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"content": "\u003cp>Midway through \u003cem>Norman: The Moderate Rise and Tragic Fall of a New York Fixer\u003c/em>, the title character sketches a diagram of his intersecting business, political, and charitable connections. Norman Oppenheimer (Richard Gere) is at the center of the web, and yet he’s barely there at all.\u003c/p>\n\u003cp>You might call Norman a flesh-and-blood social network. He exists to link others, and though he must be driven by self-interest, it’s hard to tell. Writer-director Joseph Cedar, very intentionally, never shows Norman’s home or office — if he even has them — or the family he often mentions but may not exist. Norman seems tethered to Earth only by a nephew, Philip Cohen (Michael Sheen), a Manhattan attorney who pleads, “don’t mention my name.”\u003c/p>\n\u003cp>https://youtu.be/TZMCfZq3qc4\u003c/p>\n\u003cp>Most people avoid Norman if they possibly can. The movie’s story — intricate, rollicking and sometimes sad — turns on three who don’t scamper away: Israeli deputy trade minister Micha Eshel (Lior Ashkenazi, who starred in Cedar’s equally tricky previous film, \u003cem>Footnote\u003c/em>). Rabbi Blumenthal (Steve Buscemi), who trusts Norman to find the $14 million needed to save his historic synagogue. And Alex Green (Charlotte Gainsbourg), a New York-based corruption investigator for the Israeli government.\u003c/p>\n\u003cp>The first chapter is full of false starts and failed pacts, although it does see Norman make a possible friend in Micha. Then, three years later, Micha has become prime minister and Norman goes to see him at an AIPAL (read AIPAC) reception in D.C. Micha greets Norman warmly, and suddenly the nonentity is somebody. Micha even has a task for Norman: get his son into Harvard.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Returning to New York by train — Amfleet, not the higher-priced Acela — Norman meets Alex. She tries very hard to ignore him, only to get interested when Norman starts describing his “consulting” business. Since touting his connections is the essence of what Norman does, he could hardly tell her the truth, which is that he barely knows the new PM.\u003c/p>\n\u003cfigure id=\"attachment_13073029\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13073029\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Fixer1-1020x680.jpg\" alt=\"Still from 'Norman.'\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Norman.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, Israel is roiled by reports of an investigation into Micha’s ties to a “New York businessman.” Norman wonders who that could be.\u003c/p>\n\u003cp>Adding to the thematic complexity, Micha comes to power as a peace candidate. Yet Cedar, a military veteran whose eerie \u003cem>Beaufort\u003c/em> was set in an Israeli outpost in southern Lebanon, doesn’t stress geopolitics. He’s more interested in the personal variety.\u003c/p>\n\u003cp>At the reception, Micha mentions the diverse U.S. factions that support Israel, but that’s the end of the discussion. Norman doesn’t seem to have a position on such matters as a two-state solution, and the word “Palestinian” is never uttered. In Israel, rather then debate Micha’s proposal, his opponents seek to destroy the PM with allegations of corruption.\u003c/p>\n\u003cfigure id=\"attachment_13073030\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13073030\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Fixer2-1020x704.jpg\" alt=\"Still from 'Norman.'\" width=\"640\" height=\"442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-1920x1325.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-1180x814.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-960x663.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-375x259.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-520x359.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Norman.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An Israeli who spent the first six years of his life in New York, Cedar is well attuned to the Manhattan-Jerusalem-Tel Aviv nexus. He gets excellent performances from Gere — playing partway against type as a charmer who’s unnervingly hot rather than reassuringly cool — and the rest of the cast. Dan Stevens, Hank Azaria, Josh Charles, Isaach de Bankole, and others make strong impressions in small roles.\u003c/p>\n\u003cp>Less effective are the director’s visualizations of Norman’s interactions via montages and split screens. Such self-conscious gambits worked better in \u003cem>Footnote\u003c/em> because that film was largely about the life of the mind, and its conflicts were more internal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie’s other quandary is integral to Cedar’s concept. The refusal to give Norman a backstory ultimately limits the impact of the man’s so-called tragedy. The final chapter’s machinations are fascinating, but they’d evoke stronger emotions if we had some idea where Norman was falling from.\u003c/p>\n\n",
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"headline": "Richard Gere Is A One-Man Social Network In 'Norman'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Midway through \u003cem>Norman: The Moderate Rise and Tragic Fall of a New York Fixer\u003c/em>, the title character sketches a diagram of his intersecting business, political, and charitable connections. Norman Oppenheimer (Richard Gere) is at the center of the web, and yet he’s barely there at all.\u003c/p>\n\u003cp>You might call Norman a flesh-and-blood social network. He exists to link others, and though he must be driven by self-interest, it’s hard to tell. Writer-director Joseph Cedar, very intentionally, never shows Norman’s home or office — if he even has them — or the family he often mentions but may not exist. Norman seems tethered to Earth only by a nephew, Philip Cohen (Michael Sheen), a Manhattan attorney who pleads, “don’t mention my name.”\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/TZMCfZq3qc4'\n title='//www.youtube.com/embed/TZMCfZq3qc4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Most people avoid Norman if they possibly can. The movie’s story — intricate, rollicking and sometimes sad — turns on three who don’t scamper away: Israeli deputy trade minister Micha Eshel (Lior Ashkenazi, who starred in Cedar’s equally tricky previous film, \u003cem>Footnote\u003c/em>). Rabbi Blumenthal (Steve Buscemi), who trusts Norman to find the $14 million needed to save his historic synagogue. And Alex Green (Charlotte Gainsbourg), a New York-based corruption investigator for the Israeli government.\u003c/p>\n\u003cp>The first chapter is full of false starts and failed pacts, although it does see Norman make a possible friend in Micha. Then, three years later, Micha has become prime minister and Norman goes to see him at an AIPAL (read AIPAC) reception in D.C. Micha greets Norman warmly, and suddenly the nonentity is somebody. Micha even has a task for Norman: get his son into Harvard.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Returning to New York by train — Amfleet, not the higher-priced Acela — Norman meets Alex. She tries very hard to ignore him, only to get interested when Norman starts describing his “consulting” business. Since touting his connections is the essence of what Norman does, he could hardly tell her the truth, which is that he barely knows the new PM.\u003c/p>\n\u003cfigure id=\"attachment_13073029\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13073029\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Fixer1-1020x680.jpg\" alt=\"Still from 'Norman.'\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer1.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Norman.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, Israel is roiled by reports of an investigation into Micha’s ties to a “New York businessman.” Norman wonders who that could be.\u003c/p>\n\u003cp>Adding to the thematic complexity, Micha comes to power as a peace candidate. Yet Cedar, a military veteran whose eerie \u003cem>Beaufort\u003c/em> was set in an Israeli outpost in southern Lebanon, doesn’t stress geopolitics. He’s more interested in the personal variety.\u003c/p>\n\u003cp>At the reception, Micha mentions the diverse U.S. factions that support Israel, but that’s the end of the discussion. Norman doesn’t seem to have a position on such matters as a two-state solution, and the word “Palestinian” is never uttered. In Israel, rather then debate Micha’s proposal, his opponents seek to destroy the PM with allegations of corruption.\u003c/p>\n\u003cfigure id=\"attachment_13073030\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13073030\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Fixer2-1020x704.jpg\" alt=\"Still from 'Norman.'\" width=\"640\" height=\"442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-1920x1325.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-1180x814.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-960x663.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-375x259.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2-520x359.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Fixer2.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Norman.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An Israeli who spent the first six years of his life in New York, Cedar is well attuned to the Manhattan-Jerusalem-Tel Aviv nexus. He gets excellent performances from Gere — playing partway against type as a charmer who’s unnervingly hot rather than reassuringly cool — and the rest of the cast. Dan Stevens, Hank Azaria, Josh Charles, Isaach de Bankole, and others make strong impressions in small roles.\u003c/p>\n\u003cp>Less effective are the director’s visualizations of Norman’s interactions via montages and split screens. Such self-conscious gambits worked better in \u003cem>Footnote\u003c/em> because that film was largely about the life of the mind, and its conflicts were more internal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie’s other quandary is integral to Cedar’s concept. The refusal to give Norman a backstory ultimately limits the impact of the man’s so-called tragedy. The final chapter’s machinations are fascinating, but they’d evoke stronger emotions if we had some idea where Norman was falling from.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>It’s a weekend for science and sorcery in San Jose. On the Do List this week, you’ll find details for the Steve Wozniak’s \u003ca href=\"http://svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Comic Con\u003c/a>, with its weird mix of Trekkies and techies (maybe not so weird). Then a \u003ca href=\"https://www.facebook.com/events/1346516542073825/\" target=\"_blank\" rel=\"noopener\">contingent of scientists will march at 11am on Saturday at San Jose City Hall \u003c/a>as part of a national movement fighting the suppression of science data under President Trump. And just for fun, there’s the \u003ca href=\"https://www.facebook.com/sofastreetfair/\" target=\"_blank\" rel=\"noopener\">SOFA Street Fair\u003c/a>. Now here’s the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZMW28VttcXw\u003c/p>\n\u003cp>\u003cstrong>April 21-23\u003c/strong>: The so-talented \u003ca href=\"http://www.aoifeodonovan.com/shows\" target=\"_blank\" rel=\"noopener\">Aoife O’Donovan\u003c/a> (pronounced \u003cem>EE-fuh\u003c/em>) is often a guest on \u003ca href=\"https://www.prairiehome.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>A Prairie Home Companion\u003c/em>\u003c/a>, so she’s familiar to NPR listeners. Her voice ranges from ethereal to earthy, with a big dose of Celtic folk tradition. She grew up in suburban Newton, Mass., but used to spend summers playing music in Ireland. No matter where in the Bay Area you live, you have a chance to see O’Donovan. She’s touring with — and opening for — the great guitarists \u003ca href=\"http://www.lageeldridge.com/\" target=\"_blank\" rel=\"noopener\">Julian Lage and Chris Eldridge\u003c/a>. They have two shows at Kuumbwa in Santa Cruz April 21 — \u003ca href=\"http://kuumbwajazz.ticketfly.com/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. Then Lage, Eldridge and O’Donovan play a sold out show April 22 at Freight & Salvage in Berkeley — \u003ca href=\"http://www.freightandsalvage.org/release-the-hounds\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. And Sunday April 23 they’re at the Mondavi Center in Davis — \u003ca href=\"https://mondavi.ucdavis.edu/event/2016-17/release-the-hounds-lage-eldridge\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>https://vimeo.com/208418262\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>April 21-30\u003c/strong>: We’ve talked about \u003ca href=\"http://bayareadance.org/kickoff/\" target=\"_blank\" rel=\"noopener\">Bay Dance Week\u003c/a> (really a 10-day event) before. But it’s such a cool festival, a celebration of not just all the amazing professional troupes based in the Bay Area, but also the many tap, ballet, modern, and ethnic dance academies we’re lucky to have. The festivities kick off at noon on Friday, April 21, at San Francisco City Hall, with a dance party and flashmob that anyone can join. (See the instructional video above featuring \u003ca href=\"https://www.rhythmandmotion.com/dudley-flores/\" target=\"_blank\" rel=\"noopener\">Rhythm and Motion’s Dudley Flores\u003c/a>), and check out the 100 or so free dance events — cheap thrill alert! — from San Jose (including the sjDANCEco Festival @ Santana Row) to San Rafael. \u003ca href=\"http://bayareadance.org/events/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://vimeo.com/154412337\u003c/p>\n\u003cp>\u003cstrong>April 21-22\u003c/strong>: The Colorado River is among the most scenic, the most loved and the most abused of American rivers, as it winds\u003ca href=\"https://www.coloradocollege.edu/other/stateoftherockies/expeditions/source-to-sea.html\" target=\"_blank\" rel=\"noopener\"> from the Wind River Range in Wyoming to where it runs dry from overuse as it approaches Mexico’s Sea of Cortez\u003c/a>. (The Colorado supplies 60 percent of the water used in Southern California, so as a state, we’re are part of the problem.) Now, the director Murat Eyuboglu and producer and composer Paola Prestini have collaborated on \u003ca href=\"http://visionintoart.com/projects/the-colorado/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Colorado\u003c/em>\u003c/a>, a documentary screened with live music. It’s what Prestini calls an eco-cantata, “a piece that is in this cantata form in that it has an overarching narrative,” Prestini told me on the phone, “but at the same time it’s equal parts a cautionary tale about the environment, and a profound musical experience that hopefully involves many different kinds of audiences.”\u003c/p>\n\u003cp>For a show at Stanford, \u003ca href=\"http://www.roomfulofteeth.org/\" target=\"_blank\" rel=\"noopener\">Roomful of Teeth\u003c/a>, cellist \u003ca href=\"http://jzcello.com/\" target=\"_blank\" rel=\"noopener\">Jeffrey Zeigler\u003c/a>, and percussionist \u003ca href=\"http://glennkotche.com/\" target=\"_blank\" rel=\"noopener\">Glenn Kotche\u003c/a> (Wilco) provide the live accompaniment, with gorgeous music composed by Prestini, John Luther Adams, William Brittelle, Glenn Kotche, and Shara Nova. Details for the performance April 21 and 22 at Stanford’s Bing Hall are \u003ca href=\"https://live.stanford.edu/calendar/april-2017/colorado\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. Roomful of Teeth is also doing a sold out show at the San Francisco Opera Lab April 23. If you’re lucky you might find a friend with an extra ticket to that show. \u003ca href=\"https://sfopera.com/sfoperalab/season-two/roomful-of-teeth/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OY-Yf3wjqRk\u003c/p>\n\u003cp>\u003cstrong>April 21-23\u003c/strong>: I was nerding out on Doctor Strange and Captain Marvel (and \u003ca href=\"http://www.thedrawingsofsteranko.com/aghp.html\" target=\"_blank\" rel=\"noopener\">Jim Steranko\u003c/a>) way before they were cool. So I’m happy to include Silicon Valley Comic Con on our list this week. David and I aren’t sure why actor John Cusack (\u003cem>Say Anything, High Fidelity\u003c/em>) is there, but you’ll find all the familiar comic con tropes: a costume contest, and appearances by Tom Felton (Draco Malfoy), Grant Gustin (The Flash), Billy Boyd (Pippin), and any number of Star Trek actors. But with Apple co-founder Steve Wozniak producing the show, you’ll also find scientists and engineers making presentations, including researchers from the \u003ca href=\"https://www.seti.org/\" target=\"_blank\" rel=\"noopener\">SETI Institute\u003c/a> (Search for Extraterrestrial Life), space scientists from NASA, and astronaut Buzz Aldrin, a real superhero. \u003ca href=\"http://svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=neJ0ngA-4Fk\u003c/p>\n\u003cp>\u003cstrong>April 27\u003c/strong>: \u003ca href=\"http://www.bigfreedia.com/\" target=\"_blank\" rel=\"noopener\">Big Freedia \u003c/a> is the Queen of Bounce, a style of hip-hop out of New Orleans. Her life has bounced high and low the past few years: She worked with Beyoncé on the “\u003ca href=\"https://www.youtube.com/watch?v=TYcAosqv23Y\" target=\"_blank\" rel=\"noopener\">Formation” video\u003c/a>, but then she nearly went to jail last year over charges she was illegally using federal housing funds. That hasn’t slowed down \u003ca href=\"http://www.fuse.tv/shows/big-freedia\" target=\"_blank\" rel=\"noopener\">her reality TV show\u003c/a> or her touring schedule. Expect a lot of twerking and a great deal of fun. As David said, we need that right now. \u003ca href=\"http://mezzaninesf.com/events/big-freedia-2/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>It’s a weekend for science and sorcery in San Jose. On the Do List this week, you’ll find details for the Steve Wozniak’s \u003ca href=\"http://svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Comic Con\u003c/a>, with its weird mix of Trekkies and techies (maybe not so weird). Then a \u003ca href=\"https://www.facebook.com/events/1346516542073825/\" target=\"_blank\" rel=\"noopener\">contingent of scientists will march at 11am on Saturday at San Jose City Hall \u003c/a>as part of a national movement fighting the suppression of science data under President Trump. And just for fun, there’s the \u003ca href=\"https://www.facebook.com/sofastreetfair/\" target=\"_blank\" rel=\"noopener\">SOFA Street Fair\u003c/a>. 