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"content": "\u003cp>A week after opening to a \u003ca href=\"https://www.rottentomatoes.com/m/all_eyez_on_me_2017/\">tepid\u003c/a> critical response and \u003ca href=\"http://www.complex.com/pop-culture/2017/06/jada-pinkett-smith-says-all-eyez-on-me-deeply-hurtful\" target=\"_blank\" rel=\"noopener\">accusations\u003c/a> of historical inaccuracies from actress Jada Pinkett Smith — as well as a \u003ca href=\"http://news.hiphopearly.com/all-eyez-on-me-gets-roasted-because-of-alleged-iphone-appearance/\" target=\"_blank\" rel=\"noopener\">misinterpreted Internet joke\u003c/a> that had many searching in vain for the appearance of an iPhone in the film — the Tupac Shakur biopic \u003cem>All Eyez On Me\u003c/em> has now been hit with a copyright infringement lawsuit.\u003c/p>\n\u003cp>The suit — filed today by Kevin Powell, a longtime pop culture writer, author, activist — accuses the film’s executive producers, screenwriters and distributors of cribbing from three cover stories on Shakur that Powell wrote for \u003cem>Vibe\u003c/em> during the height of Shakur’s career. \u003cem>[Disclosure: NPR Music published an article by Powell, a remembrance of the recently deceased rapper Prodigy, earlier today.]\u003c/em>\u003c/p>\n\u003cp>Powell addressed the suit \u003ca href=\"https://www.facebook.com/kevinpowellinbrooklyn/posts/10213323542862488?comment_id=10213323677825862¬if_t=comment_mention¬if_id=1498238887678816\" target=\"_blank\" rel=\"noopener\">on Facebook\u003c/a>, writing:\u003c/p>\n\u003cblockquote>\n\u003cp>“After viewing the movie twice in the past few days, it is clear that my exclusive \u003cem>Vibe\u003c/em> cover stories on Tupac Shakur (when he was alive), were lifted, without proper credit or compensation of any kind to me.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The list of defendants includes executive producers James G. Robinson, L.T. Hutton, screenwriters Steven Bagatourian, Jeremy Haft and Eddie Gonzales, as well as Morgan Creek Productions, Lions Gate and Program Pictures. Director Benny Boom was not named in the suit. Powell is seeking a series of damages, including $180,000 for each “broadcast” of the film.\u003c/p>\n\u003cp>Lions Gate and Morgan Creek were not immediately available for comment on the allegations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The three \u003cem>Vibe \u003c/em>articles in question — “Exclusive: Is Tupac Crazy or Just Misunderstood”, “Tupac Shakur Jailhouse Exclusive”, “Live from Deathrow” — were published in February 1994, April 1995 and February 1996, and offer a striking view into Shakur’s famously nuanced thinking during the most critical time of his career.\u003c/p>\n\u003cp>Notably, the suit’s allegations rest, in part, on creations and embellishments that Powell placed in his \u003cem>Vibe\u003c/em> articles. “While some of the content in these articles was factual,” the complaint reads, “some portions of the article were changed or embellished by Plaintiff … In fact, the name and character of ‘Nigel’ in [the \u003cem>Vibe \u003c/em>articles] was specifically created by the Plaintiff without the authority or encouragement of Tupac Shakur. This made up character of Nigel was the embellishment of a real life character that was central to the narrative in [Powell’s] articles.” It also claims as infringing the use in the film of “metaphorical slang and strong language, including but limited to the liberal use of the f-word, indicative of the way rappers in the 1990’s talk.” As \u003ca href=\"http://www.hollywoodreporter.com/thr-esq/all-eyez-me-prompts-journalist-admit-having-embellished-tupac-articles-1016372\" target=\"_blank\" rel=\"noopener\">\u003cem>The Hollywood Reporter \u003c/em>points out\u003c/a>, these admissions could be interpreted as a legal tactic that allows Powell to claim ownership over biographical facts.\u003c/p>\n\u003cp>Powell’s attorney, Keith White, may have been pre-empting criticism of Powell on these points in a statement today, writing that “Kevin took creative license to protect the complex human being that was Tupac Shakur. This included fact-specific narrative changes and character creation in an effort to protect the legacy that Tupac was still building. Kevin’s exclusive and intimate access to Tupac Shakur came as a result of the trust established over the years. The narrative that Kevin developed from many intense and exclusive moments with Tupac should not have been used in any film without Kevin’s approval and consultation.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Powell’s lawsuit caps a week of controversy for Benny Boom’s film, which grossed $31 million domestically in its opening weekend. \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=Tupac+Shakur+Biopic+%27All+Eyez+On+Me%27+Hit+With+Copyright+Infringement+Lawsuit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The three \u003cem>Vibe \u003c/em>articles in question — “Exclusive: Is Tupac Crazy or Just Misunderstood”, “Tupac Shakur Jailhouse Exclusive”, “Live from Deathrow” — were published in February 1994, April 1995 and February 1996, and offer a striking view into Shakur’s famously nuanced thinking during the most critical time of his career.\u003c/p>\n\u003cp>Notably, the suit’s allegations rest, in part, on creations and embellishments that Powell placed in his \u003cem>Vibe\u003c/em> articles. “While some of the content in these articles was factual,” the complaint reads, “some portions of the article were changed or embellished by Plaintiff … In fact, the name and character of ‘Nigel’ in [the \u003cem>Vibe \u003c/em>articles] was specifically created by the Plaintiff without the authority or encouragement of Tupac Shakur. This made up character of Nigel was the embellishment of a real life character that was central to the narrative in [Powell’s] articles.” It also claims as infringing the use in the film of “metaphorical slang and strong language, including but limited to the liberal use of the f-word, indicative of the way rappers in the 1990’s talk.” As \u003ca href=\"http://www.hollywoodreporter.com/thr-esq/all-eyez-me-prompts-journalist-admit-having-embellished-tupac-articles-1016372\" target=\"_blank\" rel=\"noopener\">\u003cem>The Hollywood Reporter \u003c/em>points out\u003c/a>, these admissions could be interpreted as a legal tactic that allows Powell to claim ownership over biographical facts.\u003c/p>\n\u003cp>Powell’s attorney, Keith White, may have been pre-empting criticism of Powell on these points in a statement today, writing that “Kevin took creative license to protect the complex human being that was Tupac Shakur. This included fact-specific narrative changes and character creation in an effort to protect the legacy that Tupac was still building. Kevin’s exclusive and intimate access to Tupac Shakur came as a result of the trust established over the years. The narrative that Kevin developed from many intense and exclusive moments with Tupac should not have been used in any film without Kevin’s approval and consultation.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Powell’s lawsuit caps a week of controversy for Benny Boom’s film, which grossed $31 million domestically in its opening weekend. \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=Tupac+Shakur+Biopic+%27All+Eyez+On+Me%27+Hit+With+Copyright+Infringement+Lawsuit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘Maudie,’ The Story of a Folk Artist’s Humble Life and Love",
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"content": "\u003cp>Earlier this year, a painting by the Nova Scotian folk artist Maud Lewis sold for $45,000 Canadian dollars. When she was alive, \u003ca href=\"http://www.cbc.ca/archives/entry/folk-artist-maud-lewis-at-work-in-her-nova-scotia-home\" target=\"_blank\" rel=\"noopener noreferrer\">Lewis\u003c/a>, born in 1903, sold such pieces from her home for $5 apiece. That home — a cabin-sized house covered in a cheerful riot of painted flowers, birds and butterflies — is now on permanent display in Halifax at the \u003ca href=\"https://www.artgalleryofnovascotia.ca/maud-lewis\" target=\"_blank\" rel=\"noopener noreferrer\">Art Gallery of Nova Scotia\u003c/a>. But for Maud Lewis, this work of art was simply a home, for herself and her fishmonger husband, Everett Lewis, its embellishment a testament to their hard-earned love.\u003c/p>\n\u003cfigure id=\"attachment_13478989\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SundayRide.jpg\" alt=\"A painting by the real-life Maud Lewis, 'Sunday Ride.'\" width=\"1200\" height=\"985\" class=\"size-full wp-image-13478989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SundayRide.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SundayRide-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SundayRide-800x657.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SundayRide-768x630.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SundayRide-1020x837.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SundayRide-1180x969.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SundayRide-960x788.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SundayRide-240x197.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SundayRide-375x308.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SundayRide-520x427.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A painting by the real-life Maud Lewis, ‘Sunday Ride.’ \u003ccite>(Courtesy of the Art Gallery of Nova Scotia, all rights reserved)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Aisling Walsh’s new biopic, \u003ci>Maudie\u003c/i>, tells the stories of both Maud Lewis’ artistic life and the couple’s relationship. In a recent telephone interview, the Irish director, who trained as a painter herself, describes some of the challenges that faced this pair of outsiders. “They really had to work hard to eke out a very simple life on the fringe of society, because they were castouts,” Walsh says. “She was disinherited by her brother, and had this disability [rheumatoid arthritis] but she found a life for herself.”\u003c/p>\n\u003cp>British actress Sally Hawkins portrays Maud with an open-faced radiance that may be her most affecting performance to date. As the arthritis contracts Maud’s body, Hawkins appears to slowly fold in on herself. On screen, the contrast between the fragile Maud and stolid Everett is remarkable, a detail Walsh points to as helping to convey the fishmonger’s social position. “He’s the kind of man who’s more physical because he’s worked on the land all his life,” Walsh says. “You have to work quite hard, catch fish, build, chop wood.”\u003c/p>\n\u003cfigure id=\"attachment_13478992\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13478992\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/4.jpg\" alt=\"Sally Hawkins as Maud Lewis and Ethan Hawke as Everett Lewis in 'Maudie.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/4.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/4-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/4-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/4-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sally Hawkins as Maud Lewis and Ethan Hawke as Everett Lewis in ‘Maudie.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ethan Hawke portrays Everett as a truculent, reclusive man, hardened by adult isolation and a childhood spent in an orphanage. His relationship with Maud is transformative. “Her life, the life she wants for herself, changed when she met him,” Walsh says, “and his life changed when he met her.”\u003c/p>\n\u003cp>Their marriage lasted 32 years, until Maud’s death in 1970. For Walsh, \u003ci>Maudie\u003c/i> is all about “what happens to people who find one another and let go.” And according to Walsh, “letting go” for Maud and Everett Lewis meant embracing each other’s damaged parts as much as, if not more than, their strengths.\u003c/p>\n\u003cfigure id=\"attachment_13478990\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13478990\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/AislingWalsh.jpg\" alt=\"'Maudie' director Aisling Walsh.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AislingWalsh.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AislingWalsh-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AislingWalsh-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AislingWalsh-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AislingWalsh-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AislingWalsh-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AislingWalsh-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AislingWalsh-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AislingWalsh-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AislingWalsh-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Maudie’ director Aisling Walsh. \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“What I find interesting about the power shift in the movie is that when their relationship begins, he feels that he is the powerful one and she allows him to feel that way,” Hawke explained while in town for \u003ci>Maudie\u003c/i>‘s San Francisco International Film Festival screening. “Through the course of the movie he learns how to give that power over to her, and she takes it. And he becomes all the stronger for it.” Hawke likens Everett to a “withered old tree that somehow slowly learns to grow some leaves.” It’s a fitting metaphor for the peculiarities of their particular love story — Maud’s the one who paints in those leaves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/wCZ_guQTGNw\u003c/p>\n\u003cp>In all of Maud’s unfailingly cheerful oeuvre, Walsh found she never painted a self-portrait. Maudie is the result of the director’s desire to fill that gap. In every carefully composed frame, Walsh translates Maud’s painterly vision of the world into a shared cinematic language. The film is at once a reflection of what Maud saw and the director’s unvarnished depiction of her life with Everett.\u003c/p>\n\u003cp>“Maud would never have had the life that she had without him,” Walsh says. “She’s able to paint, she’s able to practice her art, she’s able to be the artist she wants to be. Equally, life and beauty come into his life, that he would never have had without her.”