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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Iranian-born Rita (Della Saba, \u003cem>Zootopia\u003c/em>) sets out to change her life from ordinary to extraordinary, she captures the attention of a homeland security agent (Patrick Fugit, \u003cem>Gone Girl\u003c/em>, \u003cem>Almost Famous\u003c/em>, \u003cem>Outcast\u003c/em>) in \u003cem>Rita Mahtoubian is not a Terrorist\u003c/em>, a satirical comedy about romance, terrorism, and self-help.\u003c/p>\n\u003cp>Written and directed by \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/03/09/rita-mahtoubian-is-not-a-terrorist-is-a-satirical-take-on-romance-and-mistaken-identity/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/03/09/rita-mahtoubian-is-not-a-terrorist-is-a-satirical-take-on-romance-and-mistaken-identity/\" target=\"_blank\" title=\"‘Rita Mahtoubian is not a Terrorist’ is a Satirical Take on Romance and Mistaken Identity\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Fred Weintraub, Founder of the Bitter End and 'Enter The Dragon' Producer, Dies at 88",
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"content": "\u003cp>An impresario and producer who helped launch the careers of many marquee-name musicians, comedians and actors — including Bob Dylan, Woody Allen and Bruce Lee — has died. Fred Weintraub was 88 years old.\u003c/p>\n\u003cp>His wife, Jackie, confirmed his death to NPR. He died at their home in Pacific Palisades, Calif. on March 5, due to complications related to Parkinson’s disease.\u003c/p>\n\u003cp>Born in the Bronx on April 27, 1928, Weintraub studied for his bar mitzvah with famed cantor and Metropolitan Opera soloist \u003ca href=\"http://thevillager.com/2012/04/05/bitter-ends-weintraub-returns-to-where-it-began-on-bleecker/\" target=\"_blank\" rel=\"noopener\">Richard Tucker\u003c/a>. After graduating from the University of Pennsylvania’s Wharton School, he started his career as heir to his father’s baby-carriage and toy business.\u003c/p>\n\u003cp>But, despairing of that life at age 26, he \u003ca href=\"http://www.fredweintraub.com/index.php?page=the-bitter-end\" target=\"_blank\" rel=\"noopener\">abandoned\u003c/a> his two children and then-wife to travel the world and pick up odd jobs, including running a fishing boat in Cuba. (He married four times in total, but was married to his last wife, Jackie, for 30 years.)\u003c/p>\n\u003cp>Eventually, Weintraub returned to New York. In 1961, he opened a club called The Bitter End, serving ice cream and coffee drinks instead of alcohol, at 147 Bleecker St., in the heart of Greenwich Village.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s nearly impossible to overstate The Bitter End’s position as a fulcrum of New York’s music and comedy scenes. Among the many talents \u003ca href=\"http://www.bitterend.com/legends/\" target=\"_blank\" rel=\"noopener\">fostered\u003c/a> on that stage, against its famous bare-brick wall, were Bob Dylan, Joan Baez, Nina Simone, Carly Simon, Harry Chapin, Randy Newman, George Carlin, Woody Allen, Lily Tomlin, Joan Rivers and Bill Cosby.\u003c/p>\n\u003cp>A decade after the Bitter End opened, its manager, Paul Colby, opened another club next door called The Other End — and Weintraub fired him. By 1974, however, Weintraub had sold the Bitter End to Colby, who \u003ca href=\"https://www.nytimes.com/2014/02/20/nyregion/paul-colby-owner-of-club-that-helped-the-rise-of-greenwich-village-dies-at-96.html\" target=\"_blank\" rel=\"noopener\">died\u003c/a> in 2014 at 96.\u003c/p>\n\u003cp>In the late 1960s, Weintraub headed west to the Warner Bros. film studios as a production executive. One of his first tasks there was to finance a music documentary for the “hesitant … establishment” at the studio, as Jackie Weintraub wrote in a statement provided to NPR. It was the landmark, Oscar-winning \u003cem>Woodstock\u003c/em>, released in 1970. \u003cem>Woodstock\u003c/em> earned \u003ca href=\"http://www.latimes.com/entertainment/music/la-me-fred-weintraub-20170307-story.html\" target=\"_blank\" rel=\"noopener\">$32 million\u003c/a> in its theatrical release, an \u003ca href=\"http://www.boxofficemojo.com/genres/chart/?id=documentary.htm&sort=gross&order=DESC&p=.htm\">impressive return\u003c/a> for a documentary film both then and now.\u003c/p>\n\u003cp>Soon after that smash hit, Weintraub decided he wanted to replicate the success of Hong Kong’s martial arts movies in America. He went looking to make a star, and found one in an aspiring actor and martial arts teacher working in Oakland: Bruce Lee. Their resulting film, 1973’s \u003cem>Enter the Dragon\u003c/em>, made more than $100 million worldwide — and made Lee, who died a few days after the movie’s release, an instant legend.\u003c/p>\n\u003cp>Weintraub went on to have additional commercial successes in both film and TV, including producing the folk music program \u003ci>Hootenanny\u003c/i> and \u003ci>The Dukes of Hazzard.\u003c/i> After the collapse of the Soviet Union, Weintraub also helped develop the film industry in then-Yugoslavia and in Lithuania.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a 2012 event in Burbank promoting his autobiography \u003cem>\u003ca>Bruce Lee\u003c/a>, Woodstock and Me: From the Man Behind a Half-Century of Music, Movies and Martial Arts\u003c/em> (written with David Fields), Weintraub \u003ca href=\"http://www.latimes.com/tn-blr-0613-on-the-town-meeting-an-entertainment-legend-fred-weintraub-story.html\" target=\"_blank\" rel=\"noopener\">told\u003c/a> the audience: “I’ve had a serendipitous life with more failures than you can imagine. I believe success and failure go hand-in-hand, and you can never go wrong in failing. You’ll always come out of a failure as a better person. I agree with Winston Churchill, who said, ‘Success consists of going from failure to failure without loss of enthusiasm.’ You have to be willing to stick your neck out. Always do new things. Try anything. You never know when something life-changing will come your way.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fred+Weintraub%2C+Founder+Of+The+Bitter+End+And+%27Enter+The+Dragon%27+Producer%2C+Dies+At+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "As an impresario and producer, Weintraub fueled the careers of scores of important performers across music, comedy and film — from Bob Dylan to Woody Allen to Bruce Lee. He died Sunday at age 88.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An impresario and producer who helped launch the careers of many marquee-name musicians, comedians and actors — including Bob Dylan, Woody Allen and Bruce Lee — has died. Fred Weintraub was 88 years old.\u003c/p>\n\u003cp>His wife, Jackie, confirmed his death to NPR. He died at their home in Pacific Palisades, Calif. on March 5, due to complications related to Parkinson’s disease.\u003c/p>\n\u003cp>Born in the Bronx on April 27, 1928, Weintraub studied for his bar mitzvah with famed cantor and Metropolitan Opera soloist \u003ca href=\"http://thevillager.com/2012/04/05/bitter-ends-weintraub-returns-to-where-it-began-on-bleecker/\" target=\"_blank\" rel=\"noopener\">Richard Tucker\u003c/a>. After graduating from the University of Pennsylvania’s Wharton School, he started his career as heir to his father’s baby-carriage and toy business.\u003c/p>\n\u003cp>But, despairing of that life at age 26, he \u003ca href=\"http://www.fredweintraub.com/index.php?page=the-bitter-end\" target=\"_blank\" rel=\"noopener\">abandoned\u003c/a> his two children and then-wife to travel the world and pick up odd jobs, including running a fishing boat in Cuba. (He married four times in total, but was married to his last wife, Jackie, for 30 years.)\u003c/p>\n\u003cp>Eventually, Weintraub returned to New York. In 1961, he opened a club called The Bitter End, serving ice cream and coffee drinks instead of alcohol, at 147 Bleecker St., in the heart of Greenwich Village.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s nearly impossible to overstate The Bitter End’s position as a fulcrum of New York’s music and comedy scenes. Among the many talents \u003ca href=\"http://www.bitterend.com/legends/\" target=\"_blank\" rel=\"noopener\">fostered\u003c/a> on that stage, against its famous bare-brick wall, were Bob Dylan, Joan Baez, Nina Simone, Carly Simon, Harry Chapin, Randy Newman, George Carlin, Woody Allen, Lily Tomlin, Joan Rivers and Bill Cosby.\u003c/p>\n\u003cp>A decade after the Bitter End opened, its manager, Paul Colby, opened another club next door called The Other End — and Weintraub fired him. By 1974, however, Weintraub had sold the Bitter End to Colby, who \u003ca href=\"https://www.nytimes.com/2014/02/20/nyregion/paul-colby-owner-of-club-that-helped-the-rise-of-greenwich-village-dies-at-96.html\" target=\"_blank\" rel=\"noopener\">died\u003c/a> in 2014 at 96.\u003c/p>\n\u003cp>In the late 1960s, Weintraub headed west to the Warner Bros. film studios as a production executive. One of his first tasks there was to finance a music documentary for the “hesitant … establishment” at the studio, as Jackie Weintraub wrote in a statement provided to NPR. It was the landmark, Oscar-winning \u003cem>Woodstock\u003c/em>, released in 1970. \u003cem>Woodstock\u003c/em> earned \u003ca href=\"http://www.latimes.com/entertainment/music/la-me-fred-weintraub-20170307-story.html\" target=\"_blank\" rel=\"noopener\">$32 million\u003c/a> in its theatrical release, an \u003ca href=\"http://www.boxofficemojo.com/genres/chart/?id=documentary.htm&sort=gross&order=DESC&p=.htm\">impressive return\u003c/a> for a documentary film both then and now.\u003c/p>\n\u003cp>Soon after that smash hit, Weintraub decided he wanted to replicate the success of Hong Kong’s martial arts movies in America. He went looking to make a star, and found one in an aspiring actor and martial arts teacher working in Oakland: Bruce Lee. Their resulting film, 1973’s \u003cem>Enter the Dragon\u003c/em>, made more than $100 million worldwide — and made Lee, who died a few days after the movie’s release, an instant legend.\u003c/p>\n\u003cp>Weintraub went on to have additional commercial successes in both film and TV, including producing the folk music program \u003ci>Hootenanny\u003c/i> and \u003ci>The Dukes of Hazzard.\u003c/i> After the collapse of the Soviet Union, Weintraub also helped develop the film industry in then-Yugoslavia and in Lithuania.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a 2012 event in Burbank promoting his autobiography \u003cem>\u003ca>Bruce Lee\u003c/a>, Woodstock and Me: From the Man Behind a Half-Century of Music, Movies and Martial Arts\u003c/em> (written with David Fields), Weintraub \u003ca href=\"http://www.latimes.com/tn-blr-0613-on-the-town-meeting-an-entertainment-legend-fred-weintraub-story.html\" target=\"_blank\" rel=\"noopener\">told\u003c/a> the audience: “I’ve had a serendipitous life with more failures than you can imagine. I believe success and failure go hand-in-hand, and you can never go wrong in failing. You’ll always come out of a failure as a better person. I agree with Winston Churchill, who said, ‘Success consists of going from failure to failure without loss of enthusiasm.’ You have to be willing to stick your neck out. Always do new things. Try anything. You never know when something life-changing will come your way.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fred+Weintraub%2C+Founder+Of+The+Bitter+End+And+%27Enter+The+Dragon%27+Producer%2C+Dies+At+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "1970s Immigration Story Becomes Timely in CAAMFest’s ‘Tiger Hunter’",