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/ZMW28VttcXw'\n title='//www.youtube.com/embed/ZMW28VttcXw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 21-23\u003c/strong>: The so-talented \u003ca href=\"http://www.aoifeodonovan.com/shows\" target=\"_blank\" rel=\"noopener\">Aoife O’Donovan\u003c/a> (pronounced \u003cem>EE-fuh\u003c/em>) is often a guest on \u003ca href=\"https://www.prairiehome.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>A Prairie Home Companion\u003c/em>\u003c/a>, so she’s familiar to NPR listeners. Her voice ranges from ethereal to earthy, with a big dose of Celtic folk tradition. She grew up in suburban Newton, Mass., but used to spend summers playing music in Ireland. No matter where in the Bay Area you live, you have a chance to see O’Donovan. She’s touring with — and opening for — the great guitarists \u003ca href=\"http://www.lageeldridge.com/\" target=\"_blank\" rel=\"noopener\">Julian Lage and Chris Eldridge\u003c/a>. They have two shows at Kuumbwa in Santa Cruz April 21 — \u003ca href=\"http://kuumbwajazz.ticketfly.com/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. Then Lage, Eldridge and O’Donovan play a sold out show April 22 at Freight & Salvage in Berkeley — \u003ca href=\"http://www.freightandsalvage.org/release-the-hounds\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. And Sunday April 23 they’re at the Mondavi Center in Davis — \u003ca href=\"https://mondavi.ucdavis.edu/event/2016-17/release-the-hounds-lage-eldridge\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 21-30\u003c/strong>: We’ve talked about \u003ca href=\"http://bayareadance.org/kickoff/\" target=\"_blank\" rel=\"noopener\">Bay Dance Week\u003c/a> (really a 10-day event) before. But it’s such a cool festival, a celebration of not just all the amazing professional troupes based in the Bay Area, but also the many tap, ballet, modern, and ethnic dance academies we’re lucky to have. The festivities kick off at noon on Friday, April 21, at San Francisco City Hall, with a dance party and flashmob that anyone can join. (See the instructional video above featuring \u003ca href=\"https://www.rhythmandmotion.com/dudley-flores/\" target=\"_blank\" rel=\"noopener\">Rhythm and Motion’s Dudley Flores\u003c/a>), and check out the 100 or so free dance events — cheap thrill alert! — from San Jose (including the sjDANCEco Festival @ Santana Row) to San Rafael. \u003ca href=\"http://bayareadance.org/events/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>April 21-22\u003c/strong>: The Colorado River is among the most scenic, the most loved and the most abused of American rivers, as it winds\u003ca href=\"https://www.coloradocollege.edu/other/stateoftherockies/expeditions/source-to-sea.html\" target=\"_blank\" rel=\"noopener\"> from the Wind River Range in Wyoming to where it runs dry from overuse as it approaches Mexico’s Sea of Cortez\u003c/a>. (The Colorado supplies 60 percent of the water used in Southern California, so as a state, we’re are part of the problem.) Now, the director Murat Eyuboglu and producer and composer Paola Prestini have collaborated on \u003ca href=\"http://visionintoart.com/projects/the-colorado/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Colorado\u003c/em>\u003c/a>, a documentary screened with live music. It’s what Prestini calls an eco-cantata, “a piece that is in this cantata form in that it has an overarching narrative,” Prestini told me on the phone, “but at the same time it’s equal parts a cautionary tale about the environment, and a profound musical experience that hopefully involves many different kinds of audiences.”\u003c/p>\n\u003cp>For a show at Stanford, \u003ca href=\"http://www.roomfulofteeth.org/\" target=\"_blank\" rel=\"noopener\">Roomful of Teeth\u003c/a>, cellist \u003ca href=\"http://jzcello.com/\" target=\"_blank\" rel=\"noopener\">Jeffrey Zeigler\u003c/a>, and percussionist \u003ca href=\"http://glennkotche.com/\" target=\"_blank\" rel=\"noopener\">Glenn Kotche\u003c/a> (Wilco) provide the live accompaniment, with gorgeous music composed by Prestini, John Luther Adams, William Brittelle, Glenn Kotche, and Shara Nova. Details for the performance April 21 and 22 at Stanford’s Bing Hall are \u003ca href=\"https://live.stanford.edu/calendar/april-2017/colorado\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. Roomful of Teeth is also doing a sold out show at the San Francisco Opera Lab April 23. If you’re lucky you might find a friend with an extra ticket to that show. \u003ca href=\"https://sfopera.com/sfoperalab/season-two/roomful-of-teeth/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OY-Yf3wjqRk'\n title='//www.youtube.com/embed/OY-Yf3wjqRk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 21-23\u003c/strong>: I was nerding out on Doctor Strange and Captain Marvel (and \u003ca href=\"http://www.thedrawingsofsteranko.com/aghp.html\" target=\"_blank\" rel=\"noopener\">Jim Steranko\u003c/a>) way before they were cool. So I’m happy to include Silicon Valley Comic Con on our list this week. David and I aren’t sure why actor John Cusack (\u003cem>Say Anything, High Fidelity\u003c/em>) is there, but you’ll find all the familiar comic con tropes: a costume contest, and appearances by Tom Felton (Draco Malfoy), Grant Gustin (The Flash), Billy Boyd (Pippin), and any number of Star Trek actors. But with Apple co-founder Steve Wozniak producing the show, you’ll also find scientists and engineers making presentations, including researchers from the \u003ca href=\"https://www.seti.org/\" target=\"_blank\" rel=\"noopener\">SETI Institute\u003c/a> (Search for Extraterrestrial Life), space scientists from NASA, and astronaut Buzz Aldrin, a real superhero. \u003ca href=\"http://svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/neJ0ngA-4Fk'\n title='//www.youtube.com/embed/neJ0ngA-4Fk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 27\u003c/strong>: \u003ca href=\"http://www.bigfreedia.com/\" target=\"_blank\" rel=\"noopener\">Big Freedia \u003c/a> is the Queen of Bounce, a style of hip-hop out of New Orleans. Her life has bounced high and low the past few years: She worked with Beyoncé on the “\u003ca href=\"https://www.youtube.com/watch?v=TYcAosqv23Y\" target=\"_blank\" rel=\"noopener\">Formation” video\u003c/a>, but then she nearly went to jail last year over charges she was illegally using federal housing funds. That hasn’t slowed down \u003ca href=\"http://www.fuse.tv/shows/big-freedia\" target=\"_blank\" rel=\"noopener\">her reality TV show\u003c/a> or her touring schedule. Expect a lot of twerking and a great deal of fun. As David said, we need that right now. \u003ca href=\"http://mezzaninesf.com/events/big-freedia-2/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Creative works by and about musicians turned out to be big winners among this year’s Peabody Awards. Among this year’s honorees are \u003ca href=\"http://www.npr.org/artists/19230778/beyonce\" target=\"_blank\" rel=\"noopener\">Beyoncé\u003c/a> and Donald Glover, whose prizes were \u003ca href=\"http://www.peabodyawards.com/stories/story/entertainment-winners-named-for-peabody-30\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> today, and two documentaries announced earlier this week: the films \u003cem>Hip-Hop Evolution\u003c/em> and \u003cem>MAVIS!\u003c/em>\u003c/p>\n\u003cp>Beyoncé’s “visual album” \u003cem>Lemonade\u003c/em>, released by HBO Entertainment in association with Parkwood Entertainment, was cited for “the audacity of its reach and fierceness of its vision challenges our cultural imagination, while crafting a stunning and sublime masterpiece about the lives of women of color and the bonds of friendship seldom seen or heard in American popular culture.”\u003c/p>\n\u003cp>Actor and director Donald Glover, whose hip-hop persona is \u003ca href=\"http://www.npr.org/search/index.php?searchinput=childish+gambino\" target=\"_blank\" rel=\"noopener\">Childish Gambino\u003c/a>, won for his television show \u003cem>\u003ca href=\"http://www.npr.org/2016/09/17/494390868/donald-glover-explores-a-surreal-feel-in-atlanta\" target=\"_blank\" rel=\"noopener\">Atlanta\u003c/a>\u003c/em> on the FX network. The judges called it an “enchanting series on the struggles of two young black men trying to make it in Atlanta’s rap scene blends vibrant character study and rich socio-political commentary in delivering a detailed and textured exploration of a Southern city.”\u003c/p>\n\u003cp> Two music documentaries were announced as Peabody winners on \u003ca href=\"http://www.peabodyawards.com/stories/story/twelve-documentaries-win-2016-peabody-awards\">Tuesday\u003c/a>. One was \u003cem>Hip-Hop Evolution\u003c/em> (Banger Films, distributed by Netflix and HBO Canada), which was described by the panel as “an entertaining, consummate history of hip-hop music told in a series of interviews with influential MCs, DJs, and moguls who were there at the beginning of the genre’s birth and through its dynamic evolution.”\u003c/p>\n\u003cp>The other was \u003cem>MAVIS!\u003c/em> (Film First and HBO Documentary Films): “More than just a biopic,” the judges wrote, “this story celebrates the deep influence of Mavis Staples and the Staple Singers across music genres — from gospel to soul and rock-and-roll. \u003cem>MAVIS!\u003c/em> illustrates the history of social movements in America and is a powerful reminder of one woman’s impact on popular culture.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Peabody Awards are given yearly by the University of Georgia’s Grady College of Journalism and Mass Communication. The ceremony will be held May 20 in New York City at Cipriani Wall Street. \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=Beyonc%C3%A9%2C+Donald+Glover+Among+This+Year%27s+Peabody+Award+Winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Creative works by and about musicians turned out to be big winners among this year’s Peabody Awards. Among this year’s honorees are \u003ca href=\"http://www.npr.org/artists/19230778/beyonce\" target=\"_blank\" rel=\"noopener\">Beyoncé\u003c/a> and Donald Glover, whose prizes were \u003ca href=\"http://www.peabodyawards.com/stories/story/entertainment-winners-named-for-peabody-30\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> today, and two documentaries announced earlier this week: the films \u003cem>Hip-Hop Evolution\u003c/em> and \u003cem>MAVIS!\u003c/em>\u003c/p>\n\u003cp>Beyoncé’s “visual album” \u003cem>Lemonade\u003c/em>, released by HBO Entertainment in association with Parkwood Entertainment, was cited for “the audacity of its reach and fierceness of its vision challenges our cultural imagination, while crafting a stunning and sublime masterpiece about the lives of women of color and the bonds of friendship seldom seen or heard in American popular culture.”\u003c/p>\n\u003cp>Actor and director Donald Glover, whose hip-hop persona is \u003ca href=\"http://www.npr.org/search/index.php?searchinput=childish+gambino\" target=\"_blank\" rel=\"noopener\">Childish Gambino\u003c/a>, won for his television show \u003cem>\u003ca href=\"http://www.npr.org/2016/09/17/494390868/donald-glover-explores-a-surreal-feel-in-atlanta\" target=\"_blank\" rel=\"noopener\">Atlanta\u003c/a>\u003c/em> on the FX network. The judges called it an “enchanting series on the struggles of two young black men trying to make it in Atlanta’s rap scene blends vibrant character study and rich socio-political commentary in delivering a detailed and textured exploration of a Southern city.”\u003c/p>\n\u003cp> Two music documentaries were announced as Peabody winners on \u003ca href=\"http://www.peabodyawards.com/stories/story/twelve-documentaries-win-2016-peabody-awards\">Tuesday\u003c/a>. One was \u003cem>Hip-Hop Evolution\u003c/em> (Banger Films, distributed by Netflix and HBO Canada), which was described by the panel as “an entertaining, consummate history of hip-hop music told in a series of interviews with influential MCs, DJs, and moguls who were there at the beginning of the genre’s birth and through its dynamic evolution.”\u003c/p>\n\u003cp>The other was \u003cem>MAVIS!\u003c/em> (Film First and HBO Documentary Films): “More than just a biopic,” the judges wrote, “this story celebrates the deep influence of Mavis Staples and the Staple Singers across music genres — from gospel to soul and rock-and-roll. \u003cem>MAVIS!\u003c/em> illustrates the history of social movements in America and is a powerful reminder of one woman’s impact on popular culture.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If every mushroom cloud has a silver lining, it’s that filmmakers flirt with disaster for our edification and enlightenment. Following their lead, the seventh \u003ca href=\"http://www.greenfilmfest.org/festival\" target=\"_blank\" rel=\"noopener\">San Francisco Green Film Festival\u003c/a>, running April 20 through 26, “embraces” the nuclear age with a revival of local doc makers Judy Irving, Christopher Beaver and Ruth Landy’s 1982 Emmy Award-winning nuclear-weapons exposé \u003ci>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=272169~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">Dark Circle\u003c/a>\u003c/i>, as well as the San Francisco premiere of U.K. visionary Mark Cousins’ found-footage excavation \u003ci>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=272165~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">Atomic: Living in Dread and Promise\u003c/a>\u003c/i>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>The festival takes on a slew of other environmental issues, to be sure, but we’re talking about apocalypse \u003cem>now\u003c/em>, not tomorrow. So the programmers had the brainstorm of lightening up the lineup with the brilliant absurdity of Kubrick’s \u003ci>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=272172~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">Dr. Strangelove or: How I learned to Stop Worrying and Love the Bomb\u003c/a>\u003c/i>. Alas, who could have imagined that a new president would threaten North Korea in his first 100 days? (Unrelated question: What happens after reality mocks satire?)\u003c/p>\n\u003cp>Now you understand why Green Film Festival founder and chief executive Rachel Caplan frequently breaks into laughter in the course of an interview. A sense of humor is essential to staying sane in the face of fresh catastrophe. That, and movies that prescribe solutions rather than merely expose problems.\u003c/p>\n\u003cp>https://youtu.be/BMnVTXqX9Gk\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=272179~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">A Plastic Ocean\u003c/a>\u003c/em> (sea pollution), \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=272176~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">Last of the Longnecks\u003c/a>\u003c/em> (giraffes and conservation) and \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=272182~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">RiverBlue\u003c/a>\u003c/em> (about a Southeast Asian river so polluted by tanneries and dyeing houses that its color reveals what shade is in fashion that season) are among the stronger advocacy films in this year’s festival. Caplan and the screening committee prefer works like these that inspire audiences with steps they can make rather than depicting doom and gloom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think audiences are very quick to catch on to ideas in the films,” Caplan says. “There’s only so much within a film that you can do to make people feel disheartened, and then you have to offer them solutions. A lot of people who come to the festival know we’re in serious trouble, and of course you want to bring them the latest updates from the front lines, but you want to tell them about great work and how we can all make a difference. I think those films resonate with audiences.”\u003c/p>\n\u003cp>https://youtu.be/74XKZDdaj-w\u003c/p>\n\u003cp>A decade on from Al Gore’s breakthrough PowerPoint lecture, \u003ci>An Inconvenient Truth\u003c/i>, and with the sequel coming out this summer, it’s worth pondering how environmental docs — as well as audiences — have evolved. Caplan, however, focuses on what always has and always will work.