\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>\u003cem>‘Maudie’ opens June 23 at the Embarcadero Center Cinema in San Francisco. For more information \u003ca href=\"http://sonyclassics.com/maudie/\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Sally Hawkins and Ethan Hawke start in director Aisling Walsh's portrait of Canadian folk artist Maud Lewis, whose optimistic paintings belie a life of physical pain.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this year, a painting by the Nova Scotian folk artist Maud Lewis sold for $45,000 Canadian dollars. When she was alive, \u003ca href=\"http://www.cbc.ca/archives/entry/folk-artist-maud-lewis-at-work-in-her-nova-scotia-home\" target=\"_blank\" rel=\"noopener noreferrer\">Lewis\u003c/a>, born in 1903, sold such pieces from her home for $5 apiece. That home — a cabin-sized house covered in a cheerful riot of painted flowers, birds and butterflies — is now on permanent display in Halifax at the \u003ca href=\"https://www.artgalleryofnovascotia.ca/maud-lewis\" target=\"_blank\" rel=\"noopener noreferrer\">Art Gallery of Nova Scotia\u003c/a>. But for Maud Lewis, this work of art was simply a home, for herself and her fishmonger husband, Everett Lewis, its embellishment a testament to their hard-earned love.\u003c/p>\n\u003cfigure id=\"attachment_13478989\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SundayRide.jpg\" alt=\"A painting by the real-life Maud Lewis, 'Sunday Ride.'\" width=\"1200\" height=\"985\" class=\"size-full wp-image-13478989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SundayRide.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SundayRide-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SundayRide-800x657.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SundayRide-768x630.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SundayRide-1020x837.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SundayRide-1180x969.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SundayRide-960x788.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SundayRide-240x197.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SundayRide-375x308.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SundayRide-520x427.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A painting by the real-life Maud Lewis, ‘Sunday Ride.’ \u003ccite>(Courtesy of the Art Gallery of Nova Scotia, all rights reserved)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Aisling Walsh’s new biopic, \u003ci>Maudie\u003c/i>, tells the stories of both Maud Lewis’ artistic life and the couple’s relationship. In a recent telephone interview, the Irish director, who trained as a painter herself, describes some of the challenges that faced this pair of outsiders. “They really had to work hard to eke out a very simple life on the fringe of society, because they were castouts,” Walsh says. “She was disinherited by her brother, and had this disability [rheumatoid arthritis] but she found a life for herself.”\u003c/p>\n\u003cp>British actress Sally Hawkins portrays Maud with an open-faced radiance that may be her most affecting performance to date. As the arthritis contracts Maud’s body, Hawkins appears to slowly fold in on herself. On screen, the contrast between the fragile Maud and stolid Everett is remarkable, a detail Walsh points to as helping to convey the fishmonger’s social position. “He’s the kind of man who’s more physical because he’s worked on the land all his life,” Walsh says. “You have to work quite hard, catch fish, build, chop wood.”\u003c/p>\n\u003cfigure id=\"attachment_13478992\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13478992\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/4.jpg\" alt=\"Sally Hawkins as Maud Lewis and Ethan Hawke as Everett Lewis in 'Maudie.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/4.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/4-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/4-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/4-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sally Hawkins as Maud Lewis and Ethan Hawke as Everett Lewis in ‘Maudie.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ethan Hawke portrays Everett as a truculent, reclusive man, hardened by adult isolation and a childhood spent in an orphanage. His relationship with Maud is transformative. “Her life, the life she wants for herself, changed when she met him,” Walsh says, “and his life changed when he met her.”\u003c/p>\n\u003cp>Their marriage lasted 32 years, until Maud’s death in 1970. For Walsh, \u003ci>Maudie\u003c/i> is all about “what happens to people who find one another and let go.” And according to Walsh, “letting go” for Maud and Everett Lewis meant embracing each other’s damaged parts as much as, if not more than, their strengths.\u003c/p>\n\u003cfigure id=\"attachment_13478990\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13478990\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/AislingWalsh.jpg\" alt=\"'Maudie' director Aisling Walsh.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AislingWalsh.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AislingWalsh-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AislingWalsh-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AislingWalsh-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AislingWalsh-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AislingWalsh-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AislingWalsh-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AislingWalsh-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AislingWalsh-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AislingWalsh-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Maudie’ director Aisling Walsh. \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“What I find interesting about the power shift in the movie is that when their relationship begins, he feels that he is the powerful one and she allows him to feel that way,” Hawke explained while in town for \u003ci>Maudie\u003c/i>‘s San Francisco International Film Festival screening. “Through the course of the movie he learns how to give that power over to her, and she takes it. And he becomes all the stronger for it.” Hawke likens Everett to a “withered old tree that somehow slowly learns to grow some leaves.” It’s a fitting metaphor for the peculiarities of their particular love story — Maud’s the one who paints in those leaves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wCZ_guQTGNw'\n title='//www.youtube.com/embed/wCZ_guQTGNw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In all of Maud’s unfailingly cheerful oeuvre, Walsh found she never painted a self-portrait. Maudie is the result of the director’s desire to fill that gap. In every carefully composed frame, Walsh translates Maud’s painterly vision of the world into a shared cinematic language. The film is at once a reflection of what Maud saw and the director’s unvarnished depiction of her life with Everett.\u003c/p>\n\u003cp>“Maud would never have had the life that she had without him,” Walsh says. “She’s able to paint, she’s able to practice her art, she’s able to be the artist she wants to be. Equally, life and beauty come into his life, that he would never have had without her.”\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>\u003cem>‘Maudie’ opens June 23 at the Embarcadero Center Cinema in San Francisco. For more information \u003ca href=\"http://sonyclassics.com/maudie/\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Every so often, brightly lit Hollywood comedies set in West Coast mansions will slip in five minutes of light-relief banter between a Latina housekeeper and her wealthy white liberal boss. Mild joshing ensues about the cluelessness or prejudice of the employer, perhaps with a good-natured roll of the maid’s eyes thrown in. That done, everyone slips back into their assigned slots in the social pecking order. Point taken, but not really.\u003c/p>\n\u003cp>\u003cem>Beatriz at Dinner\u003c/em>, a new collaboration between director Miguel Arteta and screenwriter Mike White (\u003cem>The Good Girl\u003c/em>, \u003cem>Chuck & Buck\u003c/em>, among others), is not that banter or that movie. The Mexican-born Beatriz, played with restraint by a deglamorized and slyly tamped down Salma Hayek, is not a housekeeper. She’s a healer with her own business and a gentle, spiritual soul. An apparent ingénue in sensible jeans and adolescent bangs, Beatriz keeps goats in her Altadena apartment and wonders why the neighbors complain. She’s funny and anachronistic in context, but she’s not being laughed at, at least not by the filmmakers, who bring Beatriz front and center in a black comedy of manners with an earnest undertow that places ethnic and class inequality on an audacious continuum with wanton environmental destruction.\u003c/p>\n\u003cp>Invited to dinner when her car breaks down at the Newport Beach McMansion of her client, Kathy (a very good Connie Britton), Beatriz takes it on trust when Kathy introduces her as “my dearest friend” to a small group of well-heeled guests assembled to celebrate a commercial takeover of protected land they’re about to turn into millions in hard cash. Despite barely suppressed sneering from the visitors, played by Chloe Sevigny along with \u003cem>Transparent\u003c/em>‘s Amy Landecker, Jay Duplass and John Lithgow, Beatriz and Kathy begin the evening believing in their friendship. The train wreck that follows — hilarious with a growing edge of sinister — will strip away everyone’s illusions on that score, and a few others.\u003c/p>\n\u003cp>With hardly a raised voice, the air soon fills with poison. Arteta directs with irreverent brio mixed with a somber touch, but \u003cem>Beatriz at Dinner\u003c/em> is (almost) all talk, and dependent on the crisply funny dialogue that keeps taking left turns into the unexpected. White is always on the side of the marginal and the dispossessed, but he likes to throw us off our game a bit so we don’t just go home smugly confident that we’ve done our bit for justice and empathy. Beatriz, like the others, walks a purposefully confounding line between naturalism and caricature. She hugs everyone on sight, offers free treatments all around, and asks Kathy’s incredulous husband to bring her a glass of wine. But though she’s getting drunker by the minute, Beatriz is also an astute observer whose reflexive desire to please wanes visibly as she mixes it up with the wonderfully named Doug Strutt, a cocksure, Trump-like developer played with delicious glee by Lithgow, whom she thinks she recognizes from her childhood in Mexico, when her family, community, and habitat were destroyed by a corporate predator.\u003c/p>\n\u003cp>War is declared, and Doug and Beatriz perform a rivetingly complicated \u003cem>pas de deux\u003c/em> that pitches his boorish charm against the coiled ferocity that grows within the unwanted guest. Is Doug, who knows what he is and is frank about fiddling while Rome burns, the enemy here? Perhaps, but the target at the bullseye’s center is the liberal elite itself, nice enough self-deceivers like Kathy who commit daily hypocrisies while persuading themselves they’ve conquered prejudice, yet who flee in terror when confronted with contradiction and pushback. It’s Kathy’s abrupt withdrawal from her “friend” and her panicked attempt to revert to patroness that really cuts, and carries the action from wicked comedy into potent melodrama. In the movie’s several startling endings you may see a horror story or a Greek tragedy unfolding. \u003cem>Beatriz at Dinner\u003c/em> is also a love story that restores agency to a woman who has lost all, and asks us to take a hard look at our own. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every so often, brightly lit Hollywood comedies set in West Coast mansions will slip in five minutes of light-relief banter between a Latina housekeeper and her wealthy white liberal boss. Mild joshing ensues about the cluelessness or prejudice of the employer, perhaps with a good-natured roll of the maid’s eyes thrown in. That done, everyone slips back into their assigned slots in the social pecking order. Point taken, but not really.\u003c/p>\n\u003cp>\u003cem>Beatriz at Dinner\u003c/em>, a new collaboration between director Miguel Arteta and screenwriter Mike White (\u003cem>The Good Girl\u003c/em>, \u003cem>Chuck & Buck\u003c/em>, among others), is not that banter or that movie. The Mexican-born Beatriz, played with restraint by a deglamorized and slyly tamped down Salma Hayek, is not a housekeeper. She’s a healer with her own business and a gentle, spiritual soul. An apparent ingénue in sensible jeans and adolescent bangs, Beatriz keeps goats in her Altadena apartment and wonders why the neighbors complain. She’s funny and anachronistic in context, but she’s not being laughed at, at least not by the filmmakers, who bring Beatriz front and center in a black comedy of manners with an earnest undertow that places ethnic and class inequality on an audacious continuum with wanton environmental destruction.\u003c/p>\n\u003cp>Invited to dinner when her car breaks down at the Newport Beach McMansion of her client, Kathy (a very good Connie Britton), Beatriz takes it on trust when Kathy introduces her as “my dearest friend” to a small group of well-heeled guests assembled to celebrate a commercial takeover of protected land they’re about to turn into millions in hard cash. Despite barely suppressed sneering from the visitors, played by Chloe Sevigny along with \u003cem>Transparent\u003c/em>‘s Amy Landecker, Jay Duplass and John Lithgow, Beatriz and Kathy begin the evening believing in their friendship. The train wreck that follows — hilarious with a growing edge of sinister — will strip away everyone’s illusions on that score, and a few others.