"headTitle": "1970s Immigration Story Becomes Timely in CAAMFest’s ‘Tiger Hunter’ | KQED",
"content": "\u003cp>\u003ci>The Tiger Hunter\u003c/i>, the opening night film for the \u003ca href=\"http://caamfest.com/2017/\" target=\"_blank\" rel=\"noopener\">Center for Asian American Media’s annual film festival\u003c/a> (CAAMFest), could not arrive at a more pertinent and fragile moment. \u003c/p>\n\u003cp>Coming to San Francisco on the heels of President Trump’s most recent travel ban on six predominantly Muslim countries, the feature film debut from writer and director Lena Khan tells the story of Sami (Danny Pudi of \u003ci>Community\u003c/i> fame), a Muslim-Indian who immigrates to America in the 1970s in search of a better life. In this context, the romantic comedy can feel like an inadvertent rebuttal within the ongoing national debate surrounding Muslim immigration.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" 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>\u003c/p>\n\u003cp>But Khan, herself Muslim-American, never imagined the current political circumstances that have propelled her film into an unavoidably symbolic work.\u003c/p>\n\u003cp>“I was among the people who thought that Donald Trump was never going to become president,” says the 31-year-old filmmaker. “And I didn’t think actually think that Muslim bans or Muslim registries or anything like that would be serious conversation.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Having always seen film as a vehicle for social activism, Khan understands the importance of media representation in combating misguided perceptions, especially in such a fraught time. And because Muslim characters are often absent, or flatly stereotyped on screen, Khan worried that a story featuring multi-dimensional Muslims at its center would be unwanted. It took film festival screenings, such as one in Austin where “Southern dudes” filled theater seats, for Khan to expel these internalized doubts.\u003c/p>\n\u003cp>https://youtu.be/SiUzXKFfkE8\u003c/p>\n\u003cp>\u003ci>The Tiger Hunter\u003c/i> doesn’t exploit or sensationalize Sami’s Muslim identity — in fact, the detail is barely implied. “I always wanted to make a story having a Muslim character in which that wasn’t the defining part of his story,” Khan says. “I wanted to humanize, and have a real portrayal of a Muslim character.”\u003c/p>\n\u003cp>What takes the fore instead is the rare depiction of a generation of immigrants’ untold struggles. Sami first touches down in the States with the promise of an engineering position at a Chicago manufacturing firm, only to quickly realize the offer has expired. He moves in with a jovial Pakistani immigrant, Babu (Rizwan Manji), and his dozen or so other roommates in a cramped apartment as he plots his way to become a “professional American.”\u003c/p>\n\u003cfigure id=\"attachment_12866399\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12866399\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/still4.jpg\" alt=\"Still from 'The Tiger Hunter.'\" width=\"1920\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-800x333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-1020x425.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-1180x492.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-960x400.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-240x100.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-375x156.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-520x217.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Tiger Hunter.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sami’s story is indicative of countless Asian and South-Asian immigrant journeys of the 1970s and beyond — coming to America with the promise and potential for prosperity, only to hustle at the bottom within self-created communities in order to survive. But if these stories are tragically ignored in the cultural consciousness, Khan does not lament it, instead crafting her film as a rom-com with heart.\u003c/p>\n\u003cp>While addressing the veracity of the American Dream, Khan peppers the film with hijinks, as Sami attempts to woo his childhood crush and live up to his tiger-hunting father’s legacy. The lighthearted nature is a deliberate strategy.\u003c/p>\n\u003cp>“It’s so much harder to break down people’s prejudices by putting them on the defensive,” Khan says. “I did not want to do a story on all the racism he encounters because your intended audience is automatically turned away and they feel defensive. I wanted to make it something that felt approachable to people so they could have those conversations.”\u003c/p>\n\u003cfigure id=\"attachment_12866402\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12866402\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/still1.jpg\" alt=\"Still from 'The Tiger Hunter.'\" width=\"1920\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-800x333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-1020x425.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-1180x492.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-960x400.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-240x100.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-375x156.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-520x217.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Tiger Hunter.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The nature of those conversations could be varied — if some audiences simply enjoy a love story between two leads who are people of color, Khan would be happy. But other post-viewing dialogue will come from Khan’s insertion, beneath the colorful lighting and laughs, of real-life accounts of experiences from immigrants.