\u003cp>Later Connie will find himself in reluctant cahoots with a fast-talking ex-con, Ray, played by the almost-too-perfectly named actor Buddy Duress, whose access to a stash of liquid LSD gives Connie an idea for another get-rich-quick scheme.\u003c/p>\n\u003cp>\u003cem>Good Time\u003c/em> is a swift and relentless chase thriller, a sometimes appallingly funny problem-solving exercise and an exhilarating mood piece that harks back to the gritty 1970s crime thrillers of quintessential New York filmmakers like Martin Scorsese, Sidney Lumet and Abel Ferrara. It’s a feverish and enveloping exercise in style, drenched in lurid neon reds and driven by the pure sonic adrenaline of Oneohtrix Point Never’s electronic score. The combination of jittery camerawork and tight, disorienting closeups conveys both freedom of movement and a sense of entrapment.\u003c/p>\n\u003cp>But as brilliantly directed as it is, \u003cem>Good Time\u003c/em> is more than mere flash and energy, and its air of pungent seediness is hardly just for show. In a movie that effortlessly embodies the ethnic and cultural diversity of New York City, it shouldn’t escape our attention that Connie, despite his lowly upbringing, still enjoys a measure of privilege that some of the other characters do not.\u003c/p>\n\u003cp>There’s a scene in which he and Crystal are stopped by police, and the cops proceed to target the black teenager rather than the white bank robber whose face has been plastered all over the news. The Safdie brothers don’t belabor the point. As the movie’s title suggests, they certainly want you to enjoy yourself. But they’ve made the rare genre piece that leaves you feeling more connected to the real world rather than less.\u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>",
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"title": "Tobe Hooper, Director Of 'Chain Saw Massacre,' Dies at 74",
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"content": "\u003cp>Tobe Hooper, who directed the influential horror movie \u003cem>The Texas Chain Saw Massacre,\u003c/em> died on Saturday in Los Angeles.\u003c/p>\n\u003cp>The LA County coroner’s office confirmed the death to NPR, but did not provide a cause.\u003c/p>\n\u003cp>Hooper was a little-known, barely-funded filmmaker when he made the movie that echoed through the horror genre for years to come.\u003c/p>\n\u003cp>In 2004, \u003cem>Texas Monthly\u003c/em> magazine \u003ca href=\"http://www.texasmonthly.com/articles/they-came-they-sawed/\" target=\"_blank\" rel=\"noopener\">reported on\u003c/a> the movie’s improbable production (and lasting financial woes.) The production crew was astonishingly green — it was the cinematographer’s first feature film. There was precisely one chainsaw in the prop collection. The cast members were starving, exhausted and bruised, surrounded by rotting animal parts in the middle of a meltingly hot Texas summer. And Hooper was driving them crazy with his direction.\u003c/p>\n\u003cp>“There’s reason to believe that Hooper was manipulating many of the details, to an almost obsessive degree,” the magazine wrote. “He \u003cem>wanted\u003c/em> the actors to feel irritable and off-balance.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hooper got want he wanted. The film felt real in a way that audiences found both unsettling and deeply compelling. It was even marketed (falsely) as being based on a “true story.”\u003c/p>\n\u003cp>The movie’s premise is distinctly grisly: a cannibalistic family that kills, skins and eats human beings, turning them into sausages. They live in an isolated house stacked high with bits of corpses. The most infamous character, Leatherface, wears human faces as masks.\u003c/p>\n\u003cp>But despite the subject matter, there’s very little blood, guts or gore. In fact, Hooper once told NPR’s Terry Gross that he was aiming for a PG rating — seriously.\u003c/p>\n\u003cp>During production, as he was deciding how to frame various shots, he’d ask the Motion Picture Association of America, for tips on what would factor in his favor as they picked a rating.\u003c/p>\n\u003cp>“I called the MPAA and told them what I was doing and said, ‘Now, how can I make this PG? I know the concept is rough but let’s hypothetically talk about a sequence … for instance where, uh, a big guy hangs a girl up on a meathook. And if you don’t see penetration, and you see the girl hanging on the meathook, and you’ve suggested penetration in a kind of Hitchcock way, you know. what will I get? Does that get an R? Does that get an X? Or how about PG?’ ”\u003c/p>\n\u003cp>The movie ultimately received an R rating. “Had I not sincerely tried to go for a PG, the picture may have been an X,” Hooper told Gross.\u003c/p>\n\u003cp>Once it was released, the movie made its way into the canon of great horror films — eventually. The Associated Press describes the decidedly mixed initial reaction:\u003c/p>\n\u003cblockquote>\n\u003cp>“The film was controversial. Several countries banned it, though the independent film — aided by its gory reputation and lightning fast word-of-mouth — grossed $30.8 million, playing for eight years in drive-ins and theaters. Still, \u003cem>The Texas Chain Saw Massacre\u003c/em> wasn’t as explicitly grisly as it was reputed to be; much of its humor-sprinkled horror was summoned by the filmmaking and the buzz of one terrifying power tool.\u003c/p>\n\u003cp>“[John] Carpenter, the \u003cem>Halloween\u003c/em> director, on Sunday called it ‘a seminal work in horror cinema.’ William Friedkin, director of \u003cem>The Exorcist\u003c/em>, recalled Hooper as “a kind, warm-hearted man who made the most terrifying film ever.”\u003c/p>\n\u003cp>“\u003cem>The Texas Chain Saw Massacre\u003c/em> wasn’t received too kindly by critics. Harper’s, for one, called it ‘a vile little piece of sick crap.’ Roger Ebert said it was ‘without any apparent purpose, unless the creation of disgust and fright is a purpose.’ But its renown steadily grew, and many appreciated its harrowing craft, comparing it to Alfred Hitchcock’s \u003cem>Pyscho … The Texas Chain Saw Massacre\u003c/em> was selected to the Director’s Fortnight of the 1975 Cannes Film Festival. Later, it would become part of the permanent collection at New York’s Museum of Modern Art.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Leatherface has lived on in a number of spinoffs; the franchise is still going. Hooper himself went on to direct Steven Spielberg’s \u003cem>Poltergeist, \u003c/em>another horror classic. He also directed a TV adaptation of Stephen King’s \u003cem>Salems Lot.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Variety \u003c/em>\u003ca href=\"http://variety.com/2017/film/news/tobe-hooper-dead-dies-texas-chain-saw-massacre-poltergeist-director-dies-1202539868/\" target=\"_blank\" rel=\"noopener\">writes\u003c/a> that Hooper continued to work on TV and film until just a few years ago, although “none of the films had the impact of his early works.”\u003c/p>\n\u003cp>But \u003cem>Massacre\u003c/em> — credited as one of the founding films of the slasher genre — had a lasting effect on horror movies and filmmakers. That wasn’t intentional, the director said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I don’t think I set out to change the genre consciously,” Hooper told Gross in 1988. “I simply made a film that I wanted to see.” \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=Tobe+Hooper%2C+Director+Of+%27Chain+Saw+Massacre%2C%27+Dies+At+74&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tobe Hooper, who directed the influential horror movie \u003cem>The Texas Chain Saw Massacre,\u003c/em> died on Saturday in Los Angeles.\u003c/p>\n\u003cp>The LA County coroner’s office confirmed the death to NPR, but did not provide a cause.\u003c/p>\n\u003cp>Hooper was a little-known, barely-funded filmmaker when he made the movie that echoed through the horror genre for years to come.\u003c/p>\n\u003cp>In 2004, \u003cem>Texas Monthly\u003c/em> magazine \u003ca href=\"http://www.texasmonthly.com/articles/they-came-they-sawed/\" target=\"_blank\" rel=\"noopener\">reported on\u003c/a> the movie’s improbable production (and lasting financial woes.) The production crew was astonishingly green — it was the cinematographer’s first feature film. There was precisely one chainsaw in the prop collection. The cast members were starving, exhausted and bruised, surrounded by rotting animal parts in the middle of a meltingly hot Texas summer. And Hooper was driving them crazy with his direction.