\u003c/p>\n\u003cp>With hardly a raised voice, the air soon fills with poison. Arteta directs with irreverent brio mixed with a somber touch, but \u003cem>Beatriz at Dinner\u003c/em> is (almost) all talk, and dependent on the crisply funny dialogue that keeps taking left turns into the unexpected. White is always on the side of the marginal and the dispossessed, but he likes to throw us off our game a bit so we don’t just go home smugly confident that we’ve done our bit for justice and empathy. Beatriz, like the others, walks a purposefully confounding line between naturalism and caricature. She hugs everyone on sight, offers free treatments all around, and asks Kathy’s incredulous husband to bring her a glass of wine. But though she’s getting drunker by the minute, Beatriz is also an astute observer whose reflexive desire to please wanes visibly as she mixes it up with the wonderfully named Doug Strutt, a cocksure, Trump-like developer played with delicious glee by Lithgow, whom she thinks she recognizes from her childhood in Mexico, when her family, community, and habitat were destroyed by a corporate predator.\u003c/p>\n\u003cp>War is declared, and Doug and Beatriz perform a rivetingly complicated \u003cem>pas de deux\u003c/em> that pitches his boorish charm against the coiled ferocity that grows within the unwanted guest. Is Doug, who knows what he is and is frank about fiddling while Rome burns, the enemy here? Perhaps, but the target at the bullseye’s center is the liberal elite itself, nice enough self-deceivers like Kathy who commit daily hypocrisies while persuading themselves they’ve conquered prejudice, yet who flee in terror when confronted with contradiction and pushback. It’s Kathy’s abrupt withdrawal from her “friend” and her panicked attempt to revert to patroness that really cuts, and carries the action from wicked comedy into potent melodrama. In the movie’s several startling endings you may see a horror story or a Greek tragedy unfolding. \u003cem>Beatriz at Dinner\u003c/em> is also a love story that restores agency to a woman who has lost all, and asks us to take a hard look at our own. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In 2014, some of the country’s finest classical brass musicians got together in the Bay Area to recreate a seminal 1968 recording of sacred music by the great Italian Renaissance composer Giovanni Gabrieli — and also lay down a new work specially written for them by American film composer John Williams.\u003c/p>\n\u003cp>“Nothing else that we know of can quite deliver the same sense of heroism that the great brass choir seems to be able to do,” Williams said at the time.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Making of Gabrieli\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/aHs4W3bdReI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The group, known as the National Brass Ensemble, is like classical brass music’s answer to the NBA All Stars. Its 26 members — people like Michael Sachs, who plays principal trumpet with the Cleveland Orchestra, and Tim Higgins, the San Francisco Symphony’s principal trombone — all have day jobs with all the top symphonies in the land, including the New York Philharmonic, the Chicago Symphony, and the Philadelphia Orchestra, among others.\u003c/p>\n\u003cp>[contextly_sidebar id=”Bn4F9yXnOxJs0Hb62uMXLPY7EJ8Txw7e”]\u003c/p>\n\u003cp>This previously unreleased, 25-minute documentary (produced by the San Francisco Conservatory of Music and Oberlin Conservatory of Music) shows the performers rehearsing at Sonoma State University’s Green Music Center in Rohnert Park and recording at Skywalker Sound in Marin. It provides a fascinating insight into \u003cspan style=\"font-weight: 400\">what it’s like to be a classical brass musician working in the U.S. today at the topmost level, and includes some awesome music. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Passion rarely meets excellence at this level,” says David Stull, president of the San Francisco Conservatory and a professional tuba player himself. “I think for all of us it was a moment in time, and that really comes through in the documentary.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>You can find the National Brass Ensemble’s ‘Gabrieli’ CD \u003ca href=\"https://www.amazon.com/Gabrielli-National-Brass-Ensemble/dp/B014E1TMHC\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2014, some of the country’s finest classical brass musicians got together in the Bay Area to recreate a seminal 1968 recording of sacred music by the great Italian Renaissance composer Giovanni Gabrieli — and also lay down a new work specially written for them by American film composer John Williams.\u003c/p>\n\u003cp>“Nothing else that we know of can quite deliver the same sense of heroism that the great brass choir seems to be able to do,” Williams said at the time.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Making of Gabrieli\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/aHs4W3bdReI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The group, known as the National Brass Ensemble, is like classical brass music’s answer to the NBA All Stars. Its 26 members — people like Michael Sachs, who plays principal trumpet with the Cleveland Orchestra, and Tim Higgins, the San Francisco Symphony’s principal trombone — all have day jobs with all the top symphonies in the land, including the New York Philharmonic, the Chicago Symphony, and the Philadelphia Orchestra, among others.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This previously unreleased, 25-minute documentary (produced by the San Francisco Conservatory of Music and Oberlin Conservatory of Music) shows the performers rehearsing at Sonoma State University’s Green Music Center in Rohnert Park and recording at Skywalker Sound in Marin. It provides a fascinating insight into \u003cspan style=\"font-weight: 400\">what it’s like to be a classical brass musician working in the U.S. today at the topmost level, and includes some awesome music. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Passion rarely meets excellence at this level,” says David Stull, president of the San Francisco Conservatory and a professional tuba player himself. “I think for all of us it was a moment in time, and that really comes through in the documentary.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>You can find the National Brass Ensemble’s ‘Gabrieli’ CD \u003ca href=\"https://www.amazon.com/Gabrielli-National-Brass-Ensemble/dp/B014E1TMHC\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>My co-host this week is comedian \u003ca href=\"http://www.zahracomedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Zahra Noorbaksh,\u003c/a> co-host of the podcast \u003ca href=\"http://www.goodmuslimbadmuslim.com/\" target=\"_blank\" rel=\"noopener noreferrer\">#\u003cem>GoodMuslimBadMuslim\u003c/em>\u003c/a>, and \u003ca href=\"https://www.ybca.org/ybca-100\" target=\"_blank\" rel=\"noopener noreferrer\">recently named\u003c/a> one of 100 people shaping the future of culture. We barely had time to cover all the shows that mattered to us this week. Left out was the \u003ca href=\"https://stanfordjazz.org/stanford-jazz-festival-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Stanford Jazz Festival \u003c/a>opening this week, including singer Tiffany Austin, clarinetist Anat Cohen, Natalie and daughter Sandy Cressman and Ravi Coltrane.\u003c/p>\n\u003cp>We also couldn’t fit in the opening of the play \u003ca href=\"https://www.berkeleyrep.org/season/1617/10668.asp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>An Octoroon\u003c/em> at Berkeley Rep\u003c/a> on Friday, an adaptation and critique of a 19th century play about race. Director Eric Ting is terrific at deconstructing plays like this, and challenging the audience. And don’t forget: with Pride celebrations, public transit is your friend if you’re coming into San Francisco this weekend. Now here’s the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9bbVGNY40N8\u003c/p>\n\u003cp>\u003cstrong>June 23–25\u003c/strong>: With its many stages, after-parties and the big parade, \u003ca href=\"http://www.sfpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Pride\u003c/a> is simply too big to sum up in a couple of performers, events and shows, but we’ve tried. \u003ca href=\"http://www.thedykemarch.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Dyke March\u003c/a> is worth catching as it celebrates its 25th anniversary. And we’re both fans of \u003ca href=\"http://www.madamegandhi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Madame Gandhi\u003c/a> (video above), appearing on the main stage on Sunday, June 25, for her feminist, period-positive message and great dance beats.\u003c/p>\n\u003cp>\u003ca href=\"http://www.margagomez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Marga Gomez\u003c/a>, the heart of Bay Area Comedy, is one of the emcees on the main stage, and we’re hoping for good things from \u003ca href=\"https://www.facebook.com/HellaGayComedyShow/\" target=\"_blank\" rel=\"noopener noreferrer\">#HellaGayComedy\u003c/a> on Friday, June 23, at Club OMG in San Francisco, with Omar Qureshi, Jesus U.Bettawork, Cassandra Gorgeous, and others. And don’t be surprised if you see people in top hats and claw-like hands at Pride in honor of the Australian horror-flick character \u003ca href=\"http://www.newyorker.com/culture/rabbit-holes/the-babadook-is-a-frightening-fabulous-new-gay-icon\" target=\"_blank\" rel=\"noopener noreferrer\">The Babadook\u003c/a>, a creature who is feared, but also somehow a part of the family. In a recent twist, he’s \u003ca href=\"http://www.newyorker.com/culture/rabbit-holes/the-babadook-is-a-frightening-fabulous-new-gay-icon\" target=\"_blank\" rel=\"noopener noreferrer\">become a gay icon\u003c/a> of sorts. Details for San Francisco Pride \u003ca href=\"http://www.sfpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=91HRfJwOuWo&t=449s\u003c/p>\n\u003cp>\u003cstrong>July 9\u003c/strong>: Zahra looked ahead on her calendar to find this second-Sunday-of-the-month lesbian, trans, women comedy show at the Ivy Room in Albany. Ash Fisher and Irene Tu of Man Haters headline \u003cem>No Man’s Land\u003c/em> — Tu was one of \u003ca href=\"http://ww2.kqed.org/arts/2016/07/11/women-to-watch-irene-tu/\" target=\"_blank\" rel=\"noopener noreferrer\">KQED’s Women to Watch\u003c/a> last year. Men, like me, are welcome, but as Zahra said, we may be the butt of a lot of jokes (or completely ignored). And it’s a bargain. With women making about 77 cents on the dollar to men, tickets are just $7.70 in advance, $10 at the door.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/215884295\u003cbr>\n\u003c/aside>\n\u003cp>\u003cstrong>June 24\u003c/strong>: \u003cem>Notes Against the Ban\u003c/em> is a protest of the Trump Administration’s proposed travel ban, in the form of music from the seven Muslim-majority countries on the list: Iraq, Libya, Somalia, Sudan, Syria, Yemen and Iran. The \u003ca href=\"https://ww2.kqed.org/arts/2017/03/13/music-from-seven-muslim-majority-countries-in-notes-against-the-ban/\" target=\"_blank\" rel=\"noopener noreferrer\">Aswat Ensemble \u003c/a>has \u003ca href=\"https://ww2.kqed.org/arts/2017/03/13/music-from-seven-muslim-majority-countries-in-notes-against-the-ban/\" target=\"_blank\" rel=\"noopener noreferrer\">staged this concert as a way to bridge cultural suspicions through music\u003c/a>. Aswat founder Nabila Mango said she wants to “celebrate the beauty of ‘the others.’” Among other highlights, look for Sudanese vocalist Salma Al Assal, profiled in a KQED video (posted above). And for non-Arab & non-Farsi speakers like me, translations of each song will be projected on a screen for the audience. \u003ca href=\"http://www.brownpapertickets.com/event/2933963\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the show at St. Cyprian’s in San Francisco are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gbAJp1YarfU\u003c/p>\n\u003cp>\u003cstrong>June 24 & 25\u003c/strong>: Ubernerd \u003ca href=\"http://nerdist.com/tag/chris-hardwick/\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Hardwick\u003c/a> of Comedy Central and the Nerdist is curating a show, and calling it the\u003cem> ID10T Festival\u003c/em>. On some level, it appears as if Hardwick just said to himself, “What do millennials like? Let’s mash together music, gaming, tech, comic books and comedy.” Not a bad idea, when you’re featuring Demetri Martin, Michael Che, Nikki Glaser, Garfunkel & Oates (the musical-comedy duo comprised of Riki Lindhome and Kate Micucci, two of Zahra’s favorites), Michael Ian Black, plus Sacramento native Brian Posehn. The main stage features music from rather nerdy bands including Weezer and OK Go, and includes Tank and the Bangas out of New Orleans, who won the NPR \u003ca href=\"http://www.npr.org/event/music/519418207/tank-and-the-bangas-tiny-desk-concert\" target=\"_blank\" rel=\"noopener noreferrer\">Tiny Desk Contest \u003c/a>this year. By the way, the title of the show, ID10T, is itself a nerd’s inside joke — it’s a made-up code for user error. In other words, the bug in the program is the person at the keyboard. That must be me. \u003ca href=\"http://id10tfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_hIl1eYiVc8\u003c/p>\n\u003cp>\u003cstrong>July 23–25\u003c/strong>: American symphony orchestras rarely program a whole evening of modern American music. But this weekend the San Francisco Symphony finishes its season with the sort of American Mavericks concert that Michael Tilson Thomas has made his specialty — the program includes Charles Ives, George Antheil (“A Jazz Symphony”), Lou Harrison, and a West Coast premiere from Michael Tilson Thomas himself, plus videos and dance. These multimedia shows can be a real treat.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thanks to Zahra Noorbaksh for being our co-host this week!\u003c/p>\n\u003cfigure id=\"attachment_12295296\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12295296\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-800x434.jpg\" alt=\"Comedian Zahra Noorbaksh host the podcast #GoodMuslim,BadMuslim’\" width=\"800\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-800x434.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-768x416.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1020x553.