\u003c/p>\n\u003cp>“A lot of the things that Babu says were just taken from things that people said,” Khan says. “It just really struck me when somebody said, ‘You go to places like In-N-Out and nobody steals your food when they call your number.’ And he was just enamored by that, for him it was like, this is what America means.”\u003c/p>\n\u003cp>In the present moment, optimism for America is in limbo, Khan says. The very existence of a film like \u003ci>The Tiger Hunter\u003c/i> is a sign of progress for the medium and for gains in sociocultural understanding. But the reasons for the film’s currently heightened significance is equally disheartening.\u003c/p>\n\u003cfigure id=\"attachment_12866400\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12866400\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Lena1200.jpg\" alt=\"Lena Khan\" width=\"1200\" height=\"1029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-800x686.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-1020x875.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-1180x1012.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-960x823.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-240x206.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-375x322.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-520x446.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lena Khan. \u003ccite>(Photo by Lara Solanki)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In industry circles, Muslim-Americans are still far and few between, and Khan can still sense the assumptions from those who see a woman in a hijab and think, she says, “You’re foreign, and that you might not know the same movies or have the same working knowledge of things.”\u003c/p>\n\u003cp>But in the vein of the immigrants in \u003ci>The Tiger Hunter\u003c/i>, Khan focuses less on the obstructions and more on the work that needs to be done.\u003c/p>\n\u003cp>And ever slowly, the needle is moving in the right direction.\u003c/p>\n\u003cp>“I’m so excited to see so many who are trying to push toward diversity or trying to use film for the same goals I am,” Khan says. “They’re not necessarily the majority, but they’re there, and that base of people is increasing. I think that’s going to lead to changes as well in bridging some of the divides we have now in this country.”\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>\u003cb>The Tiger Hunter\u003c/b> opens CAAMFest at 7pm on Thursday, March 9, at the Castro Theater in San Francisco. For tickets and more information visit \u003ca href=\"http://caamfest.com/2017/films/tiger-hunter/\" target=\"_blank\" rel=\"noopener\">caamfest.com\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>The Tiger Hunter\u003c/i>, the opening night film for the \u003ca href=\"http://caamfest.com/2017/\" target=\"_blank\" rel=\"noopener\">Center for Asian American Media’s annual film festival\u003c/a> (CAAMFest), could not arrive at a more pertinent and fragile moment. \u003c/p>\n\u003cp>Coming to San Francisco on the heels of President Trump’s most recent travel ban on six predominantly Muslim countries, the feature film debut from writer and director Lena Khan tells the story of Sami (Danny Pudi of \u003ci>Community\u003c/i> fame), a Muslim-Indian who immigrates to America in the 1970s in search of a better life. In this context, the romantic comedy can feel like an inadvertent rebuttal within the ongoing national debate surrounding Muslim immigration.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" 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>\u003c/p>\n\u003cp>But Khan, herself Muslim-American, never imagined the current political circumstances that have propelled her film into an unavoidably symbolic work.\u003c/p>\n\u003cp>“I was among the people who thought that Donald Trump was never going to become president,” says the 31-year-old filmmaker. “And I didn’t think actually think that Muslim bans or Muslim registries or anything like that would be serious conversation.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Having always seen film as a vehicle for social activism, Khan understands the importance of media representation in combating misguided perceptions, especially in such a fraught time. And because Muslim characters are often absent, or flatly stereotyped on screen, Khan worried that a story featuring multi-dimensional Muslims at its center would be unwanted. It took film festival screenings, such as one in Austin where “Southern dudes” filled theater seats, for Khan to expel these internalized doubts.\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/SiUzXKFfkE8'\n title='//www.youtube.com/embed/SiUzXKFfkE8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ci>The Tiger Hunter\u003c/i> doesn’t exploit or sensationalize Sami’s Muslim identity — in fact, the detail is barely implied. “I always wanted to make a story having a Muslim character in which that wasn’t the defining part of his story,” Khan says. “I wanted to humanize, and have a real portrayal of a Muslim character.”\u003c/p>\n\u003cp>What takes the fore instead is the rare depiction of a generation of immigrants’ untold struggles. Sami first touches down in the States with the promise of an engineering position at a Chicago manufacturing firm, only to quickly realize the offer has expired. He moves in with a jovial Pakistani immigrant, Babu (Rizwan Manji), and his dozen or so other roommates in a cramped apartment as he plots his way to become a “professional American.”