\u003c/p>\n\u003cp>“There’s reason to believe that Hooper was manipulating many of the details, to an almost obsessive degree,” the magazine wrote. “He \u003cem>wanted\u003c/em> the actors to feel irritable and off-balance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hooper got want he wanted. The film felt real in a way that audiences found both unsettling and deeply compelling. It was even marketed (falsely) as being based on a “true story.”\u003c/p>\n\u003cp>The movie’s premise is distinctly grisly: a cannibalistic family that kills, skins and eats human beings, turning them into sausages. They live in an isolated house stacked high with bits of corpses. The most infamous character, Leatherface, wears human faces as masks.\u003c/p>\n\u003cp>But despite the subject matter, there’s very little blood, guts or gore. In fact, Hooper once told NPR’s Terry Gross that he was aiming for a PG rating — seriously.\u003c/p>\n\u003cp>During production, as he was deciding how to frame various shots, he’d ask the Motion Picture Association of America, for tips on what would factor in his favor as they picked a rating.\u003c/p>\n\u003cp>“I called the MPAA and told them what I was doing and said, ‘Now, how can I make this PG? I know the concept is rough but let’s hypothetically talk about a sequence … for instance where, uh, a big guy hangs a girl up on a meathook. And if you don’t see penetration, and you see the girl hanging on the meathook, and you’ve suggested penetration in a kind of Hitchcock way, you know. what will I get? Does that get an R? Does that get an X? Or how about PG?’ ”\u003c/p>\n\u003cp>The movie ultimately received an R rating. “Had I not sincerely tried to go for a PG, the picture may have been an X,” Hooper told Gross.\u003c/p>\n\u003cp>Once it was released, the movie made its way into the canon of great horror films — eventually. The Associated Press describes the decidedly mixed initial reaction:\u003c/p>\n\u003cblockquote>\n\u003cp>“The film was controversial. Several countries banned it, though the independent film — aided by its gory reputation and lightning fast word-of-mouth — grossed $30.8 million, playing for eight years in drive-ins and theaters. Still, \u003cem>The Texas Chain Saw Massacre\u003c/em> wasn’t as explicitly grisly as it was reputed to be; much of its humor-sprinkled horror was summoned by the filmmaking and the buzz of one terrifying power tool.\u003c/p>\n\u003cp>“[John] Carpenter, the \u003cem>Halloween\u003c/em> director, on Sunday called it ‘a seminal work in horror cinema.’ William Friedkin, director of \u003cem>The Exorcist\u003c/em>, recalled Hooper as “a kind, warm-hearted man who made the most terrifying film ever.”\u003c/p>\n\u003cp>“\u003cem>The Texas Chain Saw Massacre\u003c/em> wasn’t received too kindly by critics. Harper’s, for one, called it ‘a vile little piece of sick crap.’ Roger Ebert said it was ‘without any apparent purpose, unless the creation of disgust and fright is a purpose.’ But its renown steadily grew, and many appreciated its harrowing craft, comparing it to Alfred Hitchcock’s \u003cem>Pyscho … The Texas Chain Saw Massacre\u003c/em> was selected to the Director’s Fortnight of the 1975 Cannes Film Festival. Later, it would become part of the permanent collection at New York’s Museum of Modern Art.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Leatherface has lived on in a number of spinoffs; the franchise is still going. Hooper himself went on to direct Steven Spielberg’s \u003cem>Poltergeist, \u003c/em>another horror classic. He also directed a TV adaptation of Stephen King’s \u003cem>Salems Lot.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Variety \u003c/em>\u003ca href=\"http://variety.com/2017/film/news/tobe-hooper-dead-dies-texas-chain-saw-massacre-poltergeist-director-dies-1202539868/\" target=\"_blank\" rel=\"noopener\">writes\u003c/a> that Hooper continued to work on TV and film until just a few years ago, although “none of the films had the impact of his early works.”\u003c/p>\n\u003cp>But \u003cem>Massacre\u003c/em> — credited as one of the founding films of the slasher genre — had a lasting effect on horror movies and filmmakers. That wasn’t intentional, the director said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I don’t think I set out to change the genre consciously,” Hooper told Gross in 1988. “I simply made a film that I wanted to see.” \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=Tobe+Hooper%2C+Director+Of+%27Chain+Saw+Massacre%2C%27+Dies+At+74&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the cinema, love stories are forever. That’s not to say that every romantic movie is timeless, but the genre is an infinitely renewable resource. Inspired by the poetry of Tahi Saihate, \u003cem>The Tokyo Night Sky Is Always the Densest Shade of Blue\u003c/em> suffuses the meeting and slow-burning relationship between a nurse and a construction worker with both the eternal hopefulness of youth and the widespread contemporary frustration with limited economic prospects. Writer-director Yaya Ishii swept the Japan Film Academy’s top awards with \u003cem>The Great Passage\u003c/em> (2013); this new film, receiving its West Coast premiere in the \u003ca href=\"http://www.jffsf.org/2017/\" target=\"_blank\" rel=\"noopener\">Japan Film Festival\u003c/a> (Sept. 1-10 at New People Cinema), is catnip for millennials.\u003c/p>\n\u003cp>This year’s festival lineup truly features something for everyone, with relationships—encompassing friends, relatives and strangers—providing the common thread. \u003cem>Hee\u003c/em> (\u003cem>Fire\u003c/em>), the second film directed by and starring the brilliantly spontaneous actress Kaori Momoi, imagines a murder suspect recounting her life story to a psychiatrist. The low-budget indie, shot mostly in Los Angeles, may not be aimed at millennials based on the disdain Momoi expressed for television in a recent interview. “I want to be in a movie that everyone watches with concentration, a movie that you won’t understand if you get up to go to the bathroom,” she declared. “That’s the kind of movie I want to make. But mine is the last generation to feel that way.” \u003cem>Hee\u003c/em> receives its U.S. premiere Sept. 10 with Momoi on hand to receive the Japan Film Festival’s honorary award. Let’s just say it’s not every day you get to see a legend.\u003c/p>\n\u003cp>Coincidentally or not, the \u003ca href=\"http://www.roxie.com/ai1ec_event/tokyo-idols/?instance_id=21520\" target=\"_blank\" rel=\"noopener\">Roxie\u003c/a> makes a contribution to our immersion in the singular Japanese point of view with the documentary \u003cem>Tokyo Idols\u003c/em>. An unsettling look at the cults of middle-aged Japanese men obsessed with teenage female pop stars, it opens Friday, Sept. 1 for a week.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>The production notes for \u003cem>Patti Cake$\u003c/em> describe the movie’s heroine as “plain and plus-sized.” Plus-sized she may be, but neither Patti Dombrowski, an aspiring rapper in her 20s, nor Danielle Macdonald, the gifted non-rapper who plays her, is plain in any sense unless your definition of beauty begins and ends with Angelina Jolie. The Australian actress, who by the way has expressive green eyes, a fetchingly unruly tangle of blonde curls and a relaxed ease in her own skin, was the best thing about Amy Berg’s nerveless 2015 thriller, \u003cem>Every Secret Thing\u003c/em>, in which she played an acerbic piece of teenaged work. And she’s easily the best thing about \u003cem>Patti Cake$\u003c/em>, a sweet, conventional dramedy gussied up in the grit of New Jersey rap.\u003c/p>\n\u003cp>We meet Patti tending bar, sweeping floors, and fielding an overload of other adult burdens in a working class suburb of New Jersey. Her mother, Barb, played with slatternly brio by cabaret artist and comedian Bridget Everett, is a former rocker who sings like an angel but is drowning in bitterness and booze, and she’s too jealous and dismissive of Patti’s chosen medium to be of any use. The deck is fully stacked against Patti, or Killa P as she means to call herself when she finally breaks into the mostly male, mostly black, mostly inhospitable rap scene whose incumbents — including a nasty specimen she has a crush on — see nothing wrong in calling her Dumbo.\u003c/p>\n\u003cp>https://youtu.be/L-591Dqa48g\u003c/p>\n\u003cp>Team Patti, alas, is cobbled together from a bunch of crudely constructed counter-intuitive types who rarely flesh out into plausible humans. The great Cathy Moriarty surely deserves better than Patti’s unconditionally supportive but ailing Nana, who’s little more than a visual gag in a slightly skewed wig, bellowing ballsy epithets from a wheelchair. The same goes for Patti’s producing partner Jheri, a Southeast-Asian R&B singer and drugstore employee amiably mugged by non-pro actor Siddharth Dhananjay. Not for nothing does Patti, on a disconsolate but mythic wander through thorny woods, stumble on a cabin cluttered with the creative projects of Basterd (Mamoudou Athie), a shy and alienated scion of much wealthier suburbia who styles himself an anarchist and, it turns out, makes music too.