\u003c/p>\n\u003cp>“We see trends in any kind of films, but it comes down to storytelling at the end of the day,” she asserts. “And characters. People connect with other people. Spending an hour or two hours with someone on the other side of the planet, you can follow the challenges they or their community are faced with. Particularly those David and Goliath stories we see a lot in the environmental realm. We can share in their victory, or their heartbreak or loss.”\u003c/p>\n\u003cp>While moviegoers may connect with a particular issue, or place, the S.F. Green Film Festival encompasses a wide range of issues. Aligning with a variety of social-change nonprofits over the years is consistent with Caplan’s broader vision for the festival.\u003c/p>\n\u003cfigure id=\"attachment_13077989\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2.jpg\" alt=\"Still from Dean Mermell's 'Twelve Pianos,' 2017.\" width=\"960\" height=\"540\" class=\"size-full wp-image-13077989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2-520x293.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Still from Dean Mermell’s ‘Twelve Pianos,’ 2017. \u003ccite>(Courtesy of SF Green Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The environment, and environmental causes, and the environmental movement is completely intertwined with other social movements, whether it’s gender equality or Black Lives Matter,” she says. “Very often the environmental movement is presented as about carbon particles in the atmosphere and graphs and charts, but it’s about people. So I think all these social issues are connected, and gender is a large part of it.”\u003c/p>\n\u003cp>You may recall there isn’t a single woman in the War Room in \u003ci>Dr. Strangelove\u003c/i>. Coincidence, or commentary on the ability of men in power to create problems without bringing the same single-minded obsession to solving them?\u003c/p>\n\u003cp>“You can’t talk about environmental justice without talking about women’s equality,” Caplan says. “There are direct examples when we educate women and girls and they have opportunities. First of all, the birthrate goes down, and we clearly have an overpopulation crisis. Also, women have more opportunity to be involved in their community, to form community groups, to be leaders, to make a difference.”\u003c/p>\n\u003cfigure id=\"attachment_13077987\" class=\"wp-caption aligncenter\" style=\"max-width: 1234px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13077987\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Womens-March-1.jpg\" alt=\"Still from Mischa Hedges' 'Women's March,' 2017.\" width=\"1234\" height=\"694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1.jpg 1234w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-520x292.jpg 520w\" sizes=\"(max-width: 1234px) 100vw, 1234px\">\u003cfigcaption class=\"wp-caption-text\">Still from Mischa Hedges’ ‘Women’s March,’ 2017. \u003ccite>(Courtesy of SF Green Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The festival’s contribution includes an ongoing commitment to increase the visibility of women onscreen and behind the camera. Since its inception, championing female directors has been a central objective.\u003c/p>\n\u003cp>“I think in film, as in all arts, inclusion brings the richest stories to the forefront,” Caplan says. “In an industry where the number of female filmmakers is minuscule, it’s vital that we as a film festival support their work.”\u003c/p>\n\u003cp>Especially if we are to have any chance of fending off the apocalypse, in the short or the long term.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The seventh San Francisco Green Film Festival runs April 20-26, 2017 at the Castro and Roxie Theaters and other venues throughout the city. For tickets and more information, \u003ca href=\"http://www.greenfilmfest.org/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Now in its seventh year, the local film festival continues to expand the conversation about environmentalism with a focus on character-driven storytelling.",
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"title": "There’s Still Hope for Planet Earth at the SF Green Film Festival | KQED",
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"headline": "There’s Still Hope for Planet Earth at the SF Green Film Festival",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If every mushroom cloud has a silver lining, it’s that filmmakers flirt with disaster for our edification and enlightenment. Following their lead, the seventh \u003ca href=\"http://www.greenfilmfest.org/festival\" target=\"_blank\" rel=\"noopener\">San Francisco Green Film Festival\u003c/a>, running April 20 through 26, “embraces” the nuclear age with a revival of local doc makers Judy Irving, Christopher Beaver and Ruth Landy’s 1982 Emmy Award-winning nuclear-weapons exposé \u003ci>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=272169~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">Dark Circle\u003c/a>\u003c/i>, as well as the San Francisco premiere of U.K. visionary Mark Cousins’ found-footage excavation \u003ci>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=272165~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">Atomic: Living in Dread and Promise\u003c/a>\u003c/i>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>The festival takes on a slew of other environmental issues, to be sure, but we’re talking about apocalypse \u003cem>now\u003c/em>, not tomorrow. So the programmers had the brainstorm of lightening up the lineup with the brilliant absurdity of Kubrick’s \u003ci>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=272172~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">Dr. Strangelove or: How I learned to Stop Worrying and Love the Bomb\u003c/a>\u003c/i>. Alas, who could have imagined that a new president would threaten North Korea in his first 100 days? (Unrelated question: What happens after reality mocks satire?)\u003c/p>\n\u003cp>Now you understand why Green Film Festival founder and chief executive Rachel Caplan frequently breaks into laughter in the course of an interview. A sense of humor is essential to staying sane in the face of fresh catastrophe. That, and movies that prescribe solutions rather than merely expose problems.\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/BMnVTXqX9Gk'\n title='//www.youtube.com/embed/BMnVTXqX9Gk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=272179~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">A Plastic Ocean\u003c/a>\u003c/em> (sea pollution), \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=272176~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">Last of the Longnecks\u003c/a>\u003c/em> (giraffes and conservation) and \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=272182~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">RiverBlue\u003c/a>\u003c/em> (about a Southeast Asian river so polluted by tanneries and dyeing houses that its color reveals what shade is in fashion that season) are among the stronger advocacy films in this year’s festival. Caplan and the screening committee prefer works like these that inspire audiences with steps they can make rather than depicting doom and gloom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think audiences are very quick to catch on to ideas in the films,” Caplan says. “There’s only so much within a film that you can do to make people feel disheartened, and then you have to offer them solutions. A lot of people who come to the festival know we’re in serious trouble, and of course you want to bring them the latest updates from the front lines, but you want to tell them about great work and how we can all make a difference. I think those films resonate with audiences.”\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/74XKZDdaj-w'\n title='//www.youtube.com/embed/74XKZDdaj-w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A decade on from Al Gore’s breakthrough PowerPoint lecture, \u003ci>An Inconvenient Truth\u003c/i>, and with the sequel coming out this summer, it’s worth pondering how environmental docs — as well as audiences — have evolved. Caplan, however, focuses on what always has and always will work.\u003c/p>\n\u003cp>“We see trends in any kind of films, but it comes down to storytelling at the end of the day,” she asserts. “And characters. People connect with other people. Spending an hour or two hours with someone on the other side of the planet, you can follow the challenges they or their community are faced with. Particularly those David and Goliath stories we see a lot in the environmental realm. We can share in their victory, or their heartbreak or loss.”\u003c/p>\n\u003cp>While moviegoers may connect with a particular issue, or place, the S.F. Green Film Festival encompasses a wide range of issues. Aligning with a variety of social-change nonprofits over the years is consistent with Caplan’s broader vision for the festival.\u003c/p>\n\u003cfigure id=\"attachment_13077989\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2.jpg\" alt=\"Still from Dean Mermell's 'Twelve Pianos,' 2017.\" width=\"960\" height=\"540\" class=\"size-full wp-image-13077989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2-520x293.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Still from Dean Mermell’s ‘Twelve Pianos,’ 2017. \u003ccite>(Courtesy of SF Green Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The environment, and environmental causes, and the environmental movement is completely intertwined with other social movements, whether it’s gender equality or Black Lives Matter,” she says. “Very often the environmental movement is presented as about carbon particles in the atmosphere and graphs and charts, but it’s about people. So I think all these social issues are connected, and gender is a large part of it.”\u003c/p>\n\u003cp>You may recall there isn’t a single woman in the War Room in \u003ci>Dr. Strangelove\u003c/i>. Coincidence, or commentary on the ability of men in power to create problems without bringing the same single-minded obsession to solving them?\u003c/p>\n\u003cp>“You can’t talk about environmental justice without talking about women’s equality,” Caplan says. “There are direct examples when we educate women and girls and they have opportunities. First of all, the birthrate goes down, and we clearly have an overpopulation crisis. Also, women have more opportunity to be involved in their community, to form community groups, to be leaders, to make a difference.”\u003c/p>\n\u003cfigure id=\"attachment_13077987\" class=\"wp-caption aligncenter\" style=\"max-width: 1234px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13077987\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Womens-March-1.jpg\" alt=\"Still from Mischa Hedges' 'Women's March,' 2017.\" width=\"1234\" height=\"694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1.jpg 1234w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-520x292.jpg 520w\" sizes=\"(max-width: 1234px) 100vw, 1234px\">\u003cfigcaption class=\"wp-caption-text\">Still from Mischa Hedges’ ‘Women’s March,’ 2017. \u003ccite>(Courtesy of SF Green Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The festival’s contribution includes an ongoing commitment to increase the visibility of women onscreen and behind the camera. Since its inception, championing female directors has been a central objective.\u003c/p>\n\u003cp>“I think in film, as in all arts, inclusion brings the richest stories to the forefront,” Caplan says. “In an industry where the number of female filmmakers is minuscule, it’s vital that we as a film festival support their work.”\u003c/p>\n\u003cp>Especially if we are to have any chance of fending off the apocalypse, in the short or the long term.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The seventh San Francisco Green Film Festival runs April 20-26, 2017 at the Castro and Roxie Theaters and other venues throughout the city. For tickets and more information, \u003ca href=\"http://www.greenfilmfest.org/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Black Visibility is Just the Beginning in Exhibition of Early '90s Video Art",
"headTitle": "Black Visibility is Just the Beginning in Exhibition of Early ’90s Video Art | KQED",
"content": "\u003cp>Visiting \u003ca href=\"http://etaletc.com/#/\" target=\"_blank\" rel=\"noopener\">Et al.\u003c/a>’s Chinatown gallery feels a bit like entering a secret contemporary art clubhouse. Without any street-level signage, you have to know there’s an exhibition waiting for you through the door of Union Cleaners, down a narrow hallway and a set of wooden stairs.\u003c/p>\n\u003cp>Visiting \u003ci>\u003ca href=\"http://etaletc.com/#/galleries/1/shows/62\" target=\"_blank\" rel=\"noopener\">sisters and brothers\u003c/a>\u003c/i>, the current show of videos by Cauleen Smith, Jaguar Mary/Jocelyn Taylor and Ayanna U’Dongo, adds to the clubhouse feel a sensation of traveling back in time, specifically to the early ’90s. It’s a sensation both jarring and familiar; artists don’t make videos quite like this anymore, in terms of either aesthetics or tone. Bound by common explorations of desire, black femininity and masculinity, queer identity politics and the possibility of communicating through the medium itself, the works in \u003ci>sisters and brothers\u003c/i> are revelatory. They pointed to gaping holes in my knowledge of recent art history I didn’t even know I had. \u003c/p>\n\u003cp>Curated by Jackie Clay, who was recently appointed director of \u003ca href=\"http://colemanarts.org/\" target=\"_blank\" rel=\"noopener\">Coleman Center for the Arts\u003c/a> in York, Alabama, the show is anchored by Mary’s 1994 video \u003ci>\u003ca href=\"https://vimeo.com/213601051\" target=\"_blank\" rel=\"noopener\">Frankie & Jocie\u003c/a>\u003c/i>. A conversation between a black lesbian and her straight brother about their relationship, the objectification of women and socially accepted homophobia frames the mesmerizing 18-minute video. Intermingled with audio of their phone call are interviews with other black lesbians, speaking to shared experiences of discrimination, familial love or condemnation, street harassment and ultimately violence. \u003c/p>\n\u003cfigure id=\"attachment_13073910\" class=\"wp-caption aligncenter\" style=\"max-width: 885px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1.jpg\" alt=\"Jaguar Mary/Jocelyn Taylor, Still from 'Frankie & Jocie,' 1994.\" width=\"885\" height=\"566\" class=\"size-full wp-image-13073910\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1-520x333.jpg 520w\" sizes=\"(max-width: 885px) 100vw, 885px\">\u003cfigcaption class=\"wp-caption-text\">Jaguar Mary/Jocelyn Taylor, Still from ‘Frankie & Jocie,’ 1994. \u003ccite>(Courtesy of the artist and Et al.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mary’s second piece in the show, part of a bank of four monitors with accompanying headphones, takes the conversation about black female visibility into a surreal, performative space — like a \u003ca href=\"https://www.youtube.com/watch?v=dtkDV30Gkcw\" target=\"_blank\" rel=\"noopener\">Mika Rottenberg video\u003c/a>, but years earlier. The seven-minute \u003ci>\u003ca href=\"https://vimeo.com/213599354\" target=\"_blank\" rel=\"noopener\">Armide 2000\u003c/a>\u003c/i> depicts black female bodybuilders, busy working out, as objects of swooning desire for waifish young white men wearing housekeeper dresses. The piece echoes, almost shot-for-shot, \u003ca href=\"https://www.youtube.com/watch?v=ut7cB_Mo1uo\" target=\"_blank\" rel=\"noopener\">a 1987 short film by Jean-Luc Godard\u003c/a> — with gender roles reversed. In both shorts, the admirers’ ardent attention to the bodies pumping iron around them makes their invisibility completely pathetic and strangely affecting.\u003c/p>\n\u003cp>Cauleen Smith’s three-minute 1993 piece \u003ci>\u003ca href=\"https://vimeo.com/213600219\" target=\"_blank\" rel=\"noopener\">The Message (Sapphire Tapes 1)\u003c/a>\u003c/i> is similarly “a tape about lust and consumption,” the narrator says. She directs a black man through various poses for the camera, noting his discomfort with being gazed upon and admired.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And two videos by Ayanna U’Dongo collage multiple sources and now-retro video effects to address love, sexuality, cultural identity and expressions of frustration, all in the span of four minutes each. Which is to say — \u003ci>sisters and brothers\u003c/i> will not overly occupy your Friday or Saturday (gallery hours are 1-5pm). \u003c/p>\n\u003cfigure id=\"attachment_13073912\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Install1200-1020x680.jpg\" alt=\"Installation view of videos by Cauleen Smith, Ayanna U'Dongo and Jaguar Mary/Jocelyn Taylor in 'sisters and brothers.'\" width=\"640\" height=\"427\" class=\"size-large wp-image-13073912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200.jpg 1200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of videos by Cauleen Smith, Ayanna U’Dongo and Jaguar Mary/Jocelyn Taylor in ‘sisters and brothers.’ \u003ccite>(Courtesy of Et al.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Here, once again, I will extol the virtues of \u003ca href=\"https://ww2.kqed.org/arts/2017/01/03/a-new-years-resolution-for-the-bay-area-art-scene/\" target=\"_blank\" rel=\"noopener\">showing up in person for your Bay Area art experiences\u003c/a>. Of the three artists included in \u003ci>sisters and brothers\u003c/i>, only Mary’s videos live on the internet in their entirety. It’s easy to forget, 12 years into YouTube, how much important work exists in avant garde film catalogs, just waiting for a well-curated exhibition to pull it back into public consciousness — and public conversation.