\u003c/p>\n\u003cfigure id=\"attachment_12866399\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12866399\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/still4.jpg\" alt=\"Still from 'The Tiger Hunter.'\" width=\"1920\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-800x333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-1020x425.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-1180x492.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-960x400.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-240x100.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-375x156.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-520x217.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Tiger Hunter.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sami’s story is indicative of countless Asian and South-Asian immigrant journeys of the 1970s and beyond — coming to America with the promise and potential for prosperity, only to hustle at the bottom within self-created communities in order to survive. But if these stories are tragically ignored in the cultural consciousness, Khan does not lament it, instead crafting her film as a rom-com with heart.\u003c/p>\n\u003cp>While addressing the veracity of the American Dream, Khan peppers the film with hijinks, as Sami attempts to woo his childhood crush and live up to his tiger-hunting father’s legacy. The lighthearted nature is a deliberate strategy.\u003c/p>\n\u003cp>“It’s so much harder to break down people’s prejudices by putting them on the defensive,” Khan says. “I did not want to do a story on all the racism he encounters because your intended audience is automatically turned away and they feel defensive. I wanted to make it something that felt approachable to people so they could have those conversations.”\u003c/p>\n\u003cfigure id=\"attachment_12866402\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12866402\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/still1.jpg\" alt=\"Still from 'The Tiger Hunter.'\" width=\"1920\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-800x333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-1020x425.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-1180x492.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-960x400.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-240x100.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-375x156.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-520x217.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Tiger Hunter.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The nature of those conversations could be varied — if some audiences simply enjoy a love story between two leads who are people of color, Khan would be happy. But other post-viewing dialogue will come from Khan’s insertion, beneath the colorful lighting and laughs, of real-life accounts of experiences from immigrants.\u003c/p>\n\u003cp>“A lot of the things that Babu says were just taken from things that people said,” Khan says. “It just really struck me when somebody said, ‘You go to places like In-N-Out and nobody steals your food when they call your number.’ And he was just enamored by that, for him it was like, this is what America means.”\u003c/p>\n\u003cp>In the present moment, optimism for America is in limbo, Khan says. The very existence of a film like \u003ci>The Tiger Hunter\u003c/i> is a sign of progress for the medium and for gains in sociocultural understanding. But the reasons for the film’s currently heightened significance is equally disheartening.\u003c/p>\n\u003cfigure id=\"attachment_12866400\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12866400\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Lena1200.jpg\" alt=\"Lena Khan\" width=\"1200\" height=\"1029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-800x686.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-1020x875.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-1180x1012.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-960x823.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-240x206.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-375x322.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-520x446.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lena Khan. \u003ccite>(Photo by Lara Solanki)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In industry circles, Muslim-Americans are still far and few between, and Khan can still sense the assumptions from those who see a woman in a hijab and think, she says, “You’re foreign, and that you might not know the same movies or have the same working knowledge of things.”\u003c/p>\n\u003cp>But in the vein of the immigrants in \u003ci>The Tiger Hunter\u003c/i>, Khan focuses less on the obstructions and more on the work that needs to be done.\u003c/p>\n\u003cp>And ever slowly, the needle is moving in the right direction.\u003c/p>\n\u003cp>“I’m so excited to see so many who are trying to push toward diversity or trying to use film for the same goals I am,” Khan says. “They’re not necessarily the majority, but they’re there, and that base of people is increasing. I think that’s going to lead to changes as well in bridging some of the divides we have now in this country.”\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>\u003cb>The Tiger Hunter\u003c/b> opens CAAMFest at 7pm on Thursday, March 9, at the Castro Theater in San Francisco. For tickets and more information visit \u003ca href=\"http://caamfest.com/2017/films/tiger-hunter/\" target=\"_blank\" rel=\"noopener\">caamfest.com\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "#ILookLikeAFilmmaker: Short Films for Women’s History Month",