\u003c/p>\n\u003cp>Director Geremy Jasper, a music video producer, keeps sidetracking us into fantasy sequences meant to signal Patti’s dreams of upward mobility and a more glittering life than the crushingly mundane world she’s marooned in by class and bad luck. They’re fine, but the director’s strongest impulses are solidly realist, in the loving, rough and ready sense of place he shows for the hometown which he, too, dreamed of escaping and which now feeds his imagination.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For all its jittery attitude and outsider milieu, though, the movie is too bent on pleasing crowds to cohere into a point of view. Indeed the most transgressive thing about \u003cem>Patti Cake$\u003c/em> is the whiteness of its heroine in a black world. While the bit parts are manned by local rappers, this is a story more about gender than it is about race, and Jasper ventures only a little way out on a ledge with that. When all seems lost for Patti, help comes from a black female rapper who has known rejection herself. And such is Macdonald’s range — all the way from vulnerable to mouthy to indomitable (she’s pretty good with Jasper’s feminist rap lyrics too) — that she rises above type to make us wish both Patti, and the versatile actor who plays her, the success they both deserve.\u003c/p>\n\n",
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"content": "\u003cp>A lot of people already know the story of \u003cem>Friday Night Lights\u003c/em>, in which a West Texas high school fights for the state football title. It started as \u003ca href=\"http://www.npr.org/2015/08/03/428085798/reflecting-on-football-and-addiction-as-friday-night-lights-turns-25\" target=\"_blank\" rel=\"noopener\">a nonfiction book\u003c/a>, then it became a movie (with Billy Bob Thornton as the coach) and finally a TV series. In the film, Thornton tells his team that to win state, they’ll have to beat “a team of monsters” from Carter High School in Dallas (which they fail to do). \u003c/p>\n\u003cp>Carter High School is really an afterthought in \u003cem>Friday Night Lights —\u003c/em> the evil, thug-like team that stole a championship. But if you look at the real team’s journey to the 1988 state title, you’ll find a story about race and the pressures young athletes face — a story Adam Hootnick explores in his documentary \u003cem>What Carter Lost\u003c/em>.\u003c/p>\n\u003cp>“The number of scholarships they got, the number of guys who went on to play some form of professional football — by every measure this was one of the greats,” Hootnick says of the school’s reputation. \u003c/p>\n\u003cp>Carter served a black, middle-class neighborhood in Dallas. According to Hootnick, it was “mostly two-parent families, mostly professionals. … The joke was the student parking lot was a heck of a lot nicer than the teacher parking lot.”\u003c/p>\n\u003cp>But there was trouble during that season’s playoffs when questions arose about a Carter player’s algebra grade. The other, mostly white schools fought a legal battle to kick Carter out of the playoffs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There is no question that if Carter had been one of the predominantly white schools that was always there, everything would have been handled differently,” Hootnick says.\u003c/p>\n\u003cp>Parents, teachers and school officials fought back, and in the end Carter was allowed to play. Carter won the state title — but the story doesn’t end there.\u003c/p>\n\u003cp>“After the roller coaster of this season and postseason,” Hootnick explains, “you had a few guys on that team really, to my mind, inexplicably going and joining an armed robbery ring for pretty much no reason. You know, they were middle-class kids, they had cars, they had all the clothes they want. But I think they weren’t ready for the adventure to be done. … I think at some level they were chasing a rush.”\u003c/p>\n\u003cp>The players were arrested, tried and convicted. \u003c/p>\n\u003cp>“I don’t think you can fall much further,” Hootnick says, “and I say that in part because of the level of the pedestal that, as a Texas high school football star, that’s almost as big as it gets.”\u003c/p>\n\u003cp>In the film, Hootnick interviews Texas high school football stars who went on to play professionally. He says, “These guys talk about the fact that no matter how far they went after playing big time Texas high school football, there was no crowd that felt more intense, there was no game that felt bigger than their biggest games in their Texas high school careers. So the level of attention and adoration and intensity around that experience — for a lot of people, that’s the top. And so to fall from grace like that, that’s a long way down.”\u003c/p>\n\u003cp>In the end, six Carter players served time in prison. Many of them talk in the documentary about how much they lost and how they’ve tried to rebuild their lives. \u003c/p>\n\u003cp>Carter was ultimately stripped of its 1988 state title, and there’s no doubt that the Carter community’s fight to defend its reputation got a lot harder because of what those young men did. To Hootnick, some of the story’s unsung heroes are the parents who fought to keep the team in the playoffs.\u003c/p>\n\u003cp>“I think that fight for them was not just about wanting to see their football team win, but about resisting being caricatured in a way, and saying, ‘We’re not cheaters. We’re not thugs.’ … So the way that those parents were undercut after everything they did to keep that team on the field and to try to put forward their version of who they were — to have that all undone, you know, I think that’s the story that’s never been told.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Emily Ochsenschlager and Jessica Smith produced and edited this interview for broadcast, and Nicole Cohen adapted it for the Web.\u003c/em> \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=%27What+Carter+Lost%27+Tells+The+True+Story+Of+%27Friday+Night+Lights%27+Football+Rivals&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of people already know the story of \u003cem>Friday Night Lights\u003c/em>, in which a West Texas high school fights for the state football title. It started as \u003ca href=\"http://www.npr.org/2015/08/03/428085798/reflecting-on-football-and-addiction-as-friday-night-lights-turns-25\" target=\"_blank\" rel=\"noopener\">a nonfiction book\u003c/a>, then it became a movie (with Billy Bob Thornton as the coach) and finally a TV series. In the film, Thornton tells his team that to win state, they’ll have to beat “a team of monsters” from Carter High School in Dallas (which they fail to do). \u003c/p>\n\u003cp>Carter High School is really an afterthought in \u003cem>Friday Night Lights —\u003c/em> the evil, thug-like team that stole a championship. But if you look at the real team’s journey to the 1988 state title, you’ll find a story about race and the pressures young athletes face — a story Adam Hootnick explores in his documentary \u003cem>What Carter Lost\u003c/em>.\u003c/p>\n\u003cp>“The number of scholarships they got, the number of guys who went on to play some form of professional football — by every measure this was one of the greats,” Hootnick says of the school’s reputation. \u003c/p>\n\u003cp>Carter served a black, middle-class neighborhood in Dallas. According to Hootnick, it was “mostly two-parent families, mostly professionals. … The joke was the student parking lot was a heck of a lot nicer than the teacher parking lot.”\u003c/p>\n\u003cp>But there was trouble during that season’s playoffs when questions arose about a Carter player’s algebra grade. The other, mostly white schools fought a legal battle to kick Carter out of the playoffs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There is no question that if Carter had been one of the predominantly white schools that was always there, everything would have been handled differently,” Hootnick says.\u003c/p>\n\u003cp>Parents, teachers and school officials fought back, and in the end Carter was allowed to play. Carter won the state title — but the story doesn’t end there.\u003c/p>\n\u003cp>“After the roller coaster of this season and postseason,” Hootnick explains, “you had a few guys on that team really, to my mind, inexplicably going and joining an armed robbery ring for pretty much no reason. You know, they were middle-class kids, they had cars, they had all the clothes they want. But I think they weren’t ready for the adventure to be done. … I think at some level they were chasing a rush.”