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1920x1041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1180x640.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-960x520.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-520x282.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Zahra Noorbaksh, co-host of the podcast #GoodMuslim,BadMuslim \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"title": "Cy and Zahra's Picks: Guide to Pride, No Man's Land, and Gang of Seven | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My co-host this week is comedian \u003ca href=\"http://www.zahracomedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Zahra Noorbaksh,\u003c/a> co-host of the podcast \u003ca href=\"http://www.goodmuslimbadmuslim.com/\" target=\"_blank\" rel=\"noopener noreferrer\">#\u003cem>GoodMuslimBadMuslim\u003c/em>\u003c/a>, and \u003ca href=\"https://www.ybca.org/ybca-100\" target=\"_blank\" rel=\"noopener noreferrer\">recently named\u003c/a> one of 100 people shaping the future of culture. We barely had time to cover all the shows that mattered to us this week. Left out was the \u003ca href=\"https://stanfordjazz.org/stanford-jazz-festival-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Stanford Jazz Festival \u003c/a>opening this week, including singer Tiffany Austin, clarinetist Anat Cohen, Natalie and daughter Sandy Cressman and Ravi Coltrane.\u003c/p>\n\u003cp>We also couldn’t fit in the opening of the play \u003ca href=\"https://www.berkeleyrep.org/season/1617/10668.asp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>An Octoroon\u003c/em> at Berkeley Rep\u003c/a> on Friday, an adaptation and critique of a 19th century play about race. Director Eric Ting is terrific at deconstructing plays like this, and challenging the audience. And don’t forget: with Pride celebrations, public transit is your friend if you’re coming into San Francisco this weekend. Now here’s the show.\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/9bbVGNY40N8'\n title='//www.youtube.com/embed/9bbVGNY40N8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 23–25\u003c/strong>: With its many stages, after-parties and the big parade, \u003ca href=\"http://www.sfpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Pride\u003c/a> is simply too big to sum up in a couple of performers, events and shows, but we’ve tried. \u003ca href=\"http://www.thedykemarch.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Dyke March\u003c/a> is worth catching as it celebrates its 25th anniversary. And we’re both fans of \u003ca href=\"http://www.madamegandhi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Madame Gandhi\u003c/a> (video above), appearing on the main stage on Sunday, June 25, for her feminist, period-positive message and great dance beats.\u003c/p>\n\u003cp>\u003ca href=\"http://www.margagomez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Marga Gomez\u003c/a>, the heart of Bay Area Comedy, is one of the emcees on the main stage, and we’re hoping for good things from \u003ca href=\"https://www.facebook.com/HellaGayComedyShow/\" target=\"_blank\" rel=\"noopener noreferrer\">#HellaGayComedy\u003c/a> on Friday, June 23, at Club OMG in San Francisco, with Omar Qureshi, Jesus U.Bettawork, Cassandra Gorgeous, and others. And don’t be surprised if you see people in top hats and claw-like hands at Pride in honor of the Australian horror-flick character \u003ca href=\"http://www.newyorker.com/culture/rabbit-holes/the-babadook-is-a-frightening-fabulous-new-gay-icon\" target=\"_blank\" rel=\"noopener noreferrer\">The Babadook\u003c/a>, a creature who is feared, but also somehow a part of the family. In a recent twist, he’s \u003ca href=\"http://www.newyorker.com/culture/rabbit-holes/the-babadook-is-a-frightening-fabulous-new-gay-icon\" target=\"_blank\" rel=\"noopener noreferrer\">become a gay icon\u003c/a> of sorts. Details for San Francisco Pride \u003ca href=\"http://www.sfpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/91HRfJwOuWo'\n title='//www.youtube.com/embed/91HRfJwOuWo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 9\u003c/strong>: Zahra looked ahead on her calendar to find this second-Sunday-of-the-month lesbian, trans, women comedy show at the Ivy Room in Albany. Ash Fisher and Irene Tu of Man Haters headline \u003cem>No Man’s Land\u003c/em> — Tu was one of \u003ca href=\"http://ww2.kqed.org/arts/2016/07/11/women-to-watch-irene-tu/\" target=\"_blank\" rel=\"noopener noreferrer\">KQED’s Women to Watch\u003c/a> last year. Men, like me, are welcome, but as Zahra said, we may be the butt of a lot of jokes (or completely ignored). And it’s a bargain. With women making about 77 cents on the dollar to men, tickets are just $7.70 in advance, $10 at the door.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/215884295\u003cbr>\n\u003c/aside>\n\u003cp>\u003cstrong>June 24\u003c/strong>: \u003cem>Notes Against the Ban\u003c/em> is a protest of the Trump Administration’s proposed travel ban, in the form of music from the seven Muslim-majority countries on the list: Iraq, Libya, Somalia, Sudan, Syria, Yemen and Iran. The \u003ca href=\"https://ww2.kqed.org/arts/2017/03/13/music-from-seven-muslim-majority-countries-in-notes-against-the-ban/\" target=\"_blank\" rel=\"noopener noreferrer\">Aswat Ensemble \u003c/a>has \u003ca href=\"https://ww2.kqed.org/arts/2017/03/13/music-from-seven-muslim-majority-countries-in-notes-against-the-ban/\" target=\"_blank\" rel=\"noopener noreferrer\">staged this concert as a way to bridge cultural suspicions through music\u003c/a>. Aswat founder Nabila Mango said she wants to “celebrate the beauty of ‘the others.’” Among other highlights, look for Sudanese vocalist Salma Al Assal, profiled in a KQED video (posted above). And for non-Arab & non-Farsi speakers like me, translations of each song will be projected on a screen for the audience. \u003ca href=\"http://www.brownpapertickets.com/event/2933963\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the show at St. Cyprian’s in San Francisco are here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gbAJp1YarfU'\n title='//www.youtube.com/embed/gbAJp1YarfU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 24 & 25\u003c/strong>: Ubernerd \u003ca href=\"http://nerdist.com/tag/chris-hardwick/\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Hardwick\u003c/a> of Comedy Central and the Nerdist is curating a show, and calling it the\u003cem> ID10T Festival\u003c/em>. On some level, it appears as if Hardwick just said to himself, “What do millennials like? Let’s mash together music, gaming, tech, comic books and comedy.” Not a bad idea, when you’re featuring Demetri Martin, Michael Che, Nikki Glaser, Garfunkel & Oates (the musical-comedy duo comprised of Riki Lindhome and Kate Micucci, two of Zahra’s favorites), Michael Ian Black, plus Sacramento native Brian Posehn. The main stage features music from rather nerdy bands including Weezer and OK Go, and includes Tank and the Bangas out of New Orleans, who won the NPR \u003ca href=\"http://www.npr.org/event/music/519418207/tank-and-the-bangas-tiny-desk-concert\" target=\"_blank\" rel=\"noopener noreferrer\">Tiny Desk Contest \u003c/a>this year. By the way, the title of the show, ID10T, is itself a nerd’s inside joke — it’s a made-up code for user error. In other words, the bug in the program is the person at the keyboard. That must be me. \u003ca href=\"http://id10tfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_hIl1eYiVc8'\n title='//www.youtube.com/embed/_hIl1eYiVc8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 23–25\u003c/strong>: American symphony orchestras rarely program a whole evening of modern American music. But this weekend the San Francisco Symphony finishes its season with the sort of American Mavericks concert that Michael Tilson Thomas has made his specialty — the program includes Charles Ives, George Antheil (“A Jazz Symphony”), Lou Harrison, and a West Coast premiere from Michael Tilson Thomas himself, plus videos and dance. These multimedia shows can be a real treat.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thanks to Zahra Noorbaksh for being our co-host this week!\u003c/p>\n\u003cfigure id=\"attachment_12295296\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12295296\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-800x434.jpg\" alt=\"Comedian Zahra Noorbaksh host the podcast #GoodMuslim,BadMuslim’\" width=\"800\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-800x434.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-768x416.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1020x553.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1920x1041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1180x640.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-960x520.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-520x282.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Zahra Noorbaksh, co-host of the podcast #GoodMuslim,BadMuslim \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Daniel Day-Lewis, one of the most widely respected actors of his generation and a three-time Oscar-winner, says he’s retiring from acting.\u003c/p>\n\u003cp>The 60-year-old actor announced Tuesday that he has shot his last film and performed in his last play. That makes Paul Thomas Anderson’s already filmed Phantom Thread, due out in December, his final film.\u003c/p>\n\u003cp>“Daniel Day-Lewis will no longer be working as an actor,” his representative Leslee Dart said in a statement. “He is immensely grateful to all of his collaborators and audiences over the many years. This is a private decision and neither he nor his representatives will make any further comment on this subject.”\u003c/p>\n\u003cp>The announcement sent shockwaves through Hollywood, where Day-Lewis is revered as possibly the finest actor of his time. But Day-Lewis has also long been an exceptionally deliberate performer who often spends years preparing for a role, crafting his characters with an uncommon, methodical completeness.\u003c/p>\n\u003cp>“I don’t dismember a character into its component parts and then kind of bolt it all together, and off you go,” Day-Lewis told the AP in 2012, discussing Steven Spielberg’s \u003cem>Lincoln\u003c/em>. “I tend to try and allow things to happen slowly, over a long period of time. As I feel I’m growing into a sense of that life, if I’m lucky, I begin to hear a voice.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He has stepped away from film before. In the late 1990s, he famously apprenticed as a shoemaker in Florence, Italy — a period he called “semi-retirement.” \u003cem>Phantom Thread\u003c/em>, which Focus Features will release Dec. 25, is his first film in five years, following \u003cem>Lincoln\u003c/em>.\u003c/p>\n\u003cp>A five-time Academy Award nominee, Day-Lewis is the only one to ever win best actor three times. He earned Oscars for \u003cem>My Left Foot\u003c/em>, \u003cem>Lincoln\u003c/em> and \u003cem>There Will Be Blood\u003c/em>.\u003c/p>\n\u003cp>Day-Lewis, who is married to writer-director Rebecca Miller with three children, broke through with 1985’s \u003cem>My Beautiful Laundrette\u003c/em>, by Stephen Frears. His films since then have included \u003cem>The Last of the Mohicans\u003c/em>, \u003cem>The Age of Innocence\u003c/em>, \u003cem>In the Name of the Father\u003c/em> and \u003cem>Gangs of New York.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>His last play was in 1989, a National Theatre production of \u003cem>Hamlet\u003c/em>, in London. Day-Lewis infamously walked out in the middle of a performance, and never returned to the stage again.\u003cbr>\n___\u003cbr>\nFollow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Daniel Day-Lewis, one of the most widely respected actors of his generation and a three-time Oscar-winner, says he’s retiring from acting.\u003c/p>\n\u003cp>The 60-year-old actor announced Tuesday that he has shot his last film and performed in his last play. That makes Paul Thomas Anderson’s already filmed Phantom Thread, due out in December, his final film.\u003c/p>\n\u003cp>“Daniel Day-Lewis will no longer be working as an actor,” his representative Leslee Dart said in a statement. “He is immensely grateful to all of his collaborators and audiences over the many years. This is a private decision and neither he nor his representatives will make any further comment on this subject.”\u003c/p>\n\u003cp>The announcement sent shockwaves through Hollywood, where Day-Lewis is revered as possibly the finest actor of his time. But Day-Lewis has also long been an exceptionally deliberate performer who often spends years preparing for a role, crafting his characters with an uncommon, methodical completeness.\u003c/p>\n\u003cp>“I don’t dismember a character into its component parts and then kind of bolt it all together, and off you go,” Day-Lewis told the AP in 2012, discussing Steven Spielberg’s \u003cem>Lincoln\u003c/em>. “I tend to try and allow things to happen slowly, over a long period of time. As I feel I’m growing into a sense of that life, if I’m lucky, I begin to hear a voice.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He has stepped away from film before. In the late 1990s, he famously apprenticed as a shoemaker in Florence, Italy — a period he called “semi-retirement.” \u003cem>Phantom Thread\u003c/em>, which Focus Features will release Dec. 25, is his first film in five years, following \u003cem>Lincoln\u003c/em>.\u003c/p>\n\u003cp>A five-time Academy Award nominee, Day-Lewis is the only one to ever win best actor three times. He earned Oscars for \u003cem>My Left Foot\u003c/em>, \u003cem>Lincoln\u003c/em> and \u003cem>There Will Be Blood\u003c/em>.\u003c/p>\n\u003cp>Day-Lewis, who is married to writer-director Rebecca Miller with three children, broke through with 1985’s \u003cem>My Beautiful Laundrette\u003c/em>, by Stephen Frears. His films since then have included \u003cem>The Last of the Mohicans\u003c/em>, \u003cem>The Age of Innocence\u003c/em>, \u003cem>In the Name of the Father\u003c/em> and \u003cem>Gangs of New York.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>His last play was in 1989, a National Theatre production of \u003cem>Hamlet\u003c/em>, in London. Day-Lewis infamously walked out in the middle of a performance, and never returned to the stage again.