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"content": "\u003cp>The gender gap behind the scenes in Hollywood is dismal, but film schools like USC and NYU report that \u003ca target=\"_blank\" href=\"http://www.mtv.com/news/2159771/female-directors-college/\" rel=\"noopener\">half their graduates are women\u003c/a>.\u003c/p>\n\u003cp>As a result, \u003cem>Film School Shorts\u003c/em> has featured two dozen up-and-coming female directors over our last four seasons. For Women’s History Month, we put together a \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/03/08/ilooklikeafilmmaker-short-films-for-womens-history-month/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/03/08/ilooklikeafilmmaker-short-films-for-womens-history-month/\" target=\"_blank\" title=\"#ILookLikeAFilmmaker: Short Films for Women’s History Month\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>The gender gap behind the scenes in Hollywood is dismal, but film schools like USC and NYU report that \u003ca target=\"_blank\" href=\"http://www.mtv.com/news/2159771/female-directors-college/\" rel=\"noopener\">half their graduates are women\u003c/a>.\u003c/p>\n\u003cp>As a result, \u003cem>Film School Shorts\u003c/em> has featured two dozen up-and-coming female directors over our last four seasons. For Women's History Month, we put together a \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/03/08/ilooklikeafilmmaker-short-films-for-womens-history-month/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"description": "The gender gap behind the scenes in Hollywood is dismal, but film schools like USC and NYU report that half their graduates are women.\nAs a result, Film School Shorts has featured two dozen up-and-coming female directors over our last four seasons. For Women's History Month, we put together a ...read more",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The gender gap behind the scenes in Hollywood is dismal, but film schools like USC and NYU report that \u003ca target=\"_blank\" href=\"http://www.mtv.com/news/2159771/female-directors-college/\" rel=\"noopener\">half their graduates are women\u003c/a>.\u003c/p>\n\u003cp>As a result, \u003cem>Film School Shorts\u003c/em> has featured two dozen up-and-coming female directors over our last four seasons. For Women’s History Month, we put together a \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/03/08/ilooklikeafilmmaker-short-films-for-womens-history-month/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/03/08/ilooklikeafilmmaker-short-films-for-womens-history-month/\" target=\"_blank\" title=\"#ILookLikeAFilmmaker: Short Films for Women’s History Month\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Logan' Is The Best At What It Does — And What It Does Is Gritty",
"headTitle": "‘Logan’ Is The Best At What It Does — And What It Does Is Gritty | KQED",
"content": "\u003cp>Long live \u003cem>Logan\u003c/em>, James Mangold’s sad, stirring requiem for the \u003cem>X-Men\u003c/em> franchise’s most beloved character. The only problem with calling it the boldest and most affecting superhero flick in many years is that it’s barely a superhero movie at all.\u003c/p>\n\u003cp>It doesn’t talk like a superhero: too many F-bombs, including its very first word. And it doesn’t walk like a superhero: No computer-generated cities are razed in its finale, no unseen thousands sacrificed. Though with its gnarly R-rated medley of stabbings, slicings, skewerings, and impalings in what has been, \u003cem>Deadpool\u003c/em> excepted, a PG-13 franchise, \u003cem>Logan\u003c/em> sure feels bloodier than most of its ilk. And \u003cem>feels\u003c/em> is the right verb: The deaths have weight. For once. To misquote the 40-year-old tagline of the very first big-budget comic book movie, \u003cem>you will believe a man can cry …\u003c/em>\u003c/p>\n\u003cp>… at a movie about a 200-year-old rage monster with a silly haircut and retractable knives implanted in his knuckles.\u003c/p>\n\u003cp>https://youtu.be/RH3OxVFvTeg\u003c/p>\n\u003cp>Because \u003cem>Logan\u003c/em> is unlike any capes-and-tights movie we’ve seen. It does for the creaky \u003cem>X\u003c/em> series what \u003cem>Creed\u003c/em> did for the \u003cem>Rocky\u003c/em> cycle, restoring the integrity and emotion of the earliest installments while introducing talented new blood. (As with \u003cem>Creed\u003c/em>, you need only skeletal familiarity with the prior chapters to get gut-punched by this one.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Most significantly, it’s Hugh Jackman’s swan song to the part that’ll be cited in the first graf of his obituary, one he’s played for 17 years — longer than any superhero has ever remained on duty, by a lot. He’s played Logan more times than Sly played Rocky. More times than Connery \u003cem>or\u003c/em> Moore played 007. More times than Shatner played Kirk — in movies, anyway. (And all \u003cem>sans\u003c/em> hairpiece, despite the precariousness of his rapid-healing mutant coif!)\u003c/p>\n\u003cp>Unlike almost every other star who ever got famous in a heavily-merchandised role, Jackman never whined about his golden-goose gig. He was a musical theater guy, used to working hard, and he knew he’d lucked into an opportunity most actors would stab you through the heart with adamantium claws for. (In fact, he was a last-minute replacement Wolverine, after Scotsman Dougray Scott had to drop out of 2000’s \u003cem>X-Men\u003c/em>.) Jackman always seemed humble and happy.\u003c/p>\n\u003cp>Which is ironic, because the character has historically been defined by his temper. But it’s rage of the largely impotent sort in \u003cem>Logan\u003c/em>, which plays like the \u003cem>King Lear\u003c/em> of the X-saga. Director Mangold gave us not only 2013’s not-bad \u003cem>The Wolverine\u003c/em>, but also \u003cem>Walk the Line\u003c/em>, and \u003cem>3:10 to Yuma\u003c/em>. You can pick up echoes of all those movies here, and of \u003cem>Unforgiven\u003c/em>, samurai pictures, the Coen Brothers, \u003cem>Children of Men\u003c/em>, even Samuel Beckett. The scenes between Jackman and Patrick Stewart, who’s been in these movies as long as he has, have an intimacy rarely found in films with nine-digit budgets.