\u003c/p>\n\u003cp>The players were arrested, tried and convicted. \u003c/p>\n\u003cp>“I don’t think you can fall much further,” Hootnick says, “and I say that in part because of the level of the pedestal that, as a Texas high school football star, that’s almost as big as it gets.”\u003c/p>\n\u003cp>In the film, Hootnick interviews Texas high school football stars who went on to play professionally. He says, “These guys talk about the fact that no matter how far they went after playing big time Texas high school football, there was no crowd that felt more intense, there was no game that felt bigger than their biggest games in their Texas high school careers. So the level of attention and adoration and intensity around that experience — for a lot of people, that’s the top. And so to fall from grace like that, that’s a long way down.”\u003c/p>\n\u003cp>In the end, six Carter players served time in prison. Many of them talk in the documentary about how much they lost and how they’ve tried to rebuild their lives. \u003c/p>\n\u003cp>Carter was ultimately stripped of its 1988 state title, and there’s no doubt that the Carter community’s fight to defend its reputation got a lot harder because of what those young men did. To Hootnick, some of the story’s unsung heroes are the parents who fought to keep the team in the playoffs.\u003c/p>\n\u003cp>“I think that fight for them was not just about wanting to see their football team win, but about resisting being caricatured in a way, and saying, ‘We’re not cheaters. We’re not thugs.’ … So the way that those parents were undercut after everything they did to keep that team on the field and to try to put forward their version of who they were — to have that all undone, you know, I think that’s the story that’s never been told.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Emily Ochsenschlager and Jessica Smith produced and edited this interview for broadcast, and Nicole Cohen adapted it for the Web.\u003c/em> \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=%27What+Carter+Lost%27+Tells+The+True+Story+Of+%27Friday+Night+Lights%27+Football+Rivals&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Twenty years after his marvelous indie debut, \u003cem>Dream with the Fishes\u003c/em>, and a decade removed from his last feature (\u003cem>The Darwin Awards\u003c/em>), East Bay writer-director Finn Taylor remains as whimsically empathetic as ever. \u003c/p>\n\u003cp>His fascination with the urgent and often ridiculous need for intimate connection reaches a kind of extreme in his new pastel-hued, pop hook-infused romantic comedy, \u003cem>Unleashed\u003c/em>: The heroine, played by the winsome Kate Micucci, discovers in her trusted pets the comfort and companionship that evades her among our species. Taylor’s fourth feature premiered last fall at the Mill Valley Film Festival and opens Friday, Aug. 25 at the \u003ca href=\"http://www.roxie.com/ai1ec_event/unleashed/?instance_id=21592\" target=\"_blank\" rel=\"noopener\">Roxie\u003c/a> (after a one-night stand at the Smith Rafael Film Center tonight, Aug. 21). Taylor will be on hand for Q&As tonight at the San Rafael show and next Saturday and Sunday nights in San Francisco.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/219639076?color=ffffff&title=0&byline=0&portrait=0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Before your imagination darts down dark alleys, the conceit of the film is that a freak astronomical event transforms her cat and dog into human beings or, rather, amusing upright versions of themselves (played by a sleekly sexy Justin Chatwin and a goofily husky Steve Howey, respectively). \u003c/p>\n\u003cp>Taylor has a lot of fun injecting animal behavior into everyday situations, and gently mocking the awkwardness of interpersonal interactions. But his central concern is the human yearning to avoid loneliness. Crammed with locations all around the bay, \u003cem>Unleashed\u003c/em> is an endearing and oddly touching date movie for those who love people as much as they do animals. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twenty years after his marvelous indie debut, \u003cem>Dream with the Fishes\u003c/em>, and a decade removed from his last feature (\u003cem>The Darwin Awards\u003c/em>), East Bay writer-director Finn Taylor remains as whimsically empathetic as ever. \u003c/p>\n\u003cp>His fascination with the urgent and often ridiculous need for intimate connection reaches a kind of extreme in his new pastel-hued, pop hook-infused romantic comedy, \u003cem>Unleashed\u003c/em>: The heroine, played by the winsome Kate Micucci, discovers in her trusted pets the comfort and companionship that evades her among our species. Taylor’s fourth feature premiered last fall at the Mill Valley Film Festival and opens Friday, Aug. 25 at the \u003ca href=\"http://www.roxie.com/ai1ec_event/unleashed/?instance_id=21592\" target=\"_blank\" rel=\"noopener\">Roxie\u003c/a> (after a one-night stand at the Smith Rafael Film Center tonight, Aug. 21). Taylor will be on hand for Q&As tonight at the San Rafael show and next Saturday and Sunday nights in San Francisco.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/219639076?color=ffffff&title=0&byline=0&portrait=0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Before your imagination darts down dark alleys, the conceit of the film is that a freak astronomical event transforms her cat and dog into human beings or, rather, amusing upright versions of themselves (played by a sleekly sexy Justin Chatwin and a goofily husky Steve Howey, respectively). \u003c/p>\n\u003cp>Taylor has a lot of fun injecting animal behavior into everyday situations, and gently mocking the awkwardness of interpersonal interactions. But his central concern is the human yearning to avoid loneliness. Crammed with locations all around the bay, \u003cem>Unleashed\u003c/em> is an endearing and oddly touching date movie for those who love people as much as they do animals. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Who exactly was \u003ca href=\"http://www.npr.org/artists/16295375/whitney-houston\" target=\"_blank\" rel=\"noopener\">Whitney Houston\u003c/a>?\u003c/p>\n\u003cp>Was she the radiantly beautiful pop princess who earned the love of mainstream America with enduring hits like \u003cem>I Will Always Love You\u003c/em>?\u003c/p>\n\u003cp>Was she the down-to-Earth onetime gospel singer from the ‘hood in Newark who couldn’t believe when the crowd at the 1989 \u003cem>Soul Train Awards\u003c/em> booed her as a sellout to black music?\u003c/p>\n\u003cp>Or was she the unstable celebrity struggling with drug problems and an enabling husband, let down by those closest to her and isolated by her fame?\u003c/p>\n\u003cp>The new documentary film \u003cem>Whitney: Can I Be Me\u003c/em> suggests that the struggle to balance all of these issues and more — an identity crisis of superstar proportions — helped lead to the death of one of the best singers in pop music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The movie opens in theaters today and airs on Showtime next Friday. It channels the voices of friends, backing musicians, former record company staffers and ex-employees to tell an intimate, tragic story.\u003c/p>\n\u003cp>“Success doesn’t change you; fame does,” Houston says in a 1996 interview featured in the film. “You got a whole world of people calling your name and you really don’t know them… [Do people think] when we become famous that we have these beautiful perfect lives and nothing is ever on a low? It’s a bad conception, because… money doesn’t make you happy. It never did.” \u003c/p>\n\u003cp>\u003cem>Whitney: Can I Be Me \u003c/em>offers a story that references how race and class work in America, presenting Houston as a superstar whose early success locked her into a public image seriously at odds with her real life.\u003c/p>\n\u003cp>Houston’s saxophonist, Kirk Whalum, summed it up in a quote that became the title of the film.\u003c/p>\n\u003cp>“Her favorite saying was, ‘Can I be me?'” he says. “In fact, she would say it so much that we had it sampled: ‘C-c-c-c-can I be me?’ That was the conundrum. Like, ‘Damnit, I have made all this money and made all these people happy. And I still can’t be me.'”\u003c/p>\n\u003cp>Directed by Nick Broomfield and Rudi Dolezal, the film shows Houston’s career starting when the world of pop music was more strictly segregated. \u003c/p>\n\u003cp>According to former Arista records marketing executive Kenneth Reynolds, record company founder Clive Davis crafted Houston’s early records by avoiding material which sounded too close to R&B – in other words, “too black.”