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘sisters and brothers’ is on view at Et al. in San Francisco through April 22 (gallery hours Friday and Saturday, 1-5pm and by appointment). For more information, \u003ca href=\"http://etaletc.com/#/galleries/1\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "At San Francisco's Et al., the exhibition 'sisters and brothers' presents the early works of three video artists and their complex depictions of gender, sexuality and race.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Visiting \u003ca href=\"http://etaletc.com/#/\" target=\"_blank\" rel=\"noopener\">Et al.\u003c/a>’s Chinatown gallery feels a bit like entering a secret contemporary art clubhouse. Without any street-level signage, you have to know there’s an exhibition waiting for you through the door of Union Cleaners, down a narrow hallway and a set of wooden stairs.\u003c/p>\n\u003cp>Visiting \u003ci>\u003ca href=\"http://etaletc.com/#/galleries/1/shows/62\" target=\"_blank\" rel=\"noopener\">sisters and brothers\u003c/a>\u003c/i>, the current show of videos by Cauleen Smith, Jaguar Mary/Jocelyn Taylor and Ayanna U’Dongo, adds to the clubhouse feel a sensation of traveling back in time, specifically to the early ’90s. It’s a sensation both jarring and familiar; artists don’t make videos quite like this anymore, in terms of either aesthetics or tone. Bound by common explorations of desire, black femininity and masculinity, queer identity politics and the possibility of communicating through the medium itself, the works in \u003ci>sisters and brothers\u003c/i> are revelatory. They pointed to gaping holes in my knowledge of recent art history I didn’t even know I had. \u003c/p>\n\u003cp>Curated by Jackie Clay, who was recently appointed director of \u003ca href=\"http://colemanarts.org/\" target=\"_blank\" rel=\"noopener\">Coleman Center for the Arts\u003c/a> in York, Alabama, the show is anchored by Mary’s 1994 video \u003ci>\u003ca href=\"https://vimeo.com/213601051\" target=\"_blank\" rel=\"noopener\">Frankie & Jocie\u003c/a>\u003c/i>. A conversation between a black lesbian and her straight brother about their relationship, the objectification of women and socially accepted homophobia frames the mesmerizing 18-minute video. Intermingled with audio of their phone call are interviews with other black lesbians, speaking to shared experiences of discrimination, familial love or condemnation, street harassment and ultimately violence. \u003c/p>\n\u003cfigure id=\"attachment_13073910\" class=\"wp-caption aligncenter\" style=\"max-width: 885px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1.jpg\" alt=\"Jaguar Mary/Jocelyn Taylor, Still from 'Frankie & Jocie,' 1994.\" width=\"885\" height=\"566\" class=\"size-full wp-image-13073910\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1-520x333.jpg 520w\" sizes=\"(max-width: 885px) 100vw, 885px\">\u003cfigcaption class=\"wp-caption-text\">Jaguar Mary/Jocelyn Taylor, Still from ‘Frankie & Jocie,’ 1994. \u003ccite>(Courtesy of the artist and Et al.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mary’s second piece in the show, part of a bank of four monitors with accompanying headphones, takes the conversation about black female visibility into a surreal, performative space — like a \u003ca href=\"https://www.youtube.com/watch?v=dtkDV30Gkcw\" target=\"_blank\" rel=\"noopener\">Mika Rottenberg video\u003c/a>, but years earlier. The seven-minute \u003ci>\u003ca href=\"https://vimeo.com/213599354\" target=\"_blank\" rel=\"noopener\">Armide 2000\u003c/a>\u003c/i> depicts black female bodybuilders, busy working out, as objects of swooning desire for waifish young white men wearing housekeeper dresses. The piece echoes, almost shot-for-shot, \u003ca href=\"https://www.youtube.com/watch?v=ut7cB_Mo1uo\" target=\"_blank\" rel=\"noopener\">a 1987 short film by Jean-Luc Godard\u003c/a> — with gender roles reversed. In both shorts, the admirers’ ardent attention to the bodies pumping iron around them makes their invisibility completely pathetic and strangely affecting.\u003c/p>\n\u003cp>Cauleen Smith’s three-minute 1993 piece \u003ci>\u003ca href=\"https://vimeo.com/213600219\" target=\"_blank\" rel=\"noopener\">The Message (Sapphire Tapes 1)\u003c/a>\u003c/i> is similarly “a tape about lust and consumption,” the narrator says. She directs a black man through various poses for the camera, noting his discomfort with being gazed upon and admired.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And two videos by Ayanna U’Dongo collage multiple sources and now-retro video effects to address love, sexuality, cultural identity and expressions of frustration, all in the span of four minutes each. Which is to say — \u003ci>sisters and brothers\u003c/i> will not overly occupy your Friday or Saturday (gallery hours are 1-5pm). \u003c/p>\n\u003cfigure id=\"attachment_13073912\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Install1200-1020x680.jpg\" alt=\"Installation view of videos by Cauleen Smith, Ayanna U'Dongo and Jaguar Mary/Jocelyn Taylor in 'sisters and brothers.'\" width=\"640\" height=\"427\" class=\"size-large wp-image-13073912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200.jpg 1200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of videos by Cauleen Smith, Ayanna U’Dongo and Jaguar Mary/Jocelyn Taylor in ‘sisters and brothers.’ \u003ccite>(Courtesy of Et al.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Here, once again, I will extol the virtues of \u003ca href=\"https://ww2.kqed.org/arts/2017/01/03/a-new-years-resolution-for-the-bay-area-art-scene/\" target=\"_blank\" rel=\"noopener\">showing up in person for your Bay Area art experiences\u003c/a>. Of the three artists included in \u003ci>sisters and brothers\u003c/i>, only Mary’s videos live on the internet in their entirety. It’s easy to forget, 12 years into YouTube, how much important work exists in avant garde film catalogs, just waiting for a well-curated exhibition to pull it back into public consciousness — and public conversation.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘sisters and brothers’ is on view at Et al. in San Francisco through April 22 (gallery hours Friday and Saturday, 1-5pm and by appointment). For more information, \u003ca href=\"http://etaletc.com/#/galleries/1\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! The Return of Steven Arnold’s Queer Hippie Epic",
"headTitle": "Now Playing! The Return of Steven Arnold’s Queer Hippie Epic | KQED",
"content": "\u003cp>Freedom and liberation, self-expression and experimentation — the \u003cem>cri de coeur\u003c/em> of the late ’60s and early ’70s — inevitably led to flamboyant examples of excess. Whether such indulgences should be celebrated or mocked by our soberer selves is perhaps not a terribly interesting question, especially when one is presented with the late filmmaker Steven Arnold’s 1971 magnum opus, \u003cem>\u003ca href=\"http://www.bampfa.berkeley.edu/event/luminous-procuress-0\" target=\"_blank\" rel=\"noopener\">Luminous Procuress\u003c/a>\u003c/em>. Baroque, bizarre and dizzyingly creative, Arnold’s only feature film is clearly of its time and, like a magic dream, outside of time.\u003c/p>\n\u003cfigure id=\"attachment_13064758\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Arnold_Luminous-Procuress_002-1020x1545.jpg\" alt=\"Scene from Steven Arnold's 'Luminous Procuress,' 1971.\" width=\"640\" height=\"969\" class=\"size-large wp-image-13064758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Arnold_Luminous-Procuress_002-1020x1545.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Arnold_Luminous-Procuress_002-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Arnold_Luminous-Procuress_002-800x1212.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Arnold_Luminous-Procuress_002-768x1164.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Arnold_Luminous-Procuress_002-1920x2909.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Arnold_Luminous-Procuress_002-1180x1788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Arnold_Luminous-Procuress_002-960x1454.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Arnold_Luminous-Procuress_002-240x364.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Arnold_Luminous-Procuress_002-375x568.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Arnold_Luminous-Procuress_002-520x788.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Arnold_Luminous-Procuress_002.jpg 1352w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Scene from Steven Arnold’s ‘Luminous Procuress,’ 1971. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Produced in a warehouse on 17th Street closer to the Mission than to the Castro, \u003cem>Luminous Procuress\u003c/em> imagines a pair of hippies under the spell of — ah, could it be a drug? — who embark on an explicitly carnal and ultimately spiritual journey in a mysterious mansion. They encounter a variety of trippy tour guides, such as the Cockettes and poet ruth weiss, en route to their ascension to a higher plane of consciousness. \u003c/p>\n\u003cp>Newly restored thanks to the efforts of the venue’s former curator Steve Seid, the 16mm film premieres Friday, April 21, at BAMPFA in conjunction with the \u003ca href=\"http://www.bampfa.berkeley.edu/program/hippie-modernism-struggle-utopia\" target=\"_blank\" rel=\"noopener\">\u003ci>Hippie Modernism\u003c/i>\u003c/a> exhibit. Original Cockette Rumi Missabu, weiss, Tsvi Strauch, Vishnu Dass and Seid take the stage after the screening to discuss Steven Arnold’s legacy, gender-bending performance and, quite possibly, the dismaying de-emphasis of glitter and sequins in contemporary film and theater. More details and tickets \u003ca href=\"http://www.bampfa.berkeley.edu/event/luminous-procuress-0\" 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_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Freedom and liberation, self-expression and experimentation — the \u003cem>cri de coeur\u003c/em> of the late ’60s and early ’70s — inevitably led to flamboyant examples of excess. Whether such indulgences should be celebrated or mocked by our soberer selves is perhaps not a terribly interesting question, especially when one is presented with the late filmmaker Steven Arnold’s 1971 magnum opus, \u003cem>\u003ca href=\"http://www.bampfa.berkeley.edu/event/luminous-procuress-0\" target=\"_blank\" rel=\"noopener\">Luminous Procuress\u003c/a>\u003c/em>. Baroque, bizarre and dizzyingly creative, Arnold’s only feature film is clearly of its time and, like a magic dream, outside of time.\u003c/p>\n\u003cfigure id=\"attachment_13064758\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Arnold_Luminous-Procuress_002-1020x1545.jpg\" alt=\"Scene from Steven Arnold's 'Luminous Procuress,' 1971.\" width=\"640\" height=\"969\" class=\"size-large wp-image-13064758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Arnold_Luminous-Procuress_002-1020x1545.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Arnold_Luminous-Procuress_002-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Arnold_Luminous-Procuress_002-800x1212.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Arnold_Luminous-Procuress_002-768x1164.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Arnold_Luminous-Procuress_002-1920x2909.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Arnold_Luminous-Procuress_002-1180x1788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Arnold_Luminous-Procuress_002-960x1454.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Arnold_Luminous-Procuress_002-240x364.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Arnold_Luminous-Procuress_002-375x568.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Arnold_Luminous-Procuress_002-520x788.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Arnold_Luminous-Procuress_002.jpg 1352w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Scene from Steven Arnold’s ‘Luminous Procuress,’ 1971. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Produced in a warehouse on 17th Street closer to the Mission than to the Castro, \u003cem>Luminous Procuress\u003c/em> imagines a pair of hippies under the spell of — ah, could it be a drug? — who embark on an explicitly carnal and ultimately spiritual journey in a mysterious mansion. They encounter a variety of trippy tour guides, such as the Cockettes and poet ruth weiss, en route to their ascension to a higher plane of consciousness. \u003c/p>\n\u003cp>Newly restored thanks to the efforts of the venue’s former curator Steve Seid, the 16mm film premieres Friday, April 21, at BAMPFA in conjunction with the \u003ca href=\"http://www.bampfa.berkeley.edu/program/hippie-modernism-struggle-utopia\" target=\"_blank\" rel=\"noopener\">\u003ci>Hippie Modernism\u003c/i>\u003c/a> exhibit. Original Cockette Rumi Missabu, weiss, Tsvi Strauch, Vishnu Dass and Seid take the stage after the screening to discuss Steven Arnold’s legacy, gender-bending performance and, quite possibly, the dismaying de-emphasis of glitter and sequins in contemporary film and theater. More details and tickets \u003ca href=\"http://www.bampfa.berkeley.edu/event/luminous-procuress-0\" 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_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "It's Not Easy Being Green: Food Activism at the 2017 SF Green Film Festival",
"title": "It's Not Easy Being Green: Food Activism at the 2017 SF Green Film Festival",
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"content": "\u003cp>Three films at the\u003ca href=\"http://www.greenfilmfest.org/\" target=\"_blank\"> 2017 San Francisco Green Film Festival\u003c/a> (April 20-26) highlight, perhaps unintentionally, how hard it is to do the right thing. Or maybe they demonstrate how easy it is, but how often the right thing is ignored in favor of the expedient. This dilemma is familiar to anyone paying attention, vexing arguments that range across the landscape of human activity. Yes, it might be true that a particular practice is harmful in the long run, but the short-term benefits (usually jobs, economics) trump all other concerns. \u003c/p>\n\u003cp>What I mean is best expressed in the story of Dick Goin, a man whose decades-long fight to remove two dams and return Chinook salmon to their ancestral spawning grounds in Washington's Elwha River is poetically profiled in Jennifer Galvin & Sachi Cunningham's \u003ca href=\"http://www.thememoryoffish.com/\" target=\"_blank\">\u003cem>The Memory of Fish\u003c/em>\u003c/a> (Saturday, April 22, 3pm, Roxie Cinema).\u003c/p>\n\u003cfigure id=\"attachment_116825\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2017/04/The-Memory-of-Fish-3.jpg\" alt=\"Dick Goin, The Memory of Fish\" width=\"1400\" height=\"788\" class=\"size-full wp-image-116825\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2017/04/The-Memory-of-Fish-3.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/The-Memory-of-Fish-3-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/The-Memory-of-Fish-3-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/The-Memory-of-Fish-3-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/The-Memory-of-Fish-3-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/The-Memory-of-Fish-3-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/The-Memory-of-Fish-3-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/The-Memory-of-Fish-3-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/The-Memory-of-Fish-3-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/The-Memory-of-Fish-3-520x293.jpg 520w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Dick Goin, The Memory of Fish\u003c/figcaption>\u003c/figure>\n\u003cp>Goin's relationship with the river began when he was just a kid. His family suffered the ravages of the infamous Dust Bowl, sold what little they had and headed west from southwestern Iowa. They arrived on the banks of the Elwha \"poor as rats,\" surviving starvation because of the river's rich natural resources, most particularly the hefty salmon that thrived there. Goin spent his whole life on the river, which was dammed early in the 20th century to produce hydro-electricity, fueling mills that produced everything from tires to canned fish. At 18, Goin went to work at Rayonier Incorporated, servicing the machines powered by the dams he despised for 41 1/2 years. He recounts witnessing juvenile salmonids hit the pollution generated by Rayonier and going belly up and wonders at his inaction. \"Should I have then said, 'Hell, I won't work here anymore?'\" How would he have put food on the table for his young family? He says, \"You accept the necessities of life...\"\u003c/p>\n\u003cp>https://youtu.be/5GwGlEX0ktw\u003c/p>\n\u003cp>The combination of the dams, which inhibited spawning, the canneries that chopped and packaged the fish and other companies that spewed pollution resulted in a huge decline of the Chinook population. Goin's own fishing records track reductions in the size and quantity of the fish. Once Goin retired, and most of the factories previously powered by the dams went out of business, he began to lobby for the restoration of the river. Of course there was resistance. No one had ever undertaken such a \u003ca href=\"http://projects.seattletimes.com/2016/elwha/\" target=\"_blank\">massive dam removal project\u003c/a>. What would happen to the river if it was returned to its former state?