\u003cbr>\n___\u003cbr>\nFollow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Carrie Fisher’s autopsy report shows the actress had cocaine in her system when she fell ill on a plane last year, but investigators could not determine what impact the cocaine and other drugs found in her system had on her death.\u003c/p>\n\u003cp>The report released Monday states Fisher may have taken cocaine three days before the Dec. 23 flight on which she became ill. She died four days later.\u003c/p>\n\u003cp>It also found traces of heroin, other opiates and MDMA, which is also known as ecstasy, but that they could not determine when Fisher had taken those drugs. The findings were based on toxicology screenings done on samples taken when the “Star Wars” actress arrived at a Los Angeles hospital.\u003c/p>\n\u003cp>Coroner’s officials ruled Fisher died from sleep apnea and a combination of other factors. A news release issued Friday mentioned drugs were found in Fisher’s system, but it did not provide details.\u003c/p>\n\u003cp>Monday’s full report contains a detailed explanation of the results, such as why investigators believe Fisher took cocaine at least three days before her flight.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“At this time the significance of cocaine cannot be established in this case,” the report states.\u003c/p>\n\u003cp>It also states that while heroin is detectable in the system for a briefer period of time, investigators could not determine when Fisher, 60, took it or the ecstasy. Toxicology tests also found other opiates in Fisher’s system, including morphine, although the report states the morphine could have been a byproduct of heroin.\u003c/p>\n\u003cp>“Ms. Fisher suffered what appeared to be a cardiac arrest on the airplane accompanied by vomiting and with a history of sleep apnea. Based on the available toxicological information, we cannot establish the significance of the multiple substances that were detected in Ms. Fisher’s blood and tissue, with regard to the cause of death,” the report states.\u003c/p>\n\u003cp>Among the factors that contributed to Fisher’s death was buildup of fatty tissue in the walls of her arteries, the coroner’s office said last week.\u003c/p>\n\u003cp>A phone message left for Fisher’s brother, Todd, was not immediately returned.\u003c/p>\n\u003cp>Todd Fisher said Friday he was not surprised that drugs may have contributed to his sister’s death.\u003c/p>\n\u003cp>“I would tell you, from my perspective that there’s certainly no news that Carrie did drugs,” Todd Fisher said. He noted that his sister wrote extensively about her drug use, and that many of the drugs she took were prescribed by doctors to try to treat her mental health conditions.\u003c/p>\n\u003cp>Fisher long battled drug addiction and mental illness. She said she smoked pot at 13, used LSD by 21 and was diagnosed with bipolar disorder at 24. She was treated with electroshock therapy and medication.\u003c/p>\n\u003cp>“I am not shocked that part of her health was affected by drugs,” Todd Fisher said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He said his sister’s heart condition was probably worsened by her smoking habit, as well as the medications she took. “If you want to know what killed her, it’s all of it,” he said.\u003cbr>\n___\u003cbr>\nAnthony McCartney can be reached at http://twitter.com/mccartneyAP\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“At this time the significance of cocaine cannot be established in this case,” the report states.\u003c/p>\n\u003cp>It also states that while heroin is detectable in the system for a briefer period of time, investigators could not determine when Fisher, 60, took it or the ecstasy. Toxicology tests also found other opiates in Fisher’s system, including morphine, although the report states the morphine could have been a byproduct of heroin.\u003c/p>\n\u003cp>“Ms. Fisher suffered what appeared to be a cardiac arrest on the airplane accompanied by vomiting and with a history of sleep apnea. Based on the available toxicological information, we cannot establish the significance of the multiple substances that were detected in Ms. Fisher’s blood and tissue, with regard to the cause of death,” the report states.\u003c/p>\n\u003cp>Among the factors that contributed to Fisher’s death was buildup of fatty tissue in the walls of her arteries, the coroner’s office said last week.\u003c/p>\n\u003cp>A phone message left for Fisher’s brother, Todd, was not immediately returned.\u003c/p>\n\u003cp>Todd Fisher said Friday he was not surprised that drugs may have contributed to his sister’s death.\u003c/p>\n\u003cp>“I would tell you, from my perspective that there’s certainly no news that Carrie did drugs,” Todd Fisher said. He noted that his sister wrote extensively about her drug use, and that many of the drugs she took were prescribed by doctors to try to treat her mental health conditions.\u003c/p>\n\u003cp>Fisher long battled drug addiction and mental illness. She said she smoked pot at 13, used LSD by 21 and was diagnosed with bipolar disorder at 24. She was treated with electroshock therapy and medication.\u003c/p>\n\u003cp>“I am not shocked that part of her health was affected by drugs,” Todd Fisher said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He said his sister’s heart condition was probably worsened by her smoking habit, as well as the medications she took. “If you want to know what killed her, it’s all of it,” he said.\u003cbr>\n___\u003cbr>\nAnthony McCartney can be reached at http://twitter.com/mccartneyAP\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The jolts and shocks arrive from odd angles in writer-director Koji Fukada’s wondrously haunting family drama, \u003cem>Harmonium\u003c/em>. So don’t buy this synopsis as the whole bowl of noodles: A perfunctorily married couple and their young daughter, going through the motions of their prosaic lives, are shaken wide awake by the arrival of a mysterious stranger. More clichés to take with a pinch of sea salt: The interloper is a recent parolee, and an old acquaintance of the husband.\u003c/p>\n\u003cp>Thankfully, nothing in this film (which won a prize at Cannes a year ago and debuted locally at CAAMFest in March) unfolds quite the way you’d expect, owing to a setting that is at once naturalistic and stripped down and has the deft, disturbing effect of insinuating Fukada’s parable under our skin.\u003c/p>\n\u003cp>\u003cem>Harmonium\u003c/em>, opening Friday, June 23 at the \u003ca href=\"https://www.lntsf.com/4star/\" target=\"_blank\" rel=\"noopener\">4-Star\u003c/a> (2200 Clement in S.F.), cleaves into two halves, set eight years apart. Cunningly acted by Kanji Furitachi and Mariko Tsutsui as the indifferently marrieds and Tadanobu Asano as the Man in White (who suggests at different times an angel, messiah or emblem of newborn innocence), the movie gradually demolishes its characters’ rote devotion to their self- and socially imposed responsibilities, relationships and routines.\u003c/p>\n\u003cp>\u003cem>Harmonium\u003c/em> is not an argument for anarchy, however, or conversely an assertion of moral imperatives. Not when Fukada skillfully keeps the coin spinning between redemption and punishment, and self-assertion and self-sacrifice. (And for those fascinated by the presumed obligations of the individual in Japanese society, it’s a happy coincidence that the summer BAMPFA retrospective \u003ca href=\"http://bampfa.berkeley.edu/program/samurai-rebellion-toshiro-mifune-screen-icon\" target=\"_blank\" rel=\"noopener\">Samurai Rebellion: Toshiro Mifune, Screen Icon\u003c/a> opened last week.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>The multi-billion-dollar success of Pixar’s \u003cem>Cars\u003c/em> series can be chalked up to a great many things, but don’t discount the little vroom-vroom frowns the cars make with their dashboard eyes when they want to go fast. When Lightning McQueen, the Owen Wilson-voiced stock car with the bright flames decal, guns for pole position, he squints so much that any human who might be driving him wouldn’t be able to see the road. But of course there are no humans in this world, unless you count the invisible giant kids who must be steering the racers with their hands and making the motor sounds themselves.\u003c/p>\n\u003cp>That enduring childhood (typically but by no means exclusively boyhood) fascination with moving vehicles has propped up this franchise for the backseat set, seeing it through three feature-length films, a spin-off \u003cem>Planes\u003c/em> series, and countless toy tie-ins. \u003cem>Cars \u003c/em>has helped secure Pixar’s financial dominance, even as the company’s recent over-reliance on easily marketable sequels has caused it to lose some trophies of its own. But after more than two decades of restless invention, followed by a recent round of “places” (\u003ca href=\"http://www.npr.org/2015/11/25/457132713/a-great-looking-if-underpowered-adventure-with-a-good-dinosaur\">\u003cem>The Good Dinosaur\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"http://www.npr.org/2016/06/16/482000492/finding-dory-but-losing-the-thread\">\u003cem>Finding Dory\u003c/em>\u003c/a>) instead of the “wins” of yore, perhaps John Lasseter and Co. have started to pause and reflect on their limitations in the limelight.\u003c/p>\n\u003cp>Thankfully, \u003cem>Cars 3\u003c/em>, the first in the series to be made without Lasseter writing or directing, is not the sign of a slow death—even if its story may suggest as much. The film toys with a certain degree of “auto”-biography. Here, McQueen finds his ol’ motor isn’t running like it used to, as younger, more technologically savvy upstarts led by Armie Hammer’s sleek, sneering Jackson Storm start squeezing him out of the winner’s circle. His longtime sponsor, Rust-Eze, gets bought out by a giant conglomerate whose CEO, a shiny coupe voiced by Nathan Fillion, pushes his star to slap his grinning metal hood on every product he can find—shades of Disney purchasing Pixar in 2006. Plus, his buddy Mater (Larry the Cable Guy), the gap-toothed tow truck who “dad-gum”‘ed his way to the starring role in \u003cem>Cars 2\u003c/em>, is barely around. Strangely, no one seems too broken up about it.\u003c/p>\n\u003cp>McQueen’s efforts to rebuild himself on the racing circuit give him a chance to pause and reflect on the lessons he learned in the first \u003cem>Cars\u003c/em>, when Paul Newman’s sage Doc Hudson and the laid-back residents of forgotten Route 66 town Radiator Springs taught him there was more to life than going full-throttle. In accordance, this time around McQueen becomes the father figure Hudson was to him. He gets assigned to a trainer, the perky yellow Cruz Ramirez (Cristela Alonzo), who once harbored racing aspirations of her own but lacked “confidence” (a codeword in this male-dominated gearhead sport). Only gradually does McQueen realize that, in fact, he’s training her.\u003c/p>\n\u003cp>The best parts of \u003cem>Cars 3\u003c/em> are the ones that embrace the passage of time and the joys of mentorship, as they are the bits most likely to remind you how Pixar can deliver meaningful messages of aging and acceptance—when it wants to. Helmer Brian Fee, making his directing debut after working as a storyboard artist on past studio greats like \u003cem>WALL-E\u003c/em> and \u003cem>Ratatouille\u003c/em>, effectively keeps us thinking about these themes throughout McQueen’s journey. He also delivers some sequences that are among the most stunning animations the company has ever produced: a breathtaking beach race at dusk; a demolition derby in which it’s only a matter of time before everything is caked with mud; and a weathered filmstrip of Doc’s old races that makes you wonder how hard it must be for next-gen tech to make something look convincingly “old”. Yet Fee is clearly getting instructions radioed in from the Disney pit crew, so while the third \u003cem>Cars\u003c/em> lap is an improvement over the zero-depth spy spoofery of the second film, it’s not very convincing when it tries to peddle the sense of an ending. Of course, in retrospect, \u003cem>Toy Story 3\u003c/em> feels less profound now that we know there’s a fourth outing on the way.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, we have our best scientists still puzzling out the logistics of the \u003cem>Cars \u003c/em>universe. In this film the four-wheeled ones put on headsets and use duct tape, and at one point, Mack the Mack truck (John Ratzenberger) somehow knocks on the inside of himself. And then there are the larger social problems creeping in, like the fact that gender- and race-based discrimination still exists even without any physical signs that the cars are different genders or races. Perhaps it’s a metaphor for the small flickers of human error that persist in a land ruled by post-human vehicles. Or maybe all will be revealed once we’re racing each other with our own sets of \u003cem>Cars\u003c/em> cars. Vroom-vroom.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A NOTE ON THE PRESHOW: \u003c/strong>In “Lou,” a playground lost-and-found box comes alive and teaches a lesson to a school bully who likes to mess with other kids’ things. It’s sweet and silly, if a bit reminiscent of the famous scene in \u003cem>Toy Story\u003c/em> where the toys confront Sid. Among the modern crop of Pixar shorts, “Lou” rests closer to the splendid “Sanjay’s Super Team” and “Piper” than to the obnoxious earworm “Lava.” \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=%27Cars+3%27+Comes+Roaring+Back+With+A+Swapped-Out+%28Story%29+Engine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The multi-billion-dollar success of Pixar’s \u003cem>Cars\u003c/em> series can be chalked up to a great many things, but don’t discount the little vroom-vroom frowns the cars make with their dashboard eyes when they want to go fast. When Lightning McQueen, the Owen Wilson-voiced stock car with the bright flames decal, guns for pole position, he squints so much that any human who might be driving him wouldn’t be able to see the road. But of course there are no humans in this world, unless you count the invisible giant kids who must be steering the racers with their hands and making the motor sounds themselves.