\u003c/p>\n\u003cp>Reynolds explains: “The company had this image in mind that they were going to create a pop icon. An artist that was accepted by the masses, translating to white America … Her music was deliberately pop. Anything that was too black-sounding was sent back to the studio.” \u003c/p>\n\u003cp>Houston, the daughter of gospel singer Cissy Houston and a cousin of singer Dionne Warwick, had a carefully crafted, girl-next-door image. \u003c/p>\n\u003cp>But that façade was threatened when rumors surfaced about Houston’s close ties to longtime friend and assistant Robyn Crawford. The film quotes a friend who says Houston was bisexual; journalist Allison Samuels also speaks about it in the film.\u003c/p>\n\u003cp>“It wasn’t cool to have a lesbian affair,” Samuels says. “If she was an artist today, she’d be fine. Everything would be lovely. She probably would still be here. But back then, there was this tremendous emphasis on being the perfect girl.”\u003c/p>\n\u003cp>There are other stories. An old friend notes she and Houston used drugs together as teenagers. A former bodyguard says he was fired when he tried to alert Houston’s managers to rampant drug use by the singer and those around her. Another friend says Houston’s husband, bad boy R&B singer Bobby Brown, wasn’t faithful and intensified their use of substances.\u003c/p>\n\u003cp>There’s even an interview with Burt Bacharach, who helped lead the orchestra for the 72nd Academy Awards broadcast in 2000. He says Houston was yanked from the performing lineup of that show when she seemed erratic and unpredictable during rehearsals.\u003c/p>\n\u003cp>“It was like a train wreck… kinda startling,” Bacharach says. “It was so dangerous. This is live television…[If] she sang the wrong song, nobody would know what to do. Ray Charles wouldn’t know how to cover that.” \u003c/p>\n\u003cp>The film suggests that, when Crawford exited the singer’s life after one too many arguments with Bobby Brown, Houston’s drug use accelerated. She accidentally drowned in a hotel bathtub on Feb. 11, 2012. \u003c/p>\n\u003cp>The biggest problem here: Because the film is unauthorized by Houston’s estate, Broomfield and Dolezal lack access to the most crucial people in her story.\u003c/p>\n\u003cp>There are no original interviews with Clive Davis, Bobby Brown or Houston’s mother Cissy Houston; they appear in clips from other media outlets. There is never-before-seen backstage footage from the singer’s 1999 world tour and interviews with Crawford recorded then, but no recent footage.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, \u003cem>Whitney: Can I Be Me\u003c/em> provides a compelling portrait of a supreme talent isolated by fame, dysfunctional relationships and a crushing drug habit, slowly diminished by the same qualities that originally made her a superstar. \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=A+Radiant%2C+Isolated+Star%3A+A+New+Documentary+Tells+Whitney+Houston%27s+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Who exactly was \u003ca href=\"http://www.npr.org/artists/16295375/whitney-houston\" target=\"_blank\" rel=\"noopener\">Whitney Houston\u003c/a>?\u003c/p>\n\u003cp>Was she the radiantly beautiful pop princess who earned the love of mainstream America with enduring hits like \u003cem>I Will Always Love You\u003c/em>?\u003c/p>\n\u003cp>Was she the down-to-Earth onetime gospel singer from the ‘hood in Newark who couldn’t believe when the crowd at the 1989 \u003cem>Soul Train Awards\u003c/em> booed her as a sellout to black music?\u003c/p>\n\u003cp>Or was she the unstable celebrity struggling with drug problems and an enabling husband, let down by those closest to her and isolated by her fame?\u003c/p>\n\u003cp>The new documentary film \u003cem>Whitney: Can I Be Me\u003c/em> suggests that the struggle to balance all of these issues and more — an identity crisis of superstar proportions — helped lead to the death of one of the best singers in pop music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The movie opens in theaters today and airs on Showtime next Friday. It channels the voices of friends, backing musicians, former record company staffers and ex-employees to tell an intimate, tragic story.\u003c/p>\n\u003cp>“Success doesn’t change you; fame does,” Houston says in a 1996 interview featured in the film. “You got a whole world of people calling your name and you really don’t know them… [Do people think] when we become famous that we have these beautiful perfect lives and nothing is ever on a low? It’s a bad conception, because… money doesn’t make you happy. It never did.” \u003c/p>\n\u003cp>\u003cem>Whitney: Can I Be Me \u003c/em>offers a story that references how race and class work in America, presenting Houston as a superstar whose early success locked her into a public image seriously at odds with her real life.\u003c/p>\n\u003cp>Houston’s saxophonist, Kirk Whalum, summed it up in a quote that became the title of the film.\u003c/p>\n\u003cp>“Her favorite saying was, ‘Can I be me?'” he says. “In fact, she would say it so much that we had it sampled: ‘C-c-c-c-can I be me?’ That was the conundrum. Like, ‘Damnit, I have made all this money and made all these people happy. And I still can’t be me.'”\u003c/p>\n\u003cp>Directed by Nick Broomfield and Rudi Dolezal, the film shows Houston’s career starting when the world of pop music was more strictly segregated. \u003c/p>\n\u003cp>According to former Arista records marketing executive Kenneth Reynolds, record company founder Clive Davis crafted Houston’s early records by avoiding material which sounded too close to R&B – in other words, “too black.”\u003c/p>\n\u003cp>Reynolds explains: “The company had this image in mind that they were going to create a pop icon. An artist that was accepted by the masses, translating to white America … Her music was deliberately pop. Anything that was too black-sounding was sent back to the studio.” \u003c/p>\n\u003cp>Houston, the daughter of gospel singer Cissy Houston and a cousin of singer Dionne Warwick, had a carefully crafted, girl-next-door image. \u003c/p>\n\u003cp>But that façade was threatened when rumors surfaced about Houston’s close ties to longtime friend and assistant Robyn Crawford. The film quotes a friend who says Houston was bisexual; journalist Allison Samuels also speaks about it in the film.\u003c/p>\n\u003cp>“It wasn’t cool to have a lesbian affair,” Samuels says. “If she was an artist today, she’d be fine. Everything would be lovely. She probably would still be here. But back then, there was this tremendous emphasis on being the perfect girl.”\u003c/p>\n\u003cp>There are other stories. An old friend notes she and Houston used drugs together as teenagers. A former bodyguard says he was fired when he tried to alert Houston’s managers to rampant drug use by the singer and those around her. Another friend says Houston’s husband, bad boy R&B singer Bobby Brown, wasn’t faithful and intensified their use of substances.\u003c/p>\n\u003cp>There’s even an interview with Burt Bacharach, who helped lead the orchestra for the 72nd Academy Awards broadcast in 2000. He says Houston was yanked from the performing lineup of that show when she seemed erratic and unpredictable during rehearsals.\u003c/p>\n\u003cp>“It was like a train wreck… kinda startling,” Bacharach says. “It was so dangerous. This is live television…[If] she sang the wrong song, nobody would know what to do. Ray Charles wouldn’t know how to cover that.” \u003c/p>\n\u003cp>The film suggests that, when Crawford exited the singer’s life after one too many arguments with Bobby Brown, Houston’s drug use accelerated. She accidentally drowned in a hotel bathtub on Feb. 11, 2012. \u003c/p>\n\u003cp>The biggest problem here: Because the film is unauthorized by Houston’s estate, Broomfield and Dolezal lack access to the most crucial people in her story.\u003c/p>\n\u003cp>There are no original interviews with Clive Davis, Bobby Brown or Houston’s mother Cissy Houston; they appear in clips from other media outlets. There is never-before-seen backstage footage from the singer’s 1999 world tour and interviews with Crawford recorded then, but no recent footage.