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This timeline brings up a troubling question. Did Goin advocate for the river's restoration when his livelihood depended on the power generated by its two dams? This is the complicated heart of the conservation question, the sticky point located at the center of enlightenment, convenience and self interest. Why is it so difficult to do the right thing?\u003c/p>\n\u003cfigure id=\"attachment_116826\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2017/04/FOT_2257_Sunburst-Farm_Apple-pickers.jpg\" alt=\"Sunburst Farm apple pickers; Evolution of Organic\" width=\"1400\" height=\"1013\" class=\"size-full wp-image-116826\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2257_Sunburst-Farm_Apple-pickers.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2257_Sunburst-Farm_Apple-pickers-160x116.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2257_Sunburst-Farm_Apple-pickers-800x579.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2257_Sunburst-Farm_Apple-pickers-768x556.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2257_Sunburst-Farm_Apple-pickers-1020x738.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2257_Sunburst-Farm_Apple-pickers-1180x854.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2257_Sunburst-Farm_Apple-pickers-960x695.jpg 960w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2257_Sunburst-Farm_Apple-pickers-240x174.jpg 240w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2257_Sunburst-Farm_Apple-pickers-375x271.jpg 375w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2257_Sunburst-Farm_Apple-pickers-520x376.jpg 520w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Sunburst Farm apple pickers; Evolution of Organic\u003c/figcaption>\u003c/figure>\n\u003cp>The festival's opening night film, Mark Kitchell's \u003ca href=\"http://evolutionoforganic.com/\" target=\"_blank\">Evolution of Organic\u003c/a> (Thursday, April 20, 7:30pm, Castro Theatre) provides a partial answer. There were indeed people devoted to a principle that was a little more enlightened than it was self-interested. In reaction to the industrial farming practices of the late 1960s and early 1970s, a small band of \"hippies\" sought natural food alternatives for themselves, their families and their communities. However, making a living as an organic farmer was exceedingly difficult in an era when the term was at best obscure and at worst denigrated. This core group of true believers persisted because growing healthy food and responsibly stewarding the land was the right thing to do. They adopted farming practices and innovated food distribution operations out of necessity. \u003c/p>\n\u003cp>Images of this early movement are endearingly hilarious, looking how you would expect coastal Californians looked in the early 1970s. One image, the one I would have liked to use to promote this post, is of a group of naked, long-haired men and women crouched together on a patch of land, boobs and penises dangling freely, arms draped over one another as the afternoon sun kisses their honey-colored skin. One can only imagine the night ahead after a day's work digging in the dirt! \u003c/p>\n\u003cp>https://youtu.be/Mh_9ojGcYoE\u003c/p>\n\u003cp>The film -- in four acts -- tracks the rise of the \"organic\" movement, which has come to mean so much (and sometimes so little) in today's supermarket. Inspired by Rachel Carson's \u003ca href=\"https://en.wikipedia.org/wiki/Silent_Spring\" target=\"_blank\">\u003cem>Silent Spring\u003c/em>\u003c/a>, an influential tome documenting the detrimental effects of pesticides, and the arrival of English master gardener \u003ca href=\"https://en.wikipedia.org/wiki/Alan_Chadwick\" target=\"_blank\">Alan Chadwick\u003c/a> at the University of California, Santa Cruz, early organic farmers had to resist prevalent farming practices and rediscover a history of seemingly lost knowledge. (Funny that. A few decades of industrial farming could somehow wipe away millennia of practice. How easily we humans forget.) \u003c/p>\n\u003cfigure id=\"attachment_116827\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2017/04/FOT_2098_RMarks-PVF-Annie-Marks-Apples.jpg\" alt=\"Evolution of Organic\" width=\"1400\" height=\"930\" class=\"size-full wp-image-116827\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2098_RMarks-PVF-Annie-Marks-Apples.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2098_RMarks-PVF-Annie-Marks-Apples-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2098_RMarks-PVF-Annie-Marks-Apples-800x531.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2098_RMarks-PVF-Annie-Marks-Apples-768x510.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2098_RMarks-PVF-Annie-Marks-Apples-1020x678.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2098_RMarks-PVF-Annie-Marks-Apples-1180x784.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2098_RMarks-PVF-Annie-Marks-Apples-960x638.jpg 960w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2098_RMarks-PVF-Annie-Marks-Apples-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2098_RMarks-PVF-Annie-Marks-Apples-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2098_RMarks-PVF-Annie-Marks-Apples-520x345.jpg 520w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Evolution of Organic \u003ccite>(Annie Marks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Starting with the beginnings of the movement, when the desire for clean food meant either growing it or distributing it yourself, the film documents the rise of organic practice, illuminating an era when producers shared knowledge on the tailgates of their pick-up trucks. As with all things, organic farming grew because there was a demand. The cash register really is capitalism's ballot box. After a couple of decades in obscurity, the baby lettuce (AKA \"spring mix\") craze of the early 1990s put organic on the map. A couple well-publicized pesticide health scares later, large supermarket chains began to feel the demand. Increased value brought larger producers, many switching their commercial practices to organic. The film's final act locates the current seeds of the movement's future, perhaps even as a redress to atmospheric carbon. \u003c/p>\n\u003cp>An interesting point that quickly rushed by was the impending retirement of the organic \"elders.\" This made me wonder about the fate of all the organic farmland this group of pioneers has cleared and converted. Is it in the process of sub-division, turning into vineyards or remote homes for California's coastal elite?\u003c/p>\n\u003cp>Again, the question arises: what is the right action? Is it favorably aligned with the self interests of those who struggled in obscurity for decades before finding themselves at the vanguard of a food movement that generated a great deal of health and wealth? \u003c/p>\n\u003cfigure id=\"attachment_116828\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2017/04/6_Rancher-Dusty-Crary-visiting-fathers-grave_Beth-Aala.jpg\" alt=\"Dusty Crary visits his father's grave; Rancher, Farmer, Fisherman\" width=\"1400\" height=\"1050\" class=\"size-full wp-image-116828\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2017/04/6_Rancher-Dusty-Crary-visiting-fathers-grave_Beth-Aala.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/6_Rancher-Dusty-Crary-visiting-fathers-grave_Beth-Aala-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/6_Rancher-Dusty-Crary-visiting-fathers-grave_Beth-Aala-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/6_Rancher-Dusty-Crary-visiting-fathers-grave_Beth-Aala-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/6_Rancher-Dusty-Crary-visiting-fathers-grave_Beth-Aala-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/6_Rancher-Dusty-Crary-visiting-fathers-grave_Beth-Aala-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/6_Rancher-Dusty-Crary-visiting-fathers-grave_Beth-Aala-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/6_Rancher-Dusty-Crary-visiting-fathers-grave_Beth-Aala-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/6_Rancher-Dusty-Crary-visiting-fathers-grave_Beth-Aala-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/6_Rancher-Dusty-Crary-visiting-fathers-grave_Beth-Aala-520x390.jpg 520w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Dusty Crary visits his father's grave; Rancher, Farmer, Fisherman \u003ccite>(Beth AAla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Susan Froemke and John Hoffman's Discovery Channel documentary \u003ca href=\"http://rancherfarmerfisherman.com/\" target=\"_blank\">\u003cem>Rancher, Farmer, Fisherman\u003c/em>\u003c/a> (Wednesday, April 26, 6pm, Castro Theatre) is any indication, the answer would be ... complicated. Ultimately, the documentary's characters fight a good fight, protecting land from oil drilling, adopting till-free farming practices and creating fishing quotas to responsibly steward the delicate resources of a fishery. But what motivates these people to ultimately do the right thing? \u003c/p>\n\u003cp>https://youtu.be/evg6U1mo3kg\u003c/p>\n\u003cp>In the case of the Montana ranchers, the large tracts of property their families have inhabited for generations became threatened by proposed drilling on nearby federal lands. They fought not only to shut this activity down, but worked with conservation groups to permanently secure adjacent areas and limit the uses for their own properties for generations. Their self interest conserves the landscape for their descendants, while also protecting over a million acres from development. It's a net good, with direct benefits for a select few. \u003c/p>\n\u003cp>Similarly, the cadre of Louisiana commercial fishermen featured in the film created fishing quotas for themselves, but only after the stocks of red snapper from which they made their living very nearly collapsed. Finally, after years of warning, they came together to cooperatively save the fishery on which their lives depended. Why did this action take so long? What is it about the human species that makes this kind of enlightened action so elusive? \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I suppose there is no answer to this question, only a willingness to continue asking that is the hallmark of the San Francisco Green Film Festival. The festival runs April 20-26, 2017. For tickets and information visit \u003ca href=\"http://www.greenfilmfest.org/\" target=\"_blank\">greenfilmfest.org\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three films at the\u003ca href=\"http://www.greenfilmfest.org/\" target=\"_blank\"> 2017 San Francisco Green Film Festival\u003c/a> (April 20-26) highlight, perhaps unintentionally, how hard it is to do the right thing. Or maybe they demonstrate how easy it is, but how often the right thing is ignored in favor of the expedient. This dilemma is familiar to anyone paying attention, vexing arguments that range across the landscape of human activity. Yes, it might be true that a particular practice is harmful in the long run, but the short-term benefits (usually jobs, economics) trump all other concerns. \u003c/p>\n\u003cp>What I mean is best expressed in the story of Dick Goin, a man whose decades-long fight to remove two dams and return Chinook salmon to their ancestral spawning grounds in Washington's Elwha River is poetically profiled in Jennifer Galvin & Sachi Cunningham's \u003ca href=\"http://www.thememoryoffish.com/\" target=\"_blank\">\u003cem>The Memory of Fish\u003c/em>\u003c/a> (Saturday, April 22, 3pm, Roxie Cinema).\u003c/p>\n\u003cfigure id=\"attachment_116825\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2017/04/The-Memory-of-Fish-3.jpg\" alt=\"Dick Goin, The Memory of Fish\" width=\"1400\" height=\"788\" class=\"size-full wp-image-116825\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2017/04/The-Memory-of-Fish-3.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/The-Memory-of-Fish-3-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/The-Memory-of-Fish-3-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/The-Memory-of-Fish-3-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/The-Memory-of-Fish-3-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/The-Memory-of-Fish-3-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/The-Memory-of-Fish-3-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/The-Memory-of-Fish-3-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/The-Memory-of-Fish-3-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/The-Memory-of-Fish-3-520x293.jpg 520w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Dick Goin, The Memory of Fish\u003c/figcaption>\u003c/figure>\n\u003cp>Goin's relationship with the river began when he was just a kid. His family suffered the ravages of the infamous Dust Bowl, sold what little they had and headed west from southwestern Iowa. They arrived on the banks of the Elwha \"poor as rats,\" surviving starvation because of the river's rich natural resources, most particularly the hefty salmon that thrived there. Goin spent his whole life on the river, which was dammed early in the 20th century to produce hydro-electricity, fueling mills that produced everything from tires to canned fish. At 18, Goin went to work at Rayonier Incorporated, servicing the machines powered by the dams he despised for 41 1/2 years. He recounts witnessing juvenile salmonids hit the pollution generated by Rayonier and going belly up and wonders at his inaction. \"Should I have then said, 'Hell, I won't work here anymore?'\" How would he have put food on the table for his young family? He says, \"You accept the necessities of life...\"\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/5GwGlEX0ktw'\n title='//www.youtube.com/embed/5GwGlEX0ktw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The combination of the dams, which inhibited spawning, the canneries that chopped and packaged the fish and other companies that spewed pollution resulted in a huge decline of the Chinook population. Goin's own fishing records track reductions in the size and quantity of the fish. Once Goin retired, and most of the factories previously powered by the dams went out of business, he began to lobby for the restoration of the river. Of course there was resistance. No one had ever undertaken such a \u003ca href=\"http://projects.seattletimes.com/2016/elwha/\" target=\"_blank\">massive dam removal project\u003c/a>. What would happen to the river if it was returned to its former state?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This timeline brings up a troubling question. Did Goin advocate for the river's restoration when his livelihood depended on the power generated by its two dams? This is the complicated heart of the conservation question, the sticky point located at the center of enlightenment, convenience and self interest. Why is it so difficult to do the right thing?\u003c/p>\n\u003cfigure id=\"attachment_116826\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2017/04/FOT_2257_Sunburst-Farm_Apple-pickers.jpg\" alt=\"Sunburst Farm apple pickers; Evolution of Organic\" width=\"1400\" height=\"1013\" class=\"size-full wp-image-116826\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2257_Sunburst-Farm_Apple-pickers.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2257_Sunburst-Farm_Apple-pickers-160x116.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2257_Sunburst-Farm_Apple-pickers-800x579.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2257_Sunburst-Farm_Apple-pickers-768x556.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2257_Sunburst-Farm_Apple-pickers-1020x738.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2257_Sunburst-Farm_Apple-pickers-1180x854.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2257_Sunburst-Farm_Apple-pickers-960x695.jpg 960w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2257_Sunburst-Farm_Apple-pickers-240x174.jpg 240w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2257_Sunburst-Farm_Apple-pickers-375x271.jpg 375w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2257_Sunburst-Farm_Apple-pickers-520x376.jpg 520w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Sunburst Farm apple pickers; Evolution of Organic\u003c/figcaption>\u003c/figure>\n\u003cp>The festival's opening night film, Mark Kitchell's \u003ca href=\"http://evolutionoforganic.com/\" target=\"_blank\">Evolution of Organic\u003c/a> (Thursday, April 20, 7:30pm, Castro Theatre) provides a partial answer. There were indeed people devoted to a principle that was a little more enlightened than it was self-interested. In reaction to the industrial farming practices of the late 1960s and early 1970s, a small band of \"hippies\" sought natural food alternatives for themselves, their families and their communities. However, making a living as an organic farmer was exceedingly difficult in an era when the term was at best obscure and at worst denigrated. This core group of true believers persisted because growing healthy food and responsibly stewarding the land was the right thing to do. They adopted farming practices and innovated food distribution operations out of necessity. \u003c/p>\n\u003cp>Images of this early movement are endearingly hilarious, looking how you would expect coastal Californians looked in the early 1970s. One image, the one I would have liked to use to promote this post, is of a group of naked, long-haired men and women crouched together on a patch of land, boobs and penises dangling freely, arms draped over one another as the afternoon sun kisses their honey-colored skin. One can only imagine the night ahead after a day's work digging in the dirt! \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/Mh_9ojGcYoE'\n title='//www.youtube.com/embed/Mh_9ojGcYoE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film -- in four acts -- tracks the rise of the \"organic\" movement, which has come to mean so much (and sometimes so little) in today's supermarket. Inspired by Rachel Carson's \u003ca href=\"https://en.wikipedia.org/wiki/Silent_Spring\" target=\"_blank\">\u003cem>Silent Spring\u003c/em>\u003c/a>, an influential tome documenting the detrimental effects of pesticides, and the arrival of English master gardener \u003ca href=\"https://en.wikipedia.org/wiki/Alan_Chadwick\" target=\"_blank\">Alan Chadwick\u003c/a> at the University of California, Santa Cruz, early organic farmers had to resist prevalent farming practices and rediscover a history of seemingly lost knowledge. (Funny that. A few decades of industrial farming could somehow wipe away millennia of practice. How easily we humans forget.) \u003c/p>\n\u003cfigure id=\"attachment_116827\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2017/04/FOT_2098_RMarks-PVF-Annie-Marks-Apples.jpg\" alt=\"Evolution of Organic\" width=\"1400\" height=\"930\" class=\"size-full wp-image-116827\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2098_RMarks-PVF-Annie-Marks-Apples.