\u003c/p>\n\u003cp>One influence that’s muted: the 40-odd years of Marvel comics in which the character has appeared. Even though, in a confident grace note, the movie actually lets Jackman leaf through old \u003cem>X-Men\u003c/em> issues, dismissing them as “ice cream for bed wetters!” because that’s not how it all went down. Feel free to infer a diss of any X-movies that didn’t deserve him. \u003ca href=\"http://www.npr.org/2016/05/26/479576425/x-men-issues-hiding-oscar-isaac-is-only-the-beginning\" target=\"_blank\" rel=\"noopener\">There have been a few\u003c/a>.\u003c/p>\n\u003cp>But at last we have a Wolverine movie as committed as Jackman is, and the grinning Australian wrings every drop of pathos he can from it. He’s tremendous. \u003cem>Logan\u003c/em> finds the short-tempered, steel-skulled, bicentennial beast-man finally feeling his age. It’s an effort for his body to expel bullets now. He’s hacking up blood like a courtesan in an opera. In one sure sign that the instant “healing factor” that once made him unkillable is flagging, he can even get drunk — and he does his damnedest to stay that way.\u003c/p>\n\u003cp>You need only scope out its sun-bleached El Paso-to-Oklahoma City-to-North Dakota trail to see that \u003cem>Logan\u003c/em> belongs to a genre even older and more tradition-bound than superheroes: In every way that matters, it’s a Western. Mangold leans into that association, hard, by having its three principal characters take a breather from the action in Act Two to watch the George Stevens classic \u003cem>Shane\u003c/em>. If you know that movie, you’ll get a pretty good clue about where this one is going.\u003c/p>\n\u003cp>Subtle? No. Powerful? Just you wait, Bub.\u003c/p>\n\u003cp>Set in 2029 (where \u003cem>The Terminator\u003c/em> began, back when 2029 was a long way off), \u003cem>Logan\u003c/em> exists in a twilight world where the X-Men are a spent and dissipated force. No new mutants have appeared in a generation. Charles Xavier, who founded the team some 70 years earlier, is in his nineties and suffering from dementia. Mangold (who wrote the script with Scott Frank and Michael Green, drawing inspiration from two 21st century comics stories by Mark Millar and Kyle Craig) vividly imagines what this scenario might look like if the patient were the world’s most powerful psychic. Basically, a Professor X not in control of his faculties is a loose nuke. Logan and Caliban (the comedian Stephen Merchant, playing a bad-mutant-turned-good) keep the prof sedated and isolated in a compound south of the border, hoping he won’t take us all with him when he finally goes.\u003c/p>\n\u003cp>Logan, scraping together a living as a limo driver, reluctantly accepts a dying woman’s request to escort a mysterious little girl (the astonishing Dafne Keen) from Mexico, up through the spine of the United States, to Canada. The \u003cem>Federales\u003c/em> and a bunch of extras from \u003cem>The Road Warrior\u003c/em> show up at his door (along with Boyd Holbrook from \u003cem>Narcos\u003c/em> and Richard E. Grant from the immortal \u003cem>Hudson Hawk\u003c/em>) and the movie becomes, like \u003cem>The Empire Strikes Back\u003c/em>, one long, desperate chase — and with just as many surprises.\u003c/p>\n\u003cp>Though it runs 45 minutes longer than Bryan Singer’s franchise-launching \u003cem>X-Men\u003c/em>, it shares with that film a refreshing modesty of scale. \u003cem>X-Men\u003c/em> was built largely on Jackman’s protective relationship with Anna Paquin, as \u003cem>Logan\u003c/em> trades on his burgeoning rapport with Keen. The world isn’t threatened — just a handful of characters about whom we’ve come to care deeply.\u003c/p>\n\u003cp>Marvel’s “mutants,” separate from their other superpowered beings, have always been analogs for persecuted peoples; in this movie, they’re immigrants. This gives \u003cem>Logan\u003c/em> the kind of topical \u003cem>frisson\u003c/em> and intensity that \u003cem>The Dark Knight\u003c/em> had nine years ago, and no superhero movie has enjoyed since. Inevitably, there will be those who cry that we don’t \u003cem>need\u003c/em> dour, violent R-rated comic book adaptations; that crowd can take comfort in the certainty that the bright, quippy Marvel Studios films aren’t going out of print until the human race does.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Logan\u003c/em> is something else, a stripped-down, one-mic, late-period Johnny Cash-style supermovie. And it’s a Marvel. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long live \u003cem>Logan\u003c/em>, James Mangold’s sad, stirring requiem for the \u003cem>X-Men\u003c/em> franchise’s most beloved character. The only problem with calling it the boldest and most affecting superhero flick in many years is that it’s barely a superhero movie at all.\u003c/p>\n\u003cp>It doesn’t talk like a superhero: too many F-bombs, including its very first word. And it doesn’t walk like a superhero: No computer-generated cities are razed in its finale, no unseen thousands sacrificed. Though with its gnarly R-rated medley of stabbings, slicings, skewerings, and impalings in what has been, \u003cem>Deadpool\u003c/em> excepted, a PG-13 franchise, \u003cem>Logan\u003c/em> sure feels bloodier than most of its ilk. And \u003cem>feels\u003c/em> is the right verb: The deaths have weight. For once. To misquote the 40-year-old tagline of the very first big-budget comic book movie, \u003cem>you will believe a man can cry …\u003c/em>\u003c/p>\n\u003cp>… at a movie about a 200-year-old rage monster with a silly haircut and retractable knives implanted in his knuckles.