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, \u003cem>Whitney: Can I Be Me\u003c/em> provides a compelling portrait of a supreme talent isolated by fame, dysfunctional relationships and a crushing drug habit, slowly diminished by the same qualities that originally made her a superstar. \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=A+Radiant%2C+Isolated+Star%3A+A+New+Documentary+Tells+Whitney+Houston%27s+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The term “\u003cem>Ocean’s 7\u003c/em>-Eleven” — a throwaway gag in first-time screenwriter’s Rebecca Blunt’s script for \u003cem>Logan Lucky\u003c/em> — could have been the elevator pitch for this shaggy, Southern-fried caper comedy that marks workaholic director/cinematographer/editor Steven Soderbergh’s return to feature filmmaking. (During his four-year “retirement” — his word — he kicked back and directed 20 hours of the Showtime series \u003cem>The Knick, \u003c/em>and produced several other small-screen series. It’s possible he did some sailing and maybe hit a few golf balls, too. Who can say?)\u003c/p>\n\u003cp>Soderbergh’s endlessly rewatchable \u003cem>Ocean’s Eleven\u003c/em> remake from 2001 — the capstone of an incredible run that also gave us \u003cem>Out of Sight, The Limey, \u003c/em>and \u003cem>Erin Brockovich,\u003c/em> all in three-and-a-half years — was what made his rep as a master of this genre. Weirdly, \u003cem>Logan Lucky\u003c/em> feels more like a Coen Brothers joint, specifically the ones where you can’t quite shake the impression the filmmakers are mocking their characters, treating them with affection but not necessarily respect. Maybe it’s that everyone here is affecting an accent. (See also: \u003cem>Raising Arizona\u003c/em> and \u003cem>Fargo, \u003c/em>two of the Coens’ most beloved comedies about living astride the law.)\u003c/p>\n\u003cp>Some relevant facts: Soderbergh was born in Atlanta and educated in Baton Rouge. Blunt grew up in West Virginia, where much of \u003cem>Logan Lucky \u003c/em>is set (though it was largely shot in the movie/TV tax haven of Georgia). Its two leads are Channing Tatum, who was born in Alabama and came of age in Tampa, and Adam Driver, a former U.S. Marine. Still, a slight air of condescension towards Trump Country persists, even if the film makes more thoughtful use of John Denver’s hillbilly anthem “Take Me Home, Country Roads” than, uh, \u003ca href=\"http://www.npr.org/2017/05/18/528651125/alien-covenant-continues-to-mine-old-ground\">\u003cem>Alien: Covenant \u003c/em>\u003c/a>did.\u003c/p>\n\u003cp>Then again, to see this socioeconomic class represented in a movie at all is something of a rarity. \u003cem>Logan Lucky\u003c/em> could be the comedic flip side of last year’s \u003ca href=\"http://www.npr.org/2016/08/11/489315150/hell-or-high-water-is-a-smart-substantive-heist-film\">sublime \u003cem>Hell or High Water\u003c/em>\u003c/a>\u003cem>, \u003c/em>another tale of hard-luck brothers in crime. This one concerns the Logan siblings: High school football star-turned-divorced-coal-miner Jimmy (Soderbergh regular Tatum), maimed Iraq War veteran and bar owner Clyde (Driver) and hairdresser Mellie (Riley Keough). None of them has had the life they wanted. Jimmy’s ex (Katie Holmes) is threatening to move away with their grade-school-beauty-contestant daughter. Clyde actually thinks their family is cursed. But once Jimmy is laid off from a job repairing sinkholes beneath the Charlotte Motor Speedway, he comes up with a plan to rob NASCAR, an organization that has extracted plenty of money from people like him.\u003c/p>\n\u003cp>This involves securing the participation of jailed demolition man Joe Bang, played by Daniel Craig. With his Bob-Mitchum-in-\u003cem>Night of the Hunter\u003c/em> knuckle tattoos and his Robert Shaw-in-\u003cem>From Russia with Love\u003c/em> frame and peroxide hairdo and his “no peekin’ I’m ’bout to get nekkid” accent, he appears to be enjoying himself onscreen like he hasn’t since his pre-007 days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are a few welcome surreal gags, like the identity of a mysterious figure referred to as “The Bear,” and as always, Soderbergh’s casting is perfect: Dwight Yoakam as a vain prison warden, Hilary Swank as a monotone F.B.I. Special Agent. But the heart of the picture is Tatum and Driver’s easy chemistry. They may look exactly nothing alike, but you buy them as brothers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s rare to find any bloat in a Soderbergh film, but nothing in his poorly received \u003cem>Ocean’s \u003c/em>sequels is as painfully unfunny as \u003cem>Logan’s\u003c/em> subplot about a organic-food obsessed NASCAR driver and his manager — played by Sebastian Stan and Seth MacFarlane, respectively, with wigs and accents more phony looking than this movie’s fight choreography. Soderbergh once built \u003ca href=\"http://www.imdb.com/title/tt1506999/\">a whole movie\u003c/a> around UFC star Gina Carano after catching one of her fights on TV — the movie that started his collaboration with Tatum, in fact — so it’s not like he doesn’t know how to do this. He’s just making choices about what matters. In \u003cem>Logan Lucky,\u003c/em> the punches look fake, but the laughs are real. \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=A+NASCAR+Caper+Comedy+Fueled+By+Thick+Southern+Accents%3A+%27Logan+Lucky%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The term “\u003cem>Ocean’s 7\u003c/em>-Eleven” — a throwaway gag in first-time screenwriter’s Rebecca Blunt’s script for \u003cem>Logan Lucky\u003c/em> — could have been the elevator pitch for this shaggy, Southern-fried caper comedy that marks workaholic director/cinematographer/editor Steven Soderbergh’s return to feature filmmaking. (During his four-year “retirement” — his word — he kicked back and directed 20 hours of the Showtime series \u003cem>The Knick, \u003c/em>and produced several other small-screen series. It’s possible he did some sailing and maybe hit a few golf balls, too. Who can say?)\u003c/p>\n\u003cp>Soderbergh’s endlessly rewatchable \u003cem>Ocean’s Eleven\u003c/em> remake from 2001 — the capstone of an incredible run that also gave us \u003cem>Out of Sight, The Limey, \u003c/em>and \u003cem>Erin Brockovich,\u003c/em> all in three-and-a-half years — was what made his rep as a master of this genre. Weirdly, \u003cem>Logan Lucky\u003c/em> feels more like a Coen Brothers joint, specifically the ones where you can’t quite shake the impression the filmmakers are mocking their characters, treating them with affection but not necessarily respect. Maybe it’s that everyone here is affecting an accent. (See also: \u003cem>Raising Arizona\u003c/em> and \u003cem>Fargo, \u003c/em>two of the Coens’ most beloved comedies about living astride the law.)\u003c/p>\n\u003cp>Some relevant facts: Soderbergh was born in Atlanta and educated in Baton Rouge. Blunt grew up in West Virginia, where much of \u003cem>Logan Lucky \u003c/em>is set (though it was largely shot in the movie/TV tax haven of Georgia). Its two leads are Channing Tatum, who was born in Alabama and came of age in Tampa, and Adam Driver, a former U.S. Marine. Still, a slight air of condescension towards Trump Country persists, even if the film makes more thoughtful use of John Denver’s hillbilly anthem “Take Me Home, Country Roads” than, uh, \u003ca href=\"http://www.npr.org/2017/05/18/528651125/alien-covenant-continues-to-mine-old-ground\">\u003cem>Alien: Covenant \u003c/em>\u003c/a>did.\u003c/p>\n\u003cp>Then again, to see this socioeconomic class represented in a movie at all is something of a rarity. \u003cem>Logan Lucky\u003c/em> could be the comedic flip side of last year’s \u003ca href=\"http://www.npr.org/2016/08/11/489315150/hell-or-high-water-is-a-smart-substantive-heist-film\">sublime \u003cem>Hell or High Water\u003c/em>\u003c/a>\u003cem>, \u003c/em>another tale of hard-luck brothers in crime. This one concerns the Logan siblings: High school football star-turned-divorced-coal-miner Jimmy (Soderbergh regular Tatum), maimed Iraq War veteran and bar owner Clyde (Driver) and hairdresser Mellie (Riley Keough). None of them has had the life they wanted. Jimmy’s ex (Katie Holmes) is threatening to move away with their grade-school-beauty-contestant daughter. Clyde actually thinks their family is cursed. But once Jimmy is laid off from a job repairing sinkholes beneath the Charlotte Motor Speedway, he comes up with a plan to rob NASCAR, an organization that has extracted plenty of money from people like him.\u003c/p>\n\u003cp>This involves securing the participation of jailed demolition man Joe Bang, played by Daniel Craig. With his Bob-Mitchum-in-\u003cem>Night of the Hunter\u003c/em> knuckle tattoos and his Robert Shaw-in-\u003cem>From Russia with Love\u003c/em> frame and peroxide hairdo and his “no peekin’ I’m ’bout to get nekkid” accent, he appears to be enjoying himself onscreen like he hasn’t since his pre-007 days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are a few welcome surreal gags, like the identity of a mysterious figure referred to as “The Bear,” and as always, Soderbergh’s casting is perfect: Dwight Yoakam as a vain prison warden, Hilary Swank as a monotone F.B.I. Special Agent. But the heart of the picture is Tatum and Driver’s easy chemistry. They may look exactly nothing alike, but you buy them as brothers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s rare to find any bloat in a Soderbergh film, but nothing in his poorly received \u003cem>Ocean’s \u003c/em>sequels is as painfully unfunny as \u003cem>Logan’s\u003c/em> subplot about a organic-food obsessed NASCAR driver and his manager — played by Sebastian Stan and Seth MacFarlane, respectively, with wigs and accents more phony looking than this movie’s fight choreography. Soderbergh once built \u003ca href=\"http://www.imdb.com/title/tt1506999/\">a whole movie\u003c/a> around UFC star Gina Carano after catching one of her fights on TV — the movie that started his collaboration with Tatum, in fact — so it’s not like he doesn’t know how to do this. He’s just making choices about what matters. In \u003cem>Logan Lucky,\u003c/em> the punches look fake, but the laughs are real. \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=A+NASCAR+Caper+Comedy+Fueled+By+Thick+Southern+Accents%3A+%27Logan+Lucky%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In Kogonada’s 'Columbus,' a Humanist’s Ode to Modern Architecture",