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2098_RMarks-PVF-Annie-Marks-Apples-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2098_RMarks-PVF-Annie-Marks-Apples-800x531.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2098_RMarks-PVF-Annie-Marks-Apples-768x510.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2098_RMarks-PVF-Annie-Marks-Apples-1020x678.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2098_RMarks-PVF-Annie-Marks-Apples-1180x784.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2098_RMarks-PVF-Annie-Marks-Apples-960x638.jpg 960w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2098_RMarks-PVF-Annie-Marks-Apples-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2098_RMarks-PVF-Annie-Marks-Apples-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/FOT_2098_RMarks-PVF-Annie-Marks-Apples-520x345.jpg 520w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Evolution of Organic \u003ccite>(Annie Marks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Starting with the beginnings of the movement, when the desire for clean food meant either growing it or distributing it yourself, the film documents the rise of organic practice, illuminating an era when producers shared knowledge on the tailgates of their pick-up trucks. As with all things, organic farming grew because there was a demand. The cash register really is capitalism's ballot box. After a couple of decades in obscurity, the baby lettuce (AKA \"spring mix\") craze of the early 1990s put organic on the map. A couple well-publicized pesticide health scares later, large supermarket chains began to feel the demand. Increased value brought larger producers, many switching their commercial practices to organic. The film's final act locates the current seeds of the movement's future, perhaps even as a redress to atmospheric carbon. \u003c/p>\n\u003cp>An interesting point that quickly rushed by was the impending retirement of the organic \"elders.\" This made me wonder about the fate of all the organic farmland this group of pioneers has cleared and converted. Is it in the process of sub-division, turning into vineyards or remote homes for California's coastal elite?\u003c/p>\n\u003cp>Again, the question arises: what is the right action? Is it favorably aligned with the self interests of those who struggled in obscurity for decades before finding themselves at the vanguard of a food movement that generated a great deal of health and wealth? \u003c/p>\n\u003cfigure id=\"attachment_116828\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2017/04/6_Rancher-Dusty-Crary-visiting-fathers-grave_Beth-Aala.jpg\" alt=\"Dusty Crary visits his father's grave; Rancher, Farmer, Fisherman\" width=\"1400\" height=\"1050\" class=\"size-full wp-image-116828\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2017/04/6_Rancher-Dusty-Crary-visiting-fathers-grave_Beth-Aala.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/6_Rancher-Dusty-Crary-visiting-fathers-grave_Beth-Aala-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/6_Rancher-Dusty-Crary-visiting-fathers-grave_Beth-Aala-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/6_Rancher-Dusty-Crary-visiting-fathers-grave_Beth-Aala-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/6_Rancher-Dusty-Crary-visiting-fathers-grave_Beth-Aala-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/6_Rancher-Dusty-Crary-visiting-fathers-grave_Beth-Aala-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/6_Rancher-Dusty-Crary-visiting-fathers-grave_Beth-Aala-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/6_Rancher-Dusty-Crary-visiting-fathers-grave_Beth-Aala-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/6_Rancher-Dusty-Crary-visiting-fathers-grave_Beth-Aala-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/24/2017/04/6_Rancher-Dusty-Crary-visiting-fathers-grave_Beth-Aala-520x390.jpg 520w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Dusty Crary visits his father's grave; Rancher, Farmer, Fisherman \u003ccite>(Beth AAla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Susan Froemke and John Hoffman's Discovery Channel documentary \u003ca href=\"http://rancherfarmerfisherman.com/\" target=\"_blank\">\u003cem>Rancher, Farmer, Fisherman\u003c/em>\u003c/a> (Wednesday, April 26, 6pm, Castro Theatre) is any indication, the answer would be ... complicated. Ultimately, the documentary's characters fight a good fight, protecting land from oil drilling, adopting till-free farming practices and creating fishing quotas to responsibly steward the delicate resources of a fishery. But what motivates these people to ultimately do the right thing? \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/evg6U1mo3kg'\n title='//www.youtube.com/embed/evg6U1mo3kg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the case of the Montana ranchers, the large tracts of property their families have inhabited for generations became threatened by proposed drilling on nearby federal lands. They fought not only to shut this activity down, but worked with conservation groups to permanently secure adjacent areas and limit the uses for their own properties for generations. Their self interest conserves the landscape for their descendants, while also protecting over a million acres from development. It's a net good, with direct benefits for a select few. \u003c/p>\n\u003cp>Similarly, the cadre of Louisiana commercial fishermen featured in the film created fishing quotas for themselves, but only after the stocks of red snapper from which they made their living very nearly collapsed. Finally, after years of warning, they came together to cooperatively save the fishery on which their lives depended. Why did this action take so long? What is it about the human species that makes this kind of enlightened action so elusive? \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I suppose there is no answer to this question, only a willingness to continue asking that is the hallmark of the San Francisco Green Film Festival. The festival runs April 20-26, 2017. For tickets and information visit \u003ca href=\"http://www.greenfilmfest.org/\" target=\"_blank\">greenfilmfest.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Alex Gibney Doc 'No Stone Unturned' Pulled from Tribeca",
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"content": "\u003cp>Just a week before its scheduled Tribeca Film Festival premiere, producers of Alex Gibney’s \u003cem>No Stone Unturned\u003c/em> pulled the documentary about the 1994 murder of six men in Northern Ireland from the festival over legal issues.\u003c/p>\n\u003cp>The film was to premiere April 23 at the festival, where \u003cem>No Stone Unturned\u003c/em> would have been one of the more high-profile documentaries debuting. Producer Trevor Birney said in a statement he was “bitterly disappointed” to withdraw the film because of “ongoing legal issues relating to the subject matter of the film.”\u003c/p>\n\u003cp>“No one will feel this disappointment more than the families at the center of the film, whose quest for justice has been both inspiring and unstinting these last 23 years,” said Birney. “It is our deepest hope that these sensitive issues can be resolved as soon as possible so that we can share this important film with the world.”\u003c/p>\n\u003cp>The New York festival said it was notified Friday and that it shared in the disappointment of the film’s producers and Gibney. Gibney won an Academy Award for his 2007 documentary \u003cem>Taxi to the Dark Side\u003c/em>.\u003c/p>\n\u003cp>\u003cem>No Stone Unturned\u003c/em> investigates the 1994 case in which six were killed and five wounded while watching a World Cup soccer match in a Loughinisland, Northern Island, pub. The police investigation, the film’s description states, “was perfunctory at best” and the case remained unsolved.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“\u003cem>No Stone Unturned\u003c/em> is a powerful story and so is the attempt to silence it,” Gibney wrote on Twitter. “The truth will be told.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just a week before its scheduled Tribeca Film Festival premiere, producers of Alex Gibney’s \u003cem>No Stone Unturned\u003c/em> pulled the documentary about the 1994 murder of six men in Northern Ireland from the festival over legal issues.\u003c/p>\n\u003cp>The film was to premiere April 23 at the festival, where \u003cem>No Stone Unturned\u003c/em> would have been one of the more high-profile documentaries debuting. Producer Trevor Birney said in a statement he was “bitterly disappointed” to withdraw the film because of “ongoing legal issues relating to the subject matter of the film.”\u003c/p>\n\u003cp>“No one will feel this disappointment more than the families at the center of the film, whose quest for justice has been both inspiring and unstinting these last 23 years,” said Birney. “It is our deepest hope that these sensitive issues can be resolved as soon as possible so that we can share this important film with the world.”\u003c/p>\n\u003cp>The New York festival said it was notified Friday and that it shared in the disappointment of the film’s producers and Gibney. Gibney won an Academy Award for his 2007 documentary \u003cem>Taxi to the Dark Side\u003c/em>.\u003c/p>\n\u003cp>\u003cem>No Stone Unturned\u003c/em> investigates the 1994 case in which six were killed and five wounded while watching a World Cup soccer match in a Loughinisland, Northern Island, pub. The police investigation, the film’s description states, “was perfunctory at best” and the case remained unsolved.\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>No Stone Unturned\u003c/em> is a powerful story and so is the attempt to silence it,” Gibney wrote on Twitter. “The truth will be told.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'The Fate Of The Furious' Runs On Diesel Fumes",
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"content": "\u003cp>Has any movie franchise ever swole up more unrecognizably than \u003cem>The Fast & the Furi\u003c/em>-ad? Its opening heat, back in 2001, was just a humble \u003cem>Point Break\u003c/em> knockoff. Fourteen years later, \u003cem>Furious 7\u003c/em> overcame the death of its second banana, Paul Walker, during production to gross a billion-and-a-half dollars. By then, the series had reinvented itself as an globetrotting heist/spy/wrestling franchise, one as reliant on digital animation and unbound by verisimilitude as any superhero epic. Why just rip off \u003cem>Point Break\u003c/em> when you can rip off … everything?\u003c/p>\n\u003cp>Vin Diesel sat out a couple of sequels before returning as producer, star, and self-described “\u003ca href=\"http://feature.variety.com/vin-diesel-a-furious-mind/\" target=\"_blank\" rel=\"noopener\">saga visionary\u003c/a>” with the 2009 model, \u003cem>Fast & Furious\u003c/em>. (His vision for the saga did not include definite articles.) The series found its golden mean with 2011’s \u003cem>Fast Five\u003c/em>, when Dwayne “The Rock” Johnson came aboard as a Federal agent shrinkwrapped in GSA-issue Under Armour. If the affable, versatile Johnson wasn’t a bigger draw than the surly, one-note Diesel back then, he certainly is now. The frame is no longer big enough for the both of them: When Johnson threw an Instagram fit while shooting the new \u003cem>The Fate of the Furious\u003c/em> last summer, it smelled like Universal’s (totally ripped) publicity arm was cooking up a Diesel v. Johnson rivalry to sell the movie.\u003c/p>\n\u003cp>In fact, the two leads’ mutual disdain is the most convincing thing in it.\u003c/p>\n\u003cp>https://youtu.be/JwMKRevYa_M\u003c/p>\n\u003cp>Maybe if incoming director F. Gary Gray had found a way to channel their umbrage onscreen, this gears-grinding eighth chapter wouldn’t feel so bloated and listless. Instead, Gray — a journeyman whose relevant experience includes the 2003 remake of \u003cem>The Italian Job\u003c/em>, but who also made the much-loved comedy \u003cem>Friday\u003c/em> and the N.W.A. biopic \u003cem>Straight Outta Compton\u003c/em> — uses every trick he can to avoid having Diesel and Johnson on set at the same time. It’s a hindrance that probably made his days easier, but it lets the air out of the movie’s tires, bigly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Johnson is still second-billed to Diesel, but it’s clearer than ever that he’s eating Diesel’s lunch now. This time around, he even takes command of Dominic Toretto’s bickering band of con men (plus Michelle Rodriguez and Nathalie Emmanuel) when Dominic Toretto — everyone in this movie is in the habit of speaking his first and last name aloud, as though language has not yet invented a pronoun that can contain his full Diesiality — gets blackmailed into betraying his “family.”\u003c/p>\n\u003cp>I’ll withhold the specifics of how he’s blackmailed (coughcoughsecretlovechildcough); but for a franchise that wants so desperately to reek of sweat and engine grease, these movies sure are soapy.\u003c/p>\n\u003cp>Moreover: if this crew was anything like the family Diesel’s character is forever insisting it is, he would just tell them he’s in a jam and ask their help instead of making them believe he’s gone rogue. (“Dominic Toretto has just gone rogue!” one of them says, helpfully.) But even a sliver of vulnerability would be too much for the brittle, tatted-up ego of Dominic Toretto, née Vin Diesel, Saga Visionary. We’re supposed to root for this fathead jerk over Imperator Furiosa?\u003c/p>\n\u003cp>Oh, right: His blackmatrix is Charlize Theron, who mumbles her way through monologues about “choice theory” when she isn’t typing and seething into a headset. This sort of techno-temp role has defeated many an Oscar-winner; it isn’t Theron’s fault that she’s no better than Tyrese Gibson here. She plays an evil hacker called Cypher, described by Ludacris as “like a digital Act of God!” Maybe he meant to say “a digital God”? Don’t worry about it. The only words that matter is this liberally body-sprayed universe are vrooooom and screeeeeeech.\u003c/p>\n\u003cp>Though these films lost any sense of street-level plausibility many software upgrades ago, \u003cem>Fate of the Furious\u003c/em> remains true to their chop-shop aesthetic in the sense that its flashiest parts are all stolen. Its big Act Two set piece, wherein hundreds of driverless remote-controlled cars assault a diplomatic convoy in lower Manhattan, is an expansion of a bit from \u003cem>Terminator 3\u003c/em>, 14 years ago. It was a good gag back then and it still is, but as with so many \u003cem>Furious\u003c/em> action sequences, it’s marred by conspicuous computer animation that makes it seem about as dangerous as a screensaver, no matter how hard Diesel frowns at his steering wheel. The finale, which involves a bunch of muscle cars plus a tank chasing a hijacked Russian submarine (!) across an ice shelf, is practically photographed but glacially paced. It feels longer than \u003cem>The Hunt for Red October\u003c/em> all by itself.\u003c/p>\n\u003cp>Of course, there are only so many permutations of how fast-moving objects can collide with one another. But the Furious-es are even less creative when it comes to their MacGuffins (Electro-Magnetic Pulse generator, nuclear “football”) and their dialogue. In this one, when a bad guy gets ground up by an airplane propeller like that Nazi strongman in \u003cem>Raiders of the Lost Ark\u003c/em> did a hundred years ago, Johnson gets a inspired look and says… “Nasty.” It’s like a placeholder for a real joke no one cared enough to write. I get that these movies are not primarily targeted at English-speaking audiences, but they’ve got a writer (Chris Morgan, who’s done a half-dozen of these) on payroll. He could try writing a little. It would pass the time.