\u003c/p>\n\u003cp>That enduring childhood (typically but by no means exclusively boyhood) fascination with moving vehicles has propped up this franchise for the backseat set, seeing it through three feature-length films, a spin-off \u003cem>Planes\u003c/em> series, and countless toy tie-ins. \u003cem>Cars \u003c/em>has helped secure Pixar’s financial dominance, even as the company’s recent over-reliance on easily marketable sequels has caused it to lose some trophies of its own. But after more than two decades of restless invention, followed by a recent round of “places” (\u003ca href=\"http://www.npr.org/2015/11/25/457132713/a-great-looking-if-underpowered-adventure-with-a-good-dinosaur\">\u003cem>The Good Dinosaur\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"http://www.npr.org/2016/06/16/482000492/finding-dory-but-losing-the-thread\">\u003cem>Finding Dory\u003c/em>\u003c/a>) instead of the “wins” of yore, perhaps John Lasseter and Co. have started to pause and reflect on their limitations in the limelight.\u003c/p>\n\u003cp>Thankfully, \u003cem>Cars 3\u003c/em>, the first in the series to be made without Lasseter writing or directing, is not the sign of a slow death—even if its story may suggest as much. The film toys with a certain degree of “auto”-biography. Here, McQueen finds his ol’ motor isn’t running like it used to, as younger, more technologically savvy upstarts led by Armie Hammer’s sleek, sneering Jackson Storm start squeezing him out of the winner’s circle. His longtime sponsor, Rust-Eze, gets bought out by a giant conglomerate whose CEO, a shiny coupe voiced by Nathan Fillion, pushes his star to slap his grinning metal hood on every product he can find—shades of Disney purchasing Pixar in 2006. Plus, his buddy Mater (Larry the Cable Guy), the gap-toothed tow truck who “dad-gum”‘ed his way to the starring role in \u003cem>Cars 2\u003c/em>, is barely around. Strangely, no one seems too broken up about it.\u003c/p>\n\u003cp>McQueen’s efforts to rebuild himself on the racing circuit give him a chance to pause and reflect on the lessons he learned in the first \u003cem>Cars\u003c/em>, when Paul Newman’s sage Doc Hudson and the laid-back residents of forgotten Route 66 town Radiator Springs taught him there was more to life than going full-throttle. In accordance, this time around McQueen becomes the father figure Hudson was to him. He gets assigned to a trainer, the perky yellow Cruz Ramirez (Cristela Alonzo), who once harbored racing aspirations of her own but lacked “confidence” (a codeword in this male-dominated gearhead sport). Only gradually does McQueen realize that, in fact, he’s training her.\u003c/p>\n\u003cp>The best parts of \u003cem>Cars 3\u003c/em> are the ones that embrace the passage of time and the joys of mentorship, as they are the bits most likely to remind you how Pixar can deliver meaningful messages of aging and acceptance—when it wants to. Helmer Brian Fee, making his directing debut after working as a storyboard artist on past studio greats like \u003cem>WALL-E\u003c/em> and \u003cem>Ratatouille\u003c/em>, effectively keeps us thinking about these themes throughout McQueen’s journey. He also delivers some sequences that are among the most stunning animations the company has ever produced: a breathtaking beach race at dusk; a demolition derby in which it’s only a matter of time before everything is caked with mud; and a weathered filmstrip of Doc’s old races that makes you wonder how hard it must be for next-gen tech to make something look convincingly “old”. Yet Fee is clearly getting instructions radioed in from the Disney pit crew, so while the third \u003cem>Cars\u003c/em> lap is an improvement over the zero-depth spy spoofery of the second film, it’s not very convincing when it tries to peddle the sense of an ending. Of course, in retrospect, \u003cem>Toy Story 3\u003c/em> feels less profound now that we know there’s a fourth outing on the way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, we have our best scientists still puzzling out the logistics of the \u003cem>Cars \u003c/em>universe. In this film the four-wheeled ones put on headsets and use duct tape, and at one point, Mack the Mack truck (John Ratzenberger) somehow knocks on the inside of himself. And then there are the larger social problems creeping in, like the fact that gender- and race-based discrimination still exists even without any physical signs that the cars are different genders or races. Perhaps it’s a metaphor for the small flickers of human error that persist in a land ruled by post-human vehicles. Or maybe all will be revealed once we’re racing each other with our own sets of \u003cem>Cars\u003c/em> cars. Vroom-vroom.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A NOTE ON THE PRESHOW: \u003c/strong>In “Lou,” a playground lost-and-found box comes alive and teaches a lesson to a school bully who likes to mess with other kids’ things. It’s sweet and silly, if a bit reminiscent of the famous scene in \u003cem>Toy Story\u003c/em> where the toys confront Sid. Among the modern crop of Pixar shorts, “Lou” rests closer to the splendid “Sanjay’s Super Team” and “Piper” than to the obnoxious earworm “Lava.” \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=%27Cars+3%27+Comes+Roaring+Back+With+A+Swapped-Out+%28Story%29+Engine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Kate McKinnon plays an Australian in \u003cem>Rough Night\u003c/em>, a shrewd gender-reversal of sloppy-drunk bro comedies like \u003cem>Bachelor Party\u003c/em>, \u003cem>Very Bad Things\u003c/em>, and \u003cem>The Hangover\u003c/em>. There’s no particular reason for her to play an Australian, beyond a thin running joke about cultural insensitivity of failing to distinguish between Aussies and Kiwis. And yet it’s funny. McKinnon merrily swishes her dialogue around the accent and makes her character’s jet lag and fish-out-of-water misunderstanding to keep her a beat behind the action, like the caboose of the comedy train. It seems highly unlikely the part was written for an Australian, but her instincts — and the instincts of her co-writer/director, Lucia Aniello –prevailed and the film is funnier because of it.\u003c/p>\n\u003cp>There are some twists and turns of the plot in \u003cem>Rough Night — \u003c/em>twists and turns lifted from all of its predecessors, especially the accidental-killing-of-a-stripper gambit of \u003cem>Very Bad Things — \u003c/em>but it’s mostly a frantic accumulation of jokes, staked on group chemistry and seat-of-the-pants audacity. In that, it mirrors the crazy, spontaneous progression of the bachelorette party itself, which aims for nonstop euphoria but occasionally strays into regrettable moments when it goes too far or stumbles into awkward patches. Casting a non-Australian to be Australian for no essential reason is the first clue that \u003cem>Rough Night\u003c/em> will be going after laughs at whatever random place it can find them. “Fasten your seatbelts,” as Bette Davis would say.\u003c/p>\n\u003cp>Getting the night started turns out to be the toughest part. After an extended prologue establishes the bond between four hard-partying college friends a decade earlier, \u003cem>Rough Night\u003c/em> has the laborious task of yadda-yadda-ing through their individual lives before bringing them together for a bachelorette weekend in Miami Beach. A game Scarlett Johansson stars as Jess, a neophyte State Senate candidate who’s seen as too uptight to connect with voters, despite an opponent whose behavior is Anthony Weiner-esque. Her buttoned-down life has put some distance between herself and Alice (Jillian Bell), her crass college dorm-mate; her other friends, Frankie (Ilana Glazer) and Blair (Zoe Kravitz), have their own problems, like a former romance that didn’t end gracefully.\u003c/p>\n\u003cp>The strained chemistry among the four friends threatens to sour the film before it even gets started, particularly because Bell is such a dominant presence that the others are deprived of oxygen. But when they get to Miami for Jess’ bachelorette party and her newish friend Pippa (McKinnon) enters the mix, the ensemble starts to gain some balance, right in time for a little cocaine bump and involuntary manslaughter to take the evening to another level. When an overzealous Alice accidentally kills a stripper (Colton Haynes), the women decide to cover it up rather than explain the out-of-control coke party that’s been raging in their beachside rental home. Meanwhile, Jess’ concerned fiancé Peter (Paul W. Downs, who co-wrote the script) is convinced by his buddies to drive nonstop through Florida in adult diapers, kept alert by Red Bull and expired Russian Adderall.\u003c/p>\n\u003cp>This last detail, which Peter’s friend dubs “the sad astronaut,” takes its inspiration from the bizarre true story of a former NASA astronaut who drove hundreds of miles in adult diapers to attack her rival in a love triangle. It’s also another example of \u003cem>Rough Night\u003c/em> committing to an off-the-wall comic idea and going all the way with it. Though Aniello and Downs’ script feels like a patchwork of other bachelor-night comedies, with scenes from \u003cem>Weekend At Bernie’s\u003c/em> tacked on for good measure, they’re smart enough to allow for silly digressions to keep the action from getting stale and predictable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Rough Night\u003c/em> isn’t satisfied with being the latest in ladies-can-be-raunchy-too comedies, though it does pull a fun role reversal by making Peter’s bachelor party a staid affair, with the guys comparing notes at a wine tasting. The setbacks that befall Jess and her friends are not marked as punishment for their sinful behavior, but obstacles for them to improvise their way around, so they can go back to partying some more. \u003cem>Rough Night\u003c/em> may be a shameless comedy, but it’s also a comedy without shame. There’s something liberating in that. \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=%27Rough+Night%27+Is+Shamelessly+Derivative+%E2%80%94+And+Shamelessly+Funny&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kate McKinnon plays an Australian in \u003cem>Rough Night\u003c/em>, a shrewd gender-reversal of sloppy-drunk bro comedies like \u003cem>Bachelor Party\u003c/em>, \u003cem>Very Bad Things\u003c/em>, and \u003cem>The Hangover\u003c/em>. There’s no particular reason for her to play an Australian, beyond a thin running joke about cultural insensitivity of failing to distinguish between Aussies and Kiwis. And yet it’s funny. McKinnon merrily swishes her dialogue around the accent and makes her character’s jet lag and fish-out-of-water misunderstanding to keep her a beat behind the action, like the caboose of the comedy train. It seems highly unlikely the part was written for an Australian, but her instincts — and the instincts of her co-writer/director, Lucia Aniello –prevailed and the film is funnier because of it.\u003c/p>\n\u003cp>There are some twists and turns of the plot in \u003cem>Rough Night — \u003c/em>twists and turns lifted from all of its predecessors, especially the accidental-killing-of-a-stripper gambit of \u003cem>Very Bad Things — \u003c/em>but it’s mostly a frantic accumulation of jokes, staked on group chemistry and seat-of-the-pants audacity. In that, it mirrors the crazy, spontaneous progression of the bachelorette party itself, which aims for nonstop euphoria but occasionally strays into regrettable moments when it goes too far or stumbles into awkward patches. Casting a non-Australian to be Australian for no essential reason is the first clue that \u003cem>Rough Night\u003c/em> will be going after laughs at whatever random place it can find them. “Fasten your seatbelts,” as Bette Davis would say.\u003c/p>\n\u003cp>Getting the night started turns out to be the toughest part. After an extended prologue establishes the bond between four hard-partying college friends a decade earlier, \u003cem>Rough Night\u003c/em> has the laborious task of yadda-yadda-ing through their individual lives before bringing them together for a bachelorette weekend in Miami Beach. A game Scarlett Johansson stars as Jess, a neophyte State Senate candidate who’s seen as too uptight to connect with voters, despite an opponent whose behavior is Anthony Weiner-esque. Her buttoned-down life has put some distance between herself and Alice (Jillian Bell), her crass college dorm-mate; her other friends, Frankie (Ilana Glazer) and Blair (Zoe Kravitz), have their own problems, like a former romance that didn’t end gracefully.\u003c/p>\n\u003cp>The strained chemistry among the four friends threatens to sour the film before it even gets started, particularly because Bell is such a dominant presence that the others are deprived of oxygen. But when they get to Miami for Jess’ bachelorette party and her newish friend Pippa (McKinnon) enters the mix, the ensemble starts to gain some balance, right in time for a little cocaine bump and involuntary manslaughter to take the evening to another level. When an overzealous Alice accidentally kills a stripper (Colton Haynes), the women decide to cover it up rather than explain the out-of-control coke party that’s been raging in their beachside rental home. Meanwhile, Jess’ concerned fiancé Peter (Paul W. Downs, who co-wrote the script) is convinced by his buddies to drive nonstop through Florida in adult diapers, kept alert by Red Bull and expired Russian Adderall.\u003c/p>\n\u003cp>This last detail, which Peter’s friend dubs “the sad astronaut,” takes its inspiration from the bizarre true story of a former NASA astronaut who drove hundreds of miles in adult diapers to attack her rival in a love triangle. It’s also another example of \u003cem>Rough Night\u003c/em> committing to an off-the-wall comic idea and going all the way with it. Though Aniello and Downs’ script feels like a patchwork of other bachelor-night comedies, with scenes from \u003cem>Weekend At Bernie’s\u003c/em> tacked on for good measure, they’re smart enough to allow for silly digressions to keep the action from getting stale and predictable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Rough Night\u003c/em> isn’t satisfied with being the latest in ladies-can-be-raunchy-too comedies, though it does pull a fun role reversal by making Peter’s bachelor party a staid affair, with the guys comparing notes at a wine tasting. The setbacks that befall Jess and her friends are not marked as punishment for their sinful behavior, but obstacles for them to improvise their way around, so they can go back to partying some more. \u003cem>Rough Night\u003c/em> may be a shameless comedy, but it’s also a comedy without shame. There’s something liberating in that. \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=%27Rough+Night%27+Is+Shamelessly+Derivative+%E2%80%94+And+Shamelessly+Funny&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and Erica's Picks: Monterey Pop, Bless Me Ultima: The Opera, and a Visit to North Beach",