\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/RH3OxVFvTeg'\n title='//www.youtube.com/embed/RH3OxVFvTeg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Because \u003cem>Logan\u003c/em> is unlike any capes-and-tights movie we’ve seen. It does for the creaky \u003cem>X\u003c/em> series what \u003cem>Creed\u003c/em> did for the \u003cem>Rocky\u003c/em> cycle, restoring the integrity and emotion of the earliest installments while introducing talented new blood. (As with \u003cem>Creed\u003c/em>, you need only skeletal familiarity with the prior chapters to get gut-punched by this one.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most significantly, it’s Hugh Jackman’s swan song to the part that’ll be cited in the first graf of his obituary, one he’s played for 17 years — longer than any superhero has ever remained on duty, by a lot. He’s played Logan more times than Sly played Rocky. More times than Connery \u003cem>or\u003c/em> Moore played 007. More times than Shatner played Kirk — in movies, anyway. (And all \u003cem>sans\u003c/em> hairpiece, despite the precariousness of his rapid-healing mutant coif!)\u003c/p>\n\u003cp>Unlike almost every other star who ever got famous in a heavily-merchandised role, Jackman never whined about his golden-goose gig. He was a musical theater guy, used to working hard, and he knew he’d lucked into an opportunity most actors would stab you through the heart with adamantium claws for. (In fact, he was a last-minute replacement Wolverine, after Scotsman Dougray Scott had to drop out of 2000’s \u003cem>X-Men\u003c/em>.) Jackman always seemed humble and happy.\u003c/p>\n\u003cp>Which is ironic, because the character has historically been defined by his temper. But it’s rage of the largely impotent sort in \u003cem>Logan\u003c/em>, which plays like the \u003cem>King Lear\u003c/em> of the X-saga. Director Mangold gave us not only 2013’s not-bad \u003cem>The Wolverine\u003c/em>, but also \u003cem>Walk the Line\u003c/em>, and \u003cem>3:10 to Yuma\u003c/em>. You can pick up echoes of all those movies here, and of \u003cem>Unforgiven\u003c/em>, samurai pictures, the Coen Brothers, \u003cem>Children of Men\u003c/em>, even Samuel Beckett. 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He’s tremendous. \u003cem>Logan\u003c/em> finds the short-tempered, steel-skulled, bicentennial beast-man finally feeling his age. It’s an effort for his body to expel bullets now. He’s hacking up blood like a courtesan in an opera. In one sure sign that the instant “healing factor” that once made him unkillable is flagging, he can even get drunk — and he does his damnedest to stay that way.\u003c/p>\n\u003cp>You need only scope out its sun-bleached El Paso-to-Oklahoma City-to-North Dakota trail to see that \u003cem>Logan\u003c/em> belongs to a genre even older and more tradition-bound than superheroes: In every way that matters, it’s a Western. Mangold leans into that association, hard, by having its three principal characters take a breather from the action in Act Two to watch the George Stevens classic \u003cem>Shane\u003c/em>. If you know that movie, you’ll get a pretty good clue about where this one is going.\u003c/p>\n\u003cp>Subtle? No. Powerful? Just you wait, Bub.\u003c/p>\n\u003cp>Set in 2029 (where \u003cem>The Terminator\u003c/em> began, back when 2029 was a long way off), \u003cem>Logan\u003c/em> exists in a twilight world where the X-Men are a spent and dissipated force. No new mutants have appeared in a generation. Charles Xavier, who founded the team some 70 years earlier, is in his nineties and suffering from dementia. Mangold (who wrote the script with Scott Frank and Michael Green, drawing inspiration from two 21st century comics stories by Mark Millar and Kyle Craig) vividly imagines what this scenario might look like if the patient were the world’s most powerful psychic. Basically, a Professor X not in control of his faculties is a loose nuke. Logan and Caliban (the comedian Stephen Merchant, playing a bad-mutant-turned-good) keep the prof sedated and isolated in a compound south of the border, hoping he won’t take us all with him when he finally goes.\u003c/p>\n\u003cp>Logan, scraping together a living as a limo driver, reluctantly accepts a dying woman’s request to escort a mysterious little girl (the astonishing Dafne Keen) from Mexico, up through the spine of the United States, to Canada. The \u003cem>Federales\u003c/em> and a bunch of extras from \u003cem>The Road Warrior\u003c/em> show up at his door (along with Boyd Holbrook from \u003cem>Narcos\u003c/em> and Richard E. Grant from the immortal \u003cem>Hudson Hawk\u003c/em>) and the movie becomes, like \u003cem>The Empire Strikes Back\u003c/em>, one long, desperate chase — and with just as many surprises.\u003c/p>\n\u003cp>Though it runs 45 minutes longer than Bryan Singer’s franchise-launching \u003cem>X-Men\u003c/em>, it shares with that film a refreshing modesty of scale. \u003cem>X-Men\u003c/em> was built largely on Jackman’s protective relationship with Anna Paquin, as \u003cem>Logan\u003c/em> trades on his burgeoning rapport with Keen. The world isn’t threatened — just a handful of characters about whom we’ve come to care deeply.\u003c/p>\n\u003cp>Marvel’s “mutants,” separate from their other superpowered beings, have always been analogs for persecuted peoples; in this movie, they’re immigrants. This gives \u003cem>Logan\u003c/em> the kind of topical \u003cem>frisson\u003c/em> and intensity that \u003cem>The