\u003c/p>\n\u003cp>And time this movie has got: 136 minutes, and the 40 or so good ones are mostly front-loaded. The opening, wherein Diesel resorts to some unconventional driving to win a hairline victory in a Havana street race, has a clarity and tension that’s otherwise absent. Of course, the sequence begins with Diesel telling a Cuban never to lose his “Cuban spirit” and ends with him being swarmed by adoring children. (Once again: He produced this movie.)\u003c/p>\n\u003cp>Johnson gets a fun introduction when we see him off-duty, coaching his daughter’s soccer team. He then proceeds to discuss supposedly Top Secret intelligence outdoors, in the open, at said soccer game.\u003c/p>\n\u003cp>Apologists for this series insist its bone-deep dumbth doesn’t matter; and its roided-out box office tells no lies. But these movies fundamental laziness is an insult to every writer who ever lost sleep trying to make a genre movie make sense. Trying is for suckers, these movies tell us. Jokes are for chumps. Writing is for losers.\u003c/p>\n\u003cp>Fate’s MVP is Jason Statham, who played the villainous Owen Shaw the last time around but he’s on our team now. He’s almost as funny in this as he he was in \u003cem>Spy\u003c/em>. Watching \u003cem>The Transporter\u003c/em> and \u003cem>The Rock\u003c/em> antagonize one another (Johnson promises to “slap that whisker biscuit off [Statham’s] face,” because hair is a touchy subject with this crowd) is as good as this movie gets — save for a two-scene drop in by a certain Dame Commander of the Most Excellent Order of the British Empire, who looks like she’s having more fun here than anybody.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Its a weird takeaway from what used to be a muscle-car franchise, but \u003cem>The Fate of the Furious\u003c/em> adds up to a compelling case for energy independence: More Johnson, more Statham, and a lot less Diesel. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Has any movie franchise ever swole up more unrecognizably than \u003cem>The Fast & the Furi\u003c/em>-ad? Its opening heat, back in 2001, was just a humble \u003cem>Point Break\u003c/em> knockoff. Fourteen years later, \u003cem>Furious 7\u003c/em> overcame the death of its second banana, Paul Walker, during production to gross a billion-and-a-half dollars. By then, the series had reinvented itself as an globetrotting heist/spy/wrestling franchise, one as reliant on digital animation and unbound by verisimilitude as any superhero epic. Why just rip off \u003cem>Point Break\u003c/em> when you can rip off … everything?\u003c/p>\n\u003cp>Vin Diesel sat out a couple of sequels before returning as producer, star, and self-described “\u003ca href=\"http://feature.variety.com/vin-diesel-a-furious-mind/\" target=\"_blank\" rel=\"noopener\">saga visionary\u003c/a>” with the 2009 model, \u003cem>Fast & Furious\u003c/em>. (His vision for the saga did not include definite articles.) The series found its golden mean with 2011’s \u003cem>Fast Five\u003c/em>, when Dwayne “The Rock” Johnson came aboard as a Federal agent shrinkwrapped in GSA-issue Under Armour. If the affable, versatile Johnson wasn’t a bigger draw than the surly, one-note Diesel back then, he certainly is now. The frame is no longer big enough for the both of them: When Johnson threw an Instagram fit while shooting the new \u003cem>The Fate of the Furious\u003c/em> last summer, it smelled like Universal’s (totally ripped) publicity arm was cooking up a Diesel v. Johnson rivalry to sell the movie.\u003c/p>\n\u003cp>In fact, the two leads’ mutual disdain is the most convincing thing in it.\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/JwMKRevYa_M'\n title='//www.youtube.com/embed/JwMKRevYa_M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Maybe if incoming director F. Gary Gray had found a way to channel their umbrage onscreen, this gears-grinding eighth chapter wouldn’t feel so bloated and listless. Instead, Gray — a journeyman whose relevant experience includes the 2003 remake of \u003cem>The Italian Job\u003c/em>, but who also made the much-loved comedy \u003cem>Friday\u003c/em> and the N.W.A. biopic \u003cem>Straight Outta Compton\u003c/em> — uses every trick he can to avoid having Diesel and Johnson on set at the same time. It’s a hindrance that probably made his days easier, but it lets the air out of the movie’s tires, bigly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Johnson is still second-billed to Diesel, but it’s clearer than ever that he’s eating Diesel’s lunch now. This time around, he even takes command of Dominic Toretto’s bickering band of con men (plus Michelle Rodriguez and Nathalie Emmanuel) when Dominic Toretto — everyone in this movie is in the habit of speaking his first and last name aloud, as though language has not yet invented a pronoun that can contain his full Diesiality — gets blackmailed into betraying his “family.”\u003c/p>\n\u003cp>I’ll withhold the specifics of how he’s blackmailed (coughcoughsecretlovechildcough); but for a franchise that wants so desperately to reek of sweat and engine grease, these movies sure are soapy.\u003c/p>\n\u003cp>Moreover: if this crew was anything like the family Diesel’s character is forever insisting it is, he would just tell them he’s in a jam and ask their help instead of making them believe he’s gone rogue. (“Dominic Toretto has just gone rogue!” one of them says, helpfully.) But even a sliver of vulnerability would be too much for the brittle, tatted-up ego of Dominic Toretto, née Vin Diesel, Saga Visionary. We’re supposed to root for this fathead jerk over Imperator Furiosa?\u003c/p>\n\u003cp>Oh, right: His blackmatrix is Charlize Theron, who mumbles her way through monologues about “choice theory” when she isn’t typing and seething into a headset. This sort of techno-temp role has defeated many an Oscar-winner; it isn’t Theron’s fault that she’s no better than Tyrese Gibson here. She plays an evil hacker called Cypher, described by Ludacris as “like a digital Act of God!” Maybe he meant to say “a digital God”? Don’t worry about it. The only words that matter is this liberally body-sprayed universe are vrooooom and screeeeeeech.\u003c/p>\n\u003cp>Though these films lost any sense of street-level plausibility many software upgrades ago, \u003cem>Fate of the Furious\u003c/em> remains true to their chop-shop aesthetic in the sense that its flashiest parts are all stolen. Its big Act Two set piece, wherein hundreds of driverless remote-controlled cars assault a diplomatic convoy in lower Manhattan, is an expansion of a bit from \u003cem>Terminator 3\u003c/em>, 14 years ago. It was a good gag back then and it still is, but as with so many \u003cem>Furious\u003c/em> action sequences, it’s marred by conspicuous computer animation that makes it seem about as dangerous as a screensaver, no matter how hard Diesel frowns at his steering wheel. The finale, which involves a bunch of muscle cars plus a tank chasing a hijacked Russian submarine (!) across an ice shelf, is practically photographed but glacially paced. It feels longer than \u003cem>The Hunt for Red October\u003c/em> all by itself.\u003c/p>\n\u003cp>Of course, there are only so many permutations of how fast-moving objects can collide with one another. But the Furious-es are even less creative when it comes to their MacGuffins (Electro-Magnetic Pulse generator, nuclear “football”) and their dialogue. In this one, when a bad guy gets ground up by an airplane propeller like that Nazi strongman in \u003cem>Raiders of the Lost Ark\u003c/em> did a hundred years ago, Johnson gets a inspired look and says… “Nasty.” It’s like a placeholder for a real joke no one cared enough to write. I get that these movies are not primarily targeted at English-speaking audiences, but they’ve got a writer (Chris Morgan, who’s done a half-dozen of these) on payroll. He could try writing a little. It would pass the time.\u003c/p>\n\u003cp>And time this movie has got: 136 minutes, and the 40 or so good ones are mostly front-loaded. The opening, wherein Diesel resorts to some unconventional driving to win a hairline victory in a Havana street race, has a clarity and tension that’s otherwise absent. Of course, the sequence begins with Diesel telling a Cuban never to lose his “Cuban spirit” and ends with him being swarmed by adoring children. (Once again: He produced this movie.)\u003c/p>\n\u003cp>Johnson gets a fun introduction when we see him off-duty, coaching his daughter’s soccer team. He then proceeds to discuss supposedly Top Secret intelligence outdoors, in the open, at said soccer game.\u003c/p>\n\u003cp>Apologists for this series insist its bone-deep dumbth doesn’t matter; and its roided-out box office tells no lies. But these movies fundamental laziness is an insult to every writer who ever lost sleep trying to make a genre movie make sense. Trying is for suckers, these movies tell us. Jokes are for chumps. Writing is for losers.\u003c/p>\n\u003cp>Fate’s MVP is Jason Statham, who played the villainous Owen Shaw the last time around but he’s on our team now. He’s almost as funny in this as he he was in \u003cem>Spy\u003c/em>. Watching \u003cem>The Transporter\u003c/em> and \u003cem>The Rock\u003c/em> antagonize one another (Johnson promises to “slap that whisker biscuit off [Statham’s] face,” because hair is a touchy subject with this crowd) is as good as this movie gets — save for a two-scene drop in by a certain Dame Commander of the Most Excellent Order of the British Empire, who looks like she’s having more fun here than anybody.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>After a flurry of one-off events and opening-weekend guests, the \u003ca href=\"http://www.sffilm.org/festival\" target=\"_blank\" rel=\"noopener\">60th SFFILM Festival\u003c/a> settles into a more familiar rhythm this week. Well, only at venues other than the Castro Theater, which hosts super-special shows every night. Musician (and actor) Will Oldham and a cabal of cohorts provide improvised accompaniment to a trio of local experimental filmmaker Jerome Hiler’s impressionistic works tonight in a program called “\u003ca href=\"http://www.sffilm.org/festival-2017/parallel-spaces\" target=\"_blank\" rel=\"noopener\">Parallel Spaces\u003c/a>.” Another match of live music with film, Asian Dub Foundation with George Lucas’s 1971 sci-fi saga \u003cem>\u003ca href=\"http://www.sffilm.org/festival-2017/asian-dub-foundation\" target=\"_blank\" rel=\"noopener\">THX 1138\u003c/a>\u003c/em> (with glimpses of the then-brand-new BART system), packs the house on Tuesday (Apr. 11). \u003c/p>\n\u003cfigure id=\"attachment_13018453\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200.jpg\" alt=\"Asian Dub Foundation performs a live score of George Lucas's 'THX 1138.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13018453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Asian Dub Foundation performs a live score of George Lucas’s ‘THX 1138.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Geremy Jasper’s Sundance sensation, \u003cem>\u003ca href=\"http://www.sffilm.org/patti-cake\" target=\"_blank\" rel=\"noopener\">Patti Cake$\u003c/a>\u003c/em>, receives its Bay Area premiere as the fest’s centerpiece presentation on Wednesday. Another pulse-quickening marriage of music and film is on tap for Thursday when DeVotchka lays down tracks under Dziga Vertov’s astonishingly fresh 1929 blend of documentary and fiction, \u003cem>\u003ca href=\"http://www.sffilm.org/festival-2017/man-with-a-movie-camera\" target=\"_blank\" rel=\"noopener\">The Man with a Movie Camera\u003c/a>\u003c/em>. \u003c/p>\n\u003cp>How do you top that extravaganza? An in-person salute to Bollywood megastar Shah Rukh Kahn on Friday night, capped by a screening of the 2010 epic, \u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/a-tribute-to-shah-rukh-khan-my-name-is-khan\" target=\"_blank\" rel=\"noopener\">My Name is Khan\u003c/a>\u003c/em>. Still holding out for your favorite song? Turn on, tune in and drop in Saturday evening at the Castro for the Bay Area premiere Amir Bar-Lev’s four-hour Grateful Dead doc, \u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/long-strange-trip\" target=\"_blank\" rel=\"noopener\">Long Strange Trip\u003c/a>\u003c/em>. As the Dead sing in “New Speedway Boogie,” “Please don’t dominate the rap, Jack, if you got nothing new to say.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Music of every flavor propels the festival's Castro lineup this week, from live scores to a Grateful Dead documentary. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a flurry of one-off events and opening-weekend guests, the \u003ca href=\"http://www.sffilm.org/festival\" target=\"_blank\" rel=\"noopener\">60th SFFILM Festival\u003c/a> settles into a more familiar rhythm this week. Well, only at venues other than the Castro Theater, which hosts super-special shows every night. Musician (and actor) Will Oldham and a cabal of cohorts provide improvised accompaniment to a trio of local experimental filmmaker Jerome Hiler’s impressionistic works tonight in a program called “\u003ca href=\"http://www.sffilm.org/festival-2017/parallel-spaces\" target=\"_blank\" rel=\"noopener\">Parallel Spaces\u003c/a>.” Another match of live music with film, Asian Dub Foundation with George Lucas’s 1971 sci-fi saga \u003cem>\u003ca href=\"http://www.sffilm.org/festival-2017/asian-dub-foundation\" target=\"_blank\" rel=\"noopener\">THX 1138\u003c/a>\u003c/em> (with glimpses of the then-brand-new BART system), packs the house on Tuesday (Apr. 11). \u003c/p>\n\u003cfigure id=\"attachment_13018453\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200.jpg\" alt=\"Asian Dub Foundation performs a live score of George Lucas's 'THX 1138.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13018453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Asian Dub Foundation performs a live score of George Lucas’s ‘THX 1138.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Geremy Jasper’s Sundance sensation, \u003cem>\u003ca href=\"http://www.sffilm.org/patti-cake\" target=\"_blank\" rel=\"noopener\">Patti Cake$\u003c/a>\u003c/em>, receives its Bay Area premiere as the fest’s centerpiece presentation on Wednesday. Another pulse-quickening marriage of music and film is on tap for Thursday when DeVotchka lays down tracks under Dziga Vertov’s astonishingly fresh 1929 blend of documentary and fiction, \u003cem>\u003ca href=\"http://www.sffilm.org/festival-2017/man-with-a-movie-camera\" target=\"_blank\" rel=\"noopener\">The Man with a Movie Camera\u003c/a>\u003c/em>. \u003c/p>\n\u003cp>How do you top that extravaganza? An in-person salute to Bollywood megastar Shah Rukh Kahn on Friday night, capped by a screening of the 2010 epic, \u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/a-tribute-to-shah-rukh-khan-my-name-is-khan\" target=\"_blank\" rel=\"noopener\">My Name is Khan\u003c/a>\u003c/em>. Still holding out for your favorite song? Turn on, tune in and drop in Saturday evening at the Castro for the Bay Area premiere Amir Bar-Lev’s four-hour Grateful Dead doc, \u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/long-strange-trip\" target=\"_blank\" rel=\"noopener\">Long Strange Trip\u003c/a>\u003c/em>. As the Dead sing in “New Speedway Boogie,” “Please don’t dominate the rap, Jack, if you got nothing new to say.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Oakland Film Series Asks: Is There a Black Aesthetic?",
"headTitle": "Oakland Film Series Asks: Is There a Black Aesthetic? | KQED",