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"headTitle": "Cy and Erica’s Picks: Monterey Pop, Bless Me Ultima: The Opera, and a Visit to North Beach | KQED",
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"content": "\u003cp>This week my co-host \u003ca href=\"https://www.poetryfoundation.org/poems-and-poets/poets/detail/erica-lewis\" target=\"_blank\" rel=\"noopener noreferrer\">Erica Lewis\u003c/a> takes us to North Beach, a neighborhood famous for literature and music, and she reads a poem from her new collection \u003cem>Mary Wants to Be a Superwoman\u003c/em> about her black, white and Cherokee heritage. Somehow we couldn’t fit in the fact that \u003ca href=\"http://sfbotanicalgarden.org/flowerpiano/\" target=\"_blank\" rel=\"noopener noreferrer\">Flower Piano\u003c/a> is back at the San Francisco Botanical Garden, or that this week sees the return of two film festivals: The \u003ca href=\"https://ww2.kqed.org/arts/2017/06/12/now-playing-danny-glover-delivers-at-the-sf-black-film-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Black Film Festival\u003c/a> (with an appearance from Danny Glover), and the \u003ca href=\"https://www.frameline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco International LGBTQ Film Festival (Frameline)\u003c/a>, providing essential viewing for communities that often get short shrift in Hollywood. Now on with the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xNrygTqx0FA\u003cbr>\n\u003cstrong>June 16–18:\u003c/strong> The Monterey International Pop Festival is back, 50 years after it set the standard for the modern rock festival. In many ways, the Summer of Love in San Francisco was a rather dreary few months, but the bands and the hippies made for an inspiring musical event at the Monterey County Fairgrounds. Monterey Pop made the reputations for so many bands: Jimi Hendrix, Steve Miller, Janis Joplin and Big Brother and the Holding Company, Jefferson Airplane, Country Joe and the Fish and the Grateful Dead.\u003cbr>\nMany of the artists appearing this year are doing tributes to the great performers of 50 years ago: Leon Bridges is channeling Otis Redding (who was riveting), blues guitarist Gary Clark Jr stands in for Jimi Hendrix (though no word on whether he’s going to immolate his guitar as Hendrix did), and the Head and the Heart fill in for the Mamas and the Papas. If you can’t go, stream the classic D. A. Pennebaker film \u003cem>Monterey Pop\u003c/em> and look for Otis Redding singing “I’ve Been Loving You Too Long.” \u003ca href=\"https://montereypopfestival50.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437198\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437198\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Surrealistic-Conservatory-of-Flower-800x400.jpg\" alt=\"The San Francisco Conservatory of Flowers all dressed up for a city sponsored Summer of Love concert\" width=\"800\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Conservatory of Flowers all dressed up for a city-sponsored Summer of Love concert.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 21\u003c/strong>: The city of San Francisco is putting on its own Summer of Love concert (despite the legal fight with a promoter trying to do the same) at the Conservatory of Flowers in Golden Gate Park, with a free concert with former members of the Jefferson Airplane, the Chambers Brothers, Moonalice and others. Just in time for solstice. Details \u003ca href=\"https://www.eventbrite.com/e/surrealistic-summer-solstice-concert-and-grand-lighting-tickets-34076313170\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437199\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13437199\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/HeLa.jpg\" alt=\"Khary Moye and Jeunée Simon play Day and Henrietta Lacks in the TheatreFIRST world premiere of Lauren Gunderson and Geetha Reddy’s HeLa at Berkeley’s Black Oak Theatre\" width=\"500\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-375x250.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Khary Moye and Jeunée Simon play Day and Henrietta Lacks in the TheatreFIRST world premiere of Lauren Gunderson and Geetha Reddy’s HeLa at Berkeley’s Black Oak Theatre. \u003ccite>(Photo: Cheshire Isaacs/TheatreFIRST)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through June 17\u003c/strong>: \u003cem>HeLa\u003c/em> is a world premiere play by Lauren Gunderson and Geetha Reddy, playwrights who often write about women and science. HeLa is about Henrietta Lacks, the African American woman (profiled in a \u003ca href=\"http://rebeccaskloot.com/the-immortal-life/\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Skloot\u003c/a> book and \u003ca href=\"http://www.hbo.com/movies/the-immortal-life-of-henrietta-lacks\" target=\"_blank\" rel=\"noopener noreferrer\">HBO film\u003c/a>) who died of cervical cancer in 1951, but whose cells have lived on, and been exploited by scientists without permission from the family. \u003ca href=\"http://theatrefirst.com/about/mission/\" target=\"_blank\" rel=\"noopener noreferrer\">TheatreFIRST\u003c/a> Artistic Director Jon Tracy has pledged that at least half of the shows the company will produce will be by female-identified authors, with a majority written by people of color. Good start. \u003ca href=\"http://theatrefirst.com/hela/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=C_HEU68f96w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>June 17\u003c/strong>: \u003cem>Bless Me Ultima, \u003c/em>by Rudolfo Anaya, is the quintessential Mexican-American novel and perhaps soon the quintessential Mexican American opera, or so its producers are hoping. Composer and librettist Héctor Armienta at San Jose’s \u003ca href=\"http://www.operacultura.org/calendar/Bless-Me-Ultima_2017\" target=\"_blank\" rel=\"noopener noreferrer\">Opera Cultura\u003c/a> has been working for some years now on a musical version of this story set in New Mexico. It’s the tale of Antonio and the story of his coming of age in rural New Mexico under the care of a spiritual guide and healer named Ultima. Details for the workshop performance at San Jose’s Movimiento de Arte y Cultura Latino Americana, better known as MACLA, \u003ca href=\"http://www.operacultura.org/calendar/Bless-Me-Ultima_2017\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437219\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-800x437.jpg\" alt=\"Emcee Infinite presents a rap opera with Opera Cultura\" width=\"800\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-800x437.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-768x420.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-1020x558.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-960x525.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-240x131.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-375x205.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-520x284.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947.jpg 1136w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emcee Infinite presents a rap opera with Opera Cultura. \u003ccite>(Photo: Courtesy of Emcee Infinite)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 24\u003c/strong>:Opera Cultura has another intriguing project. Rapper Carlos Aguirre, known as Infinite, has teamed up with singer Alexandra Sessler to work with San Jose youth, including kids at juvenile hall. They’ve been creating a rap opera, and Aguirre and Sessler have shaped the kids’ songs into \u003cem>The Rap Opera Project. \u003c/em>\u003ca href=\"http://www.operacultura.org/calendar/The-Rap-Opera-Project_2017\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cLsWHq3U7n0\u003cbr>\n\u003cstrong>June 22–24\u003c/strong>: Joe Goode is celebrating his 30th anniversary making dances for his own company. He’s a choreographer whose work can resemble dance plays, with dialogue and characters addressing the audience. This celebration at the Yerba Buena Center for the Arts features \u003cem>Nobody Lives Here Now, \u003c/em>about the aging process for a dancer, and how fragile our bodies are. That concern about our failing bodies is a preoccupation for Goode and many Baby Boomers (speaking from personal experience). Erica noted this dance is about the unglamorized body, a welcome break from the artificial standards we all fail to live by. Details for the Joe Goode Performance Group show \u003ca href=\"https://ybca.org/whats-on/joe-goode\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437270\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-800x491.jpeg\" alt=\"Cy Musiker and Poet Erica Lewis at the Comstock Saloon\" width=\"800\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-800x491.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-160x98.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-768x472.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1020x627.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1920x1180.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1180x725.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-960x590.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-240x147.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-375x230.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-520x319.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy Musiker and Poet Erica Lewis at the Comstock Saloon. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To fully appreciate these next items, you’ll have to listen along with the Do List episode (the podcast is above; go ahead and click “play”). Erica and I met for a drink and a talk about San Francisco’s literary history at the \u003ca href=\"https://comstocksaloon.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Comstock Saloon\u003c/a>, a bar and restaurant in North Beach.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KabkFfwJK3E\u003c/p>\n\u003cp>\u003cstrong>June 18 & 20:\u003c/strong> First, we talked about the prolific trombonist Adam Theis and his upcoming show with a big band at Doc’s Lab in North Beach (the former home of the Purple Onion, where Woody Allen and Richard Pryor got their starts). \u003ca href=\"http://www.docslabsf.com/event/1469660-electric-squeezebox-orchestra-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. And we had to mention Theis’ other gig at the Black Cat, not far away in the Tenderloin, on June 20. \u003ca href=\"http://www.blackcatsf.com/event/jazz-mafia-accomplices-3-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x4tGJLqZ4-k\u003c/p>\n\u003cp>\u003cstrong>June 18\u003c/strong>: And then Erica read from her new collection of poems \u003ca href=\"https://thirdmanbooks.com/books/mary-wants-to-be-a-superwoman-tmb015-isbn978-0-9964016-1-6/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mary Wants to Be a Superwoman\u003c/em>\u003c/a>, about her family and her black, white and Cherokee heritage. Details for her reading Sunday at \u003ca href=\"http://www.birdbeckett.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bird and Becket Books and Records\u003c/a> in San Francisco’s Glen Park neighborhood on Sunday afternoon \u003ca href=\"http://www.birdbeckett.com/triple-header-erica-lewis-the-erik-jekabson-quintet-with-john-santos-the-grant-levin-trio/\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Erica — thanks so much for being the Do List co-host this week!\u003c/p>\n\u003cfigure id=\"attachment_13437284\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-800x600.jpg\" alt=\"Cy Musiker and Erica Lewis in KQED's Studio B\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy Musiker and Erica Lewis in KQED’s Studio B. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week my co-host \u003ca href=\"https://www.poetryfoundation.org/poems-and-poets/poets/detail/erica-lewis\" target=\"_blank\" rel=\"noopener noreferrer\">Erica Lewis\u003c/a> takes us to North Beach, a neighborhood famous for literature and music, and she reads a poem from her new collection \u003cem>Mary Wants to Be a Superwoman\u003c/em> about her black, white and Cherokee heritage. Somehow we couldn’t fit in the fact that \u003ca href=\"http://sfbotanicalgarden.org/flowerpiano/\" target=\"_blank\" rel=\"noopener noreferrer\">Flower Piano\u003c/a> is back at the San Francisco Botanical Garden, or that this week sees the return of two film festivals: The \u003ca href=\"https://ww2.kqed.org/arts/2017/06/12/now-playing-danny-glover-delivers-at-the-sf-black-film-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Black Film Festival\u003c/a> (with an appearance from Danny Glover), and the \u003ca href=\"https://www.frameline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco International LGBTQ Film Festival (Frameline)\u003c/a>, providing essential viewing for communities that often get short shrift in Hollywood. Now on with the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xNrygTqx0FA\u003cbr>\n\u003cstrong>June 16–18:\u003c/strong> The Monterey International Pop Festival is back, 50 years after it set the standard for the modern rock festival. In many ways, the Summer of Love in San Francisco was a rather dreary few months, but the bands and the hippies made for an inspiring musical event at the Monterey County Fairgrounds. Monterey Pop made the reputations for so many bands: Jimi Hendrix, Steve Miller, Janis Joplin and Big Brother and the Holding Company, Jefferson Airplane, Country Joe and the Fish and the Grateful Dead.