"headTitle": "In Kogonada’s ‘Columbus,’ a Humanist’s Ode to Modern Architecture | KQED",
"content": "\u003cp>The American Dream collides with the American Nightmare in \u003ca href=\"http://kogonada.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kogonada\u003c/a>‘s feature film debut \u003cem>Columbus\u003c/em>. That’s Columbus, Indiana — not Ohio. If you’re not a self-professed “architecture nerd” like the director, maybe you’ve never heard of this Midwestern town with a population of approximately 46,000 inhabitants. If you are, you know some of the 20th century’s greatest modernist architects designed schools, houses, office buildings and churches in Columbus, Indiana, making it an unexpected mecca for the medium.\u003c/p>\n\u003cp>Kogonada films these structures reverently. His camera lingers on their facades, often for minutes at a time. He wants the viewer to take them in, to appreciate the achievements of modernists like Eliel and Eero Saarinen, Robert A.M. Stern, I. M. Pei, Gunnar Birkerts and Harry Weese. But \u003cem>Columbus\u003c/em> isn’t a documentary or a biopic about any of these towering figures. Nor does it expand much on the history or motivations of J. Irwin Miller, the local industrialist who encouraged the architects to build there.\u003c/p>\n\u003cfigure id=\"attachment_13804890\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804890\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field.jpg\" alt=\"Haley Lu Richardson and John Cho in 'Columbus.'\" width=\"1200\" height=\"649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Haley Lu Richardson and John Cho in ‘Columbus.’ \u003ccite>(Photo by Elisha Christian; Courtesy of Superlative Films, Depth of Field)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, Kogonada — also responsible for the screenplay — places two characters, like living chess pieces, inside and against the visual riches of this skyline. Jin (John Cho) and Casey (Haley Lu Richardson), both adrift for different reasons, warm their backdrops — environments made of glass, steel and concrete. Thematically, the filmmaker draws inspiration from the Japanese director Yasujirō Ozu. There’s an epigraph from Ozu’s \u003cem>Tokyo Story\u003c/em> that applies to both filmmakers: “As long as life goes on, relationships between parents and children will bring boundless joy and endless grief.”\u003c/p>\n\u003cp>Jin arrives in town after his father, a visiting architect giving a lecture, unexpectedly falls ill. Father and son haven’t been close, and this trip only further dislocates Jin as a stranger in a strange land. In a phone interview, the director talked about Cho’s reaction to his script, “I remember him saying to me, ‘As I get older, I just want to play quiet more.’ I want for him to have that chance to show us that range, which is so important. Most Asian American males that I know are really thoughtful, reflective, existential people who have these kind of conversations. And some of us know martial arts as well but we’re also mostly wrestling with what it means to be human. And I hardly ever see us having that kind of conversation. I want to see that more.”\u003c/p>\n\u003cfigure id=\"attachment_13804892\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804892\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field1.jpg\" alt=\"Haley Lu Richardson and John Cho in 'Columbus.'\" width=\"600\" height=\"325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field1.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field1-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field1-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field1-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field1-520x282.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Haley Lu Richardson and John Cho in ‘Columbus.’ \u003ccite>(Photo by Elisha Christian; Courtesy of Superlative Films, Depth of Field)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Casey spots Jin outside the hospital. After they share a cigarette, the symbol of a lighted spark, she offers to be his tour guide on an architectural odyssey through the town. Both characters are facing down damaged relationships with a parent. For her part, Casey is a recent high school graduate working in a library while she figures out what, if anything, comes next for her. She’s comfortable in Columbus, but she’s also holding herself back from venturing beyond its borders and away from her mother.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The mirroring drama that plays out between Casey and Jin is hushed. Despite the grandeur of these architectural monuments to human achievement, something forlorn and melancholy pervades the landscape. Kogonada addressed this unspoken contradiction: “There is something about the city of Columbus that really embodies both the hope and the limits of the fact that it’s not a dream fulfilled. That it didn’t create a sort of utopian town. It has its problems.” The director captures one exquisite exterior after another, yet he also includes portraits of the inner working life of the city: maids, factory workers and one character with a dispiriting backstory of methamphetamine addiction.\u003c/p>\n\u003cfigure id=\"attachment_13804891\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804891\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field.jpg\" alt=\"John Cho in 'Columbus.' \" width=\"960\" height=\"519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field-520x281.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">John Cho in ‘Columbus.’ \u003ccite>(Photo by Elisha Christian; Courtesy of Superlative Films, Depth of Field)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kogonada includes this story-line without a trace of melodrama. Before \u003ci>Columbus\u003c/i>, the director was known for his short film collages for the Criterion Collection and \u003ci>Sight & Sound\u003c/i>, including homages to \u003ca href=\"http://kogonada.com/portfolio/linklater/on-cinema-time\" target=\"_blank\" rel=\"noopener noreferrer\">Richard Linklater\u003c/a> and Ozu, directors he admires and, with this first film, emulates. More than a film nerd, he’s a devoted cinephile: “Most films are an escape from everyday life and when you walk back out into the world … sometimes everyday life feels unbearable. It feels so slow and feels so undramatic that you just want to see another movie. But the thing about Ozu is after I would leave one of his films, I would walk back into the world of everyday life, and that world would feel actually more meaningful, and almost more poetic.”\u003c/p>\n\u003cp>Jin and Casey carry that cinematic somnolence with them, even when they meet during daylight hours. It’s the kind of leisurely discourse Jim Jarmusch’s characters share, as if the hurried present can’t find a way to intrude inside the film’s moving frames or the theater itself. To achieve this effect, the director said, “I knew that we were going to shoot wider, but it felt really important to me that it didn’t feel like an alienating film.” Instead, \u003cem>Columbus\u003c/em> is comforting, familiar.\u003c/p>\n\u003cp>To get the film\u003cem> \u003c/em>produced, Kogonada made an unassuming pitch: “I said, ‘I want to make a bowl of ramen.’ That might seem modest. That might not even seem like it should be a meal, or a film, but it’s the kind of meal that hopefully will stay with you and you’ll just want to have it again.