"content": "\u003cp>\u003cem>She’s Gotta Have It\u003c/em>, Spike Lee’s famous 1986 film, is only an hour-and-a-half long. But when the movie was screened as part of the \u003ca href=\"https://www.facebook.com/theblckaesthetic/\" target=\"_blank\" rel=\"noopener\">Black Aesthetic film series\u003c/a> last fall, the post-screening discussion went on for almost two hours. Attendees of all different ages and backgrounds — although mostly black — chimed in with contributions to the roving conversation that boomed out of Oakland’s \u003ca href=\"http://wolfmanhomerepair.com/\" target=\"_blank\" rel=\"noopener\">E.M. Wolfman\u003c/a> bookstore.\u003c/p>\n\u003cp>“That was a really long one, and it was so joyous, too,” recalls Ryanaustin Dennis, who curates the series. “We laughed and laughed, but we also got to questions of, ‘What is rape?’”\u003c/p>\n\u003cp>Dennis started the eight-week series in October of 2016 in collaboration with Oakland filmmaker Christian Johnson as a way to generate conversation around the work of black women filmmakers and actresses.\u003c/p>\n\u003cfigure id=\"attachment_12998145\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12998145\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17.jpg\" alt=\"Poster from the first season of The Black Aesthetic film series.\" width=\"600\" height=\"927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17.jpg 1325w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-1020x1576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-1180x1824.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-960x1484.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-240x371.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-375x580.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-520x804.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Poster from the first season of The Black Aesthetic film series.\u003c/figcaption>\u003c/figure>\n\u003cp>With space at E.M. Wolfman and a small grant from the shop’s \u003ca href=\"https://www.soex.org/alternative-exposure/grant-recipients-projects/em-wolfman-bookstore-and-gallery\" target=\"_blank\" rel=\"noopener\">Wolfman Art Machine\u003c/a> program, Dennis produced a successful first season serving films such as \u003cem>The Watermelon Woman, Drylongso, Bush Mama, \u003c/em>and\u003cem> Daughters of the Dust\u003c/em> to a packed shop. And for the second season — \u003ca href=\"https://www.facebook.com/events/395004960871225/\" target=\"_blank\" rel=\"noopener\">launching\u003c/a> Thursday, April 13 — Dennis highlights emerging black filmmakers from the Bay Area (and a few beyond).\u003c/p>\n\u003cp>It’s no coincidence that looking back at the history of black films motivated Dennis to support filmmakers he would like to see canonized in the future. When putting the series together, Dennis began to realize how few black female directors have become household names — and not for lack of talent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“How many people can we really name?” he asks. “I, even to this day, am still going through and learning.”\u003c/p>\n\u003cp>In part, the series is meant to highlight “the talent that was wasted sometimes because of racism — the talent that was never given a chance,” says Dennis. He is interested, too, in films that speak profoundly to black women’s experiences and feature incredible female leads — such as \u003cem>She’s Gotta Have It\u003c/em>.\u003c/p>\n\u003cp>“How many films really talk about black female girlhood?’” he asks. “I’m always thinking, we don’t have that many stories about that. It’s important to see those images.”\u003c/p>\n\u003cp>But beyond curating an expanded canon, Dennis is also interested in stimulating expanded conversations — ones that draw people outside of the typical indie-film audience often found at art house screenings. He did that, in part, by centering the series around conversations about blackness rather than jargon-filled talks on cinematic techniques (although there’s some of that, too). He calls it creating a “black space,” where people can “really open up and engage and share their opinions and get heated.”\u003c/p>\n\u003cfigure id=\"attachment_12998354\" class=\"wp-caption aligncenter\" style=\"max-width: 850px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12998354 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy.jpg\" alt=\"Still from 'All My Babies: A Midwife's Own Story' by George C. Stone (1953).\" width=\"850\" height=\"340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy.jpg 850w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy-240x96.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy-375x150.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy-520x208.jpg 520w\" sizes=\"(max-width: 850px) 100vw, 850px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘All My Babies: A Midwife’s Own Story’ by George C. Stone (1953).\u003c/figcaption>\u003c/figure>\n\u003cp>“To be quite honest, I want to make sure I’m drawing the right people, so we’re having the right conversations,” he says. “Yeah, we will talk about blackness and all its variations — but also, I think point blank, it’s like: We already know we’re all black, lets dive deeper into all the intricacies and nuances that surround that.”\u003c/p>\n\u003cp>For many screenings, he also asks a local writer or scholar — \u003ca href=\"https://twitter.com/ztsamudzi\" target=\"_blank\" rel=\"noopener\">Zoe Samudzi\u003c/a>, for instance — to facilitate the conversation.\u003c/p>\n\u003cp>After season one wrapped up in November 2016, Dennis worked to create a publication with multi-disciplinary reflections on the movies he screened. The book, which will be released during season two, includes essays and visual art as well as audio and video works, which are hosted online and accessed through a URL printed in the book. Among the works are a photography series inspired by \u003cem>Drylongso\u003c/em> and a video piece responding to \u003cem>She’s Gotta Have It.\u003c/em>\u003c/p>\n\u003cp>For Dennis, the anthology is an essential next step in the project, because he wants it to be creatively generative — not just an “intellectual jack off.” And, of course, publications are key for contributing to canonization. “We have to preserve these things,” says Dennis. “So, I want people to be like, ‘I was there, I saw this, and they can go back to this moment. That’s really important to me, that we preserve our history, preserve film, preserve these cultural things, because we don’t know what’s gonna happen — they often get lost.”\u003c/p>\n\u003cfigure id=\"attachment_12998362\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12998362 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/2351.original.jpg\" alt=\"A still from 'Ganja and Hess' (1973) by Bill Gunn.\" width=\"1920\" height=\"1056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-1020x561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-1180x649.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-375x206.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-520x286.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Ganja and Hess’ (1973) by Bill Gunn.\u003c/figcaption>\u003c/figure>\n\u003cp>For Dennis, the concept of the Black Aesthetic functions as a rhetorical hook to draw people in and ground the discussions. “It’s very much an open-ended question: What is the black aesthetic?,” says Dennis. “And also, do we want to even ask that question? For me, yes, I think it’s an important question to ask — because it doesn’t exist.”\u003c/p>\n\u003cp>“There’s no one essentializing black voice, of course not. And the whole point of the film series is: How do you show the multiplicities of these, along with queerness and class and all that stuff?”\u003c/p>\n\u003cp>Season two, which will screen at E.M. Wolfman, \u003ca href=\"https://www.facebook.com/NookArtGallery/\" target=\"_blank\" rel=\"noopener\">Nook Gallery\u003c/a>, and an unannounced outdoor location for the finale, approaches that question through a contemporary lens. The line-up includes \u003ca href=\"https://ww2.kqed.org/arts/2015/10/23/alive-and-well-and-right-where-he-wants-to-be/\" target=\"_blank\" rel=\"noopener\">Brontez Purnell\u003c/a>’s \u003cem>100 Boyfriends Mixtape\u003c/em>, \u003ca href=\"http://www.jehnovahcarlisle.com/about/\" target=\"_blank\" rel=\"noopener\">Jehnovah Carlisle\u003c/a>’s \u003cem>Day by Day / The Man Who Feared\u003c/em>, and \u003ca href=\"https://vimeo.com/198186589\" target=\"_blank\" rel=\"noopener\">Yetunde Olagbaju\u003c/a>’s \u003cem>i gave myself space to go back…pt. II\u003c/em>, among many other works. The lineup ranges from dramas to cinematic ritual to experimental short films. And for most screenings, the filmmaker will be in attendance to participate in the conversation. For Dennis, that’s crucial, because he hopes to foster community among filmmakers as well — not just audiences.\u003c/p>\n\u003cp>“My fundamental goal was, how do you foster a creative culture in Oakland?,” says Dennis. “For POC and black people in particular, because I feel like there’s a lot of black weirdos around here that need to know that they are loved. And that they’re understood and that their voice is important.”\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Season two of the Black Aesthetic film series \u003ca href=\"https://www.facebook.com/events/395004960871225/\" target=\"_blank\" rel=\"noopener\">launches\u003c/a> at E.M. Wolfman bookstore (410 13th St., Oakland) on Thursday, April 13, at 7pm. For information on future screenings, \u003ca href=\"https://www.facebook.com/theblckaesthetic/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Oakland native Ryanaustin Dennis curates a second season of the Black Aesthetic film series, focused on fostering conversation around the work of emerging independent directors.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>She’s Gotta Have It\u003c/em>, Spike Lee’s famous 1986 film, is only an hour-and-a-half long. But when the movie was screened as part of the \u003ca href=\"https://www.facebook.com/theblckaesthetic/\" target=\"_blank\" rel=\"noopener\">Black Aesthetic film series\u003c/a> last fall, the post-screening discussion went on for almost two hours. Attendees of all different ages and backgrounds — although mostly black — chimed in with contributions to the roving conversation that boomed out of Oakland’s \u003ca href=\"http://wolfmanhomerepair.com/\" target=\"_blank\" rel=\"noopener\">E.M. Wolfman\u003c/a> bookstore.\u003c/p>\n\u003cp>“That was a really long one, and it was so joyous, too,” recalls Ryanaustin Dennis, who curates the series. “We laughed and laughed, but we also got to questions of, ‘What is rape?’”\u003c/p>\n\u003cp>Dennis started the eight-week series in October of 2016 in collaboration with Oakland filmmaker Christian Johnson as a way to generate conversation around the work of black women filmmakers and actresses.\u003c/p>\n\u003cfigure id=\"attachment_12998145\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12998145\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17.jpg\" alt=\"Poster from the first season of The Black Aesthetic film series.\" width=\"600\" height=\"927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17.jpg 1325w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-1020x1576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-1180x1824.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-960x1484.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-240x371.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-375x580.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-520x804.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Poster from the first season of The Black Aesthetic film series.\u003c/figcaption>\u003c/figure>\n\u003cp>With space at E.M. Wolfman and a small grant from the shop’s \u003ca href=\"https://www.soex.org/alternative-exposure/grant-recipients-projects/em-wolfman-bookstore-and-gallery\" target=\"_blank\" rel=\"noopener\">Wolfman Art Machine\u003c/a> program, Dennis produced a successful first season serving films such as \u003cem>The Watermelon Woman, Drylongso, Bush Mama, \u003c/em>and\u003cem> Daughters of the Dust\u003c/em> to a packed shop. And for the second season — \u003ca href=\"https://www.facebook.com/events/395004960871225/\" target=\"_blank\" rel=\"noopener\">launching\u003c/a> Thursday, April 13 — Dennis highlights emerging black filmmakers from the Bay Area (and a few beyond).\u003c/p>\n\u003cp>It’s no coincidence that looking back at the history of black films motivated Dennis to support filmmakers he would like to see canonized in the future. When putting the series together, Dennis began to realize how few black female directors have become household names — and not for lack of talent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“How many people can we really name?” he asks. “I, even to this day, am still going through and learning.”\u003c/p>\n\u003cp>In part, the series is meant to highlight “the talent that was wasted sometimes because of racism — the talent that was never given a chance,” says Dennis. He is interested, too, in films that speak profoundly to black women’s experiences and feature incredible female leads — such as \u003cem>She’s Gotta Have It\u003c/em>.\u003c/p>\n\u003cp>“How many films really talk about black female girlhood?’” he asks. “I’m always thinking, we don’t have that many stories about that. It’s important to see those images.”\u003c/p>\n\u003cp>But beyond curating an expanded canon, Dennis is also interested in stimulating expanded conversations — ones that draw people outside of the typical indie-film audience often found at art house screenings. He did that, in part, by centering the series around conversations about blackness rather than jargon-filled talks on cinematic techniques (although there’s some of that, too). He calls it creating a “black space,” where people can “really open up and engage and share their opinions and get heated.”\u003c/p>\n\u003cfigure id=\"attachment_12998354\" class=\"wp-caption aligncenter\" style=\"max-width: 850px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12998354 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy.jpg\" alt=\"Still from 'All My Babies: A Midwife's Own Story' by George C. Stone (1953).\" width=\"850\" height=\"340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy.jpg 850w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy-240x96.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy-375x150.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy-520x208.jpg 520w\" sizes=\"(max-width: 850px) 100vw, 850px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘All My Babies: A Midwife’s Own Story’ by George C. Stone (1953).\u003c/figcaption>\u003c/figure>\n\u003cp>“To be quite honest, I want to make sure I’m drawing the right people, so we’re having the right conversations,” he says. “Yeah, we will talk about blackness and all its variations — but also, I think point blank, it’s like: We already know we’re all black, lets dive deeper into all the intricacies and nuances that surround that.”\u003c/p>\n\u003cp>For many screenings, he also asks a local writer or scholar — \u003ca href=\"https://twitter.com/ztsamudzi\" target=\"_blank\" rel=\"noopener\">Zoe Samudzi\u003c/a>, for instance — to facilitate the conversation.\u003c/p>\n\u003cp>After season one wrapped up in November 2016, Dennis worked to create a publication with multi-disciplinary reflections on the movies he screened. The book, which will be released during season two, includes essays and visual art as well as audio and video works, which are hosted online and accessed through a URL printed in the book. Among the works are a photography series inspired by \u003cem>Drylongso\u003c/em> and a video piece responding to \u003cem>She’s Gotta Have It.\u003c/em>\u003c/p>\n\u003cp>For Dennis, the anthology is an essential next step in the project, because he wants it to be creatively generative — not just an “intellectual jack off.” And, of course, publications are key for contributing to canonization. “We have to preserve these things,” says Dennis. “So, I want people to be like, ‘I was there, I saw this, and they can go back to this moment. That’s really important to me, that we preserve our history, preserve film, preserve these cultural things, because we don’t know what’s gonna happen — they often get lost.”\u003c/p>\n\u003cfigure id=\"attachment_12998362\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12998362 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/2351.original.jpg\" alt=\"A still from 'Ganja and Hess' (1973) by Bill Gunn.\" width=\"1920\" height=\"1056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-1020x561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-1180x649.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-375x206.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-520x286.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Ganja and Hess’ (1973) by Bill Gunn.\u003c/figcaption>\u003c/figure>\n\u003cp>For Dennis, the concept of the Black Aesthetic functions as a rhetorical hook to draw people in and ground the discussions. “It’s very much an open-ended question: What is the black aesthetic?,” says Dennis. “And also, do we want to even ask that question? For me, yes, I think it’s an important question to ask — because it doesn’t exist.”\u003c/p>\n\u003cp>“There’s no one essentializing black voice, of course not. And the whole point of the film series is: How do you show the multiplicities of these, along with queerness and class and all that stuff?”\u003c/p>\n\u003cp>Season two, which will screen at E.M. Wolfman, \u003ca href=\"https://www.facebook.com/NookArtGallery/\" target=\"_blank\" rel=\"noopener\">Nook Gallery\u003c/a>, and an unannounced outdoor location for the finale, approaches that question through a contemporary lens. The line-up includes \u003ca href=\"https://ww2.kqed.org/arts/2015/10/23/alive-and-well-and-right-where-he-wants-to-be/\" target=\"_blank\" rel=\"noopener\">Brontez Purnell\u003c/a>’s \u003cem>100 Boyfriends Mixtape\u003c/em>, \u003ca href=\"http://www.jehnovahcarlisle.com/about/\" target=\"_blank\" rel=\"noopener\">Jehnovah Carlisle\u003c/a>’s \u003cem>Day by Day / The Man Who Feared\u003c/em>, and \u003ca href=\"https://vimeo.com/198186589\" target=\"_blank\" rel=\"noopener\">Yetunde Olagbaju\u003c/a>’s \u003cem>i gave myself space to go back…pt. II\u003c/em>, among many other works. The lineup ranges from dramas to cinematic ritual to experimental short films. And for most screenings, the filmmaker will be in attendance to participate in the conversation. For Dennis, that’s crucial, because he hopes to foster community among filmmakers as well — not just audiences.\u003c/p>\n\u003cp>“My fundamental goal was, how do you foster a creative culture in Oakland?,” says Dennis. “For POC and black people in particular, because I feel like there’s a lot of black weirdos around here that need to know that they are loved. And that they’re understood and that their voice is important.”\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Season two of the Black Aesthetic film series \u003ca href=\"https://www.facebook.com/events/395004960871225/\" target=\"_blank\" rel=\"noopener\">launches\u003c/a> at E.M. Wolfman bookstore (410 13th St., Oakland) on Thursday, April 13, at 7pm. For information on future screenings, \u003ca href=\"https://www.facebook.com/theblckaesthetic/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
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