\u003cbr>\nMany of the artists appearing this year are doing tributes to the great performers of 50 years ago: Leon Bridges is channeling Otis Redding (who was riveting), blues guitarist Gary Clark Jr stands in for Jimi Hendrix (though no word on whether he’s going to immolate his guitar as Hendrix did), and the Head and the Heart fill in for the Mamas and the Papas. If you can’t go, stream the classic D. A. Pennebaker film \u003cem>Monterey Pop\u003c/em> and look for Otis Redding singing “I’ve Been Loving You Too Long.” \u003ca href=\"https://montereypopfestival50.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437198\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437198\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Surrealistic-Conservatory-of-Flower-800x400.jpg\" alt=\"The San Francisco Conservatory of Flowers all dressed up for a city sponsored Summer of Love concert\" width=\"800\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Conservatory of Flowers all dressed up for a city-sponsored Summer of Love concert.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 21\u003c/strong>: The city of San Francisco is putting on its own Summer of Love concert (despite the legal fight with a promoter trying to do the same) at the Conservatory of Flowers in Golden Gate Park, with a free concert with former members of the Jefferson Airplane, the Chambers Brothers, Moonalice and others. Just in time for solstice. Details \u003ca href=\"https://www.eventbrite.com/e/surrealistic-summer-solstice-concert-and-grand-lighting-tickets-34076313170\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437199\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13437199\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/HeLa.jpg\" alt=\"Khary Moye and Jeunée Simon play Day and Henrietta Lacks in the TheatreFIRST world premiere of Lauren Gunderson and Geetha Reddy’s HeLa at Berkeley’s Black Oak Theatre\" width=\"500\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-375x250.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Khary Moye and Jeunée Simon play Day and Henrietta Lacks in the TheatreFIRST world premiere of Lauren Gunderson and Geetha Reddy’s HeLa at Berkeley’s Black Oak Theatre. \u003ccite>(Photo: Cheshire Isaacs/TheatreFIRST)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through June 17\u003c/strong>: \u003cem>HeLa\u003c/em> is a world premiere play by Lauren Gunderson and Geetha Reddy, playwrights who often write about women and science. HeLa is about Henrietta Lacks, the African American woman (profiled in a \u003ca href=\"http://rebeccaskloot.com/the-immortal-life/\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Skloot\u003c/a> book and \u003ca href=\"http://www.hbo.com/movies/the-immortal-life-of-henrietta-lacks\" target=\"_blank\" rel=\"noopener noreferrer\">HBO film\u003c/a>) who died of cervical cancer in 1951, but whose cells have lived on, and been exploited by scientists without permission from the family. \u003ca href=\"http://theatrefirst.com/about/mission/\" target=\"_blank\" rel=\"noopener noreferrer\">TheatreFIRST\u003c/a> Artistic Director Jon Tracy has pledged that at least half of the shows the company will produce will be by female-identified authors, with a majority written by people of color. Good start. \u003ca href=\"http://theatrefirst.com/hela/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/C_HEU68f96w'\n title='//www.youtube.com/embed/C_HEU68f96w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 17\u003c/strong>: \u003cem>Bless Me Ultima, \u003c/em>by Rudolfo Anaya, is the quintessential Mexican-American novel and perhaps soon the quintessential Mexican American opera, or so its producers are hoping. Composer and librettist Héctor Armienta at San Jose’s \u003ca href=\"http://www.operacultura.org/calendar/Bless-Me-Ultima_2017\" target=\"_blank\" rel=\"noopener noreferrer\">Opera Cultura\u003c/a> has been working for some years now on a musical version of this story set in New Mexico. It’s the tale of Antonio and the story of his coming of age in rural New Mexico under the care of a spiritual guide and healer named Ultima. Details for the workshop performance at San Jose’s Movimiento de Arte y Cultura Latino Americana, better known as MACLA, \u003ca href=\"http://www.operacultura.org/calendar/Bless-Me-Ultima_2017\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437219\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-800x437.jpg\" alt=\"Emcee Infinite presents a rap opera with Opera Cultura\" width=\"800\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-800x437.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-768x420.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-1020x558.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-960x525.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-240x131.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-375x205.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-520x284.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947.jpg 1136w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emcee Infinite presents a rap opera with Opera Cultura. \u003ccite>(Photo: Courtesy of Emcee Infinite)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 24\u003c/strong>:Opera Cultura has another intriguing project. Rapper Carlos Aguirre, known as Infinite, has teamed up with singer Alexandra Sessler to work with San Jose youth, including kids at juvenile hall. They’ve been creating a rap opera, and Aguirre and Sessler have shaped the kids’ songs into \u003cem>The Rap Opera Project. \u003c/em>\u003ca href=\"http://www.operacultura.org/calendar/The-Rap-Opera-Project_2017\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cLsWHq3U7n0\u003cbr>\n\u003cstrong>June 22–24\u003c/strong>: Joe Goode is celebrating his 30th anniversary making dances for his own company. He’s a choreographer whose work can resemble dance plays, with dialogue and characters addressing the audience. This celebration at the Yerba Buena Center for the Arts features \u003cem>Nobody Lives Here Now, \u003c/em>about the aging process for a dancer, and how fragile our bodies are. That concern about our failing bodies is a preoccupation for Goode and many Baby Boomers (speaking from personal experience). Erica noted this dance is about the unglamorized body, a welcome break from the artificial standards we all fail to live by. Details for the Joe Goode Performance Group show \u003ca href=\"https://ybca.org/whats-on/joe-goode\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437270\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-800x491.jpeg\" alt=\"Cy Musiker and Poet Erica Lewis at the Comstock Saloon\" width=\"800\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-800x491.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-160x98.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-768x472.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1020x627.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1920x1180.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1180x725.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-960x590.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-240x147.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-375x230.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-520x319.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy Musiker and Poet Erica Lewis at the Comstock Saloon. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To fully appreciate these next items, you’ll have to listen along with the Do List episode (the podcast is above; go ahead and click “play”). Erica and I met for a drink and a talk about San Francisco’s literary history at the \u003ca href=\"https://comstocksaloon.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Comstock Saloon\u003c/a>, a bar and restaurant in North Beach.\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/KabkFfwJK3E'\n title='//www.youtube.com/embed/KabkFfwJK3E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 18 & 20:\u003c/strong> First, we talked about the prolific trombonist Adam Theis and his upcoming show with a big band at Doc’s Lab in North Beach (the former home of the Purple Onion, where Woody Allen and Richard Pryor got their starts). \u003ca href=\"http://www.docslabsf.com/event/1469660-electric-squeezebox-orchestra-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. And we had to mention Theis’ other gig at the Black Cat, not far away in the Tenderloin, on June 20. \u003ca href=\"http://www.blackcatsf.com/event/jazz-mafia-accomplices-3-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/x4tGJLqZ4-k'\n title='//www.youtube.com/embed/x4tGJLqZ4-k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 18\u003c/strong>: And then Erica read from her new collection of poems \u003ca href=\"https://thirdmanbooks.com/books/mary-wants-to-be-a-superwoman-tmb015-isbn978-0-9964016-1-6/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mary Wants to Be a Superwoman\u003c/em>\u003c/a>, about her family and her black, white and Cherokee heritage. Details for her reading Sunday at \u003ca href=\"http://www.birdbeckett.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bird and Becket Books and Records\u003c/a> in San Francisco’s Glen Park neighborhood on Sunday afternoon \u003ca href=\"http://www.birdbeckett.com/triple-header-erica-lewis-the-erik-jekabson-quintet-with-john-santos-the-grant-levin-trio/\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Erica — thanks so much for being the Do List co-host this week!\u003c/p>\n\u003cfigure id=\"attachment_13437284\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-800x600.jpg\" alt=\"Cy Musiker and Erica Lewis in KQED's Studio B\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy Musiker and Erica Lewis in KQED’s Studio B. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Danny Glover Delivers at the SF Black Film Festival",
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"content": "\u003cp>If there’s a busier actor at the moment than septuagenarian Danny Glover, his or her name does not spring readily to mind. The San Francisco native has worked continuously since hitting everybody’s radar in 1984 with \u003cem>Places in the Heart\u003c/em>, but the list of new and upcoming films that he infuses with his particular blend of dignity and authority is remarkable. In the Nigerian real-life thriller \u003cem>93 Days\u003c/em>, opening the \u003ca href=\"http://sfbff.org/wordpress/\" target=\"_blank\" rel=\"noopener\">San Francisco Black Film Festival\u003c/a> (June 15-18 at numerous venues), Glover plays the chief of staff of a Lagos hospital racing to head off an Ebola outbreak. (The actor also has a key role in a similarly titled project in production, \u003cem>83 Days\u003c/em>, based on the horrific 1944 conviction and execution of 14-year-old George Stinney, Jr. in South Carolina.) At the SFBFF, after the screening of \u003cem>93 Days\u003c/em>, Glover takes the stage for what’s sure to be a typically candid and inspiring interview.\u003c/p>\n\u003cp>Danny Glover’s contribution to movies — and it’s a significant one — is playing big men whose masculinity incorporates vulnerability and sensitivity. One rarely used to see that in movies, and never in sports, which is one of the underlying premises of \u003cem>Pass Interference: The Davone Bess Story\u003c/em>. Branson Wright’s empathetic one-hour documentary, screening June 16 at the African American Art and Culture Complex (762 Fulton St.) with the former NFL wide receiver in the house, explores the consequences of undiagnosed and untreated mental illness. A place of one’s own, justice, freedom to express — these are a few of the urgent and timeless themes woven throughout the SF Black Film Festival program. Full schedule \u003ca href=\"http://sfbff.org/wordpress/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If there’s a busier actor at the moment than septuagenarian Danny Glover, his or her name does not spring readily to mind. The San Francisco native has worked continuously since hitting everybody’s radar in 1984 with \u003cem>Places in the Heart\u003c/em>, but the list of new and upcoming films that he infuses with his particular blend of dignity and authority is remarkable. In the Nigerian real-life thriller \u003cem>93 Days\u003c/em>, opening the \u003ca href=\"http://sfbff.org/wordpress/\" target=\"_blank\" rel=\"noopener\">San Francisco Black Film Festival\u003c/a> (June 15-18 at numerous venues), Glover plays the chief of staff of a Lagos hospital racing to head off an Ebola outbreak. (The actor also has a key role in a similarly titled project in production, \u003cem>83 Days\u003c/em>, based on the horrific 1944 conviction and execution of 14-year-old George Stinney, Jr. in South Carolina.) At the SFBFF, after the screening of \u003cem>93 Days\u003c/em>, Glover takes the stage for what’s sure to be a typically candid and inspiring interview.\u003c/p>\n\u003cp>Danny Glover’s contribution to movies — and it’s a significant one — is playing big men whose masculinity incorporates vulnerability and sensitivity. One rarely used to see that in movies, and never in sports, which is one of the underlying premises of \u003cem>Pass Interference: The Davone Bess Story\u003c/em>. Branson Wright’s empathetic one-hour documentary, screening June 16 at the African American Art and Culture Complex (762 Fulton St.) with the former NFL wide receiver in the house, explores the consequences of undiagnosed and untreated mental illness. A place of one’s own, justice, freedom to express — these are a few of the urgent and timeless themes woven throughout the SF Black Film Festival program. Full schedule \u003ca href=\"http://sfbff.org/wordpress/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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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"soldout": {
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"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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