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Columbus’ is showing at Landmark’s Opera Plaza and Shattuck Cinemas. It opens Friday, Aug. 18 at San Jose’s Camera 3.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The American Dream collides with the American Nightmare in \u003ca href=\"http://kogonada.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kogonada\u003c/a>‘s feature film debut \u003cem>Columbus\u003c/em>. That’s Columbus, Indiana — not Ohio. If you’re not a self-professed “architecture nerd” like the director, maybe you’ve never heard of this Midwestern town with a population of approximately 46,000 inhabitants. If you are, you know some of the 20th century’s greatest modernist architects designed schools, houses, office buildings and churches in Columbus, Indiana, making it an unexpected mecca for the medium.\u003c/p>\n\u003cp>Kogonada films these structures reverently. His camera lingers on their facades, often for minutes at a time. He wants the viewer to take them in, to appreciate the achievements of modernists like Eliel and Eero Saarinen, Robert A.M. Stern, I. M. Pei, Gunnar Birkerts and Harry Weese. But \u003cem>Columbus\u003c/em> isn’t a documentary or a biopic about any of these towering figures. Nor does it expand much on the history or motivations of J. Irwin Miller, the local industrialist who encouraged the architects to build there.\u003c/p>\n\u003cfigure id=\"attachment_13804890\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804890\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field.jpg\" alt=\"Haley Lu Richardson and John Cho in 'Columbus.'\" width=\"1200\" height=\"649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_3_Courtesy-of-Superlative-Films_Depth-of-Field-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Haley Lu Richardson and John Cho in ‘Columbus.’ \u003ccite>(Photo by Elisha Christian; Courtesy of Superlative Films, Depth of Field)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, Kogonada — also responsible for the screenplay — places two characters, like living chess pieces, inside and against the visual riches of this skyline. Jin (John Cho) and Casey (Haley Lu Richardson), both adrift for different reasons, warm their backdrops — environments made of glass, steel and concrete. Thematically, the filmmaker draws inspiration from the Japanese director Yasujirō Ozu. There’s an epigraph from Ozu’s \u003cem>Tokyo Story\u003c/em> that applies to both filmmakers: “As long as life goes on, relationships between parents and children will bring boundless joy and endless grief.”\u003c/p>\n\u003cp>Jin arrives in town after his father, a visiting architect giving a lecture, unexpectedly falls ill. Father and son haven’t been close, and this trip only further dislocates Jin as a stranger in a strange land. In a phone interview, the director talked about Cho’s reaction to his script, “I remember him saying to me, ‘As I get older, I just want to play quiet more.’ I want for him to have that chance to show us that range, which is so important. Most Asian American males that I know are really thoughtful, reflective, existential people who have these kind of conversations. And some of us know martial arts as well but we’re also mostly wrestling with what it means to be human. And I hardly ever see us having that kind of conversation. I want to see that more.”\u003c/p>\n\u003cfigure id=\"attachment_13804892\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804892\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field1.jpg\" alt=\"Haley Lu Richardson and John Cho in 'Columbus.'\" width=\"600\" height=\"325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field1.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field1-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field1-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field1-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-Haley-Lu-Richardson-and-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field1-520x282.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Haley Lu Richardson and John Cho in ‘Columbus.’ \u003ccite>(Photo by Elisha Christian; Courtesy of Superlative Films, Depth of Field)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Casey spots Jin outside the hospital. After they share a cigarette, the symbol of a lighted spark, she offers to be his tour guide on an architectural odyssey through the town. Both characters are facing down damaged relationships with a parent. For her part, Casey is a recent high school graduate working in a library while she figures out what, if anything, comes next for her. She’s comfortable in Columbus, but she’s also holding herself back from venturing beyond its borders and away from her mother.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The mirroring drama that plays out between Casey and Jin is hushed. Despite the grandeur of these architectural monuments to human achievement, something forlorn and melancholy pervades the landscape. Kogonada addressed this unspoken contradiction: “There is something about the city of Columbus that really embodies both the hope and the limits of the fact that it’s not a dream fulfilled. That it didn’t create a sort of utopian town. It has its problems.” The director captures one exquisite exterior after another, yet he also includes portraits of the inner working life of the city: maids, factory workers and one character with a dispiriting backstory of methamphetamine addiction.\u003c/p>\n\u003cfigure id=\"attachment_13804891\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804891\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field.jpg\" alt=\"John Cho in 'Columbus.' \" width=\"960\" height=\"519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Copy-of-John-Cho-in-Columbus_photo-credit-Elisha-Christian_Courtesy-of-Superlative-Films_Depth-of-Field-520x281.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">John Cho in ‘Columbus.’ \u003ccite>(Photo by Elisha Christian; Courtesy of Superlative Films, Depth of Field)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kogonada includes this story-line without a trace of melodrama. Before \u003ci>Columbus\u003c/i>, the director was known for his short film collages for the Criterion Collection and \u003ci>Sight & Sound\u003c/i>, including homages to \u003ca href=\"http://kogonada.com/portfolio/linklater/on-cinema-time\" target=\"_blank\" rel=\"noopener noreferrer\">Richard Linklater\u003c/a> and Ozu, directors he admires and, with this first film, emulates. More than a film nerd, he’s a devoted cinephile: “Most films are an escape from everyday life and when you walk back out into the world … sometimes everyday life feels unbearable. It feels so slow and feels so undramatic that you just want to see another movie. But the thing about Ozu is after I would leave one of his films, I would walk back into the world of everyday life, and that world would feel actually more meaningful, and almost more poetic.”\u003c/p>\n\u003cp>Jin and Casey carry that cinematic somnolence with them, even when they meet during daylight hours. It’s the kind of leisurely discourse Jim Jarmusch’s characters share, as if the hurried present can’t find a way to intrude inside the film’s moving frames or the theater itself. To achieve this effect, the director said, “I knew that we were going to shoot wider, but it felt really important to me that it didn’t feel like an alienating film.” Instead, \u003cem>Columbus\u003c/em> is comforting, familiar.\u003c/p>\n\u003cp>To get the film\u003cem> \u003c/em>produced, Kogonada made an unassuming pitch: “I said, ‘I want to make a bowl of ramen.’ That might seem modest. That might not even seem like it should be a meal, or a film, but it’s the kind of meal that hopefully will stay with you and you’ll just want to have it again.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Columbus’ is showing at Landmark’s Opera Plaza and Shattuck Cinemas. It opens Friday, Aug. 18 at San Jose’s Camera 3.\u003c/i>\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": "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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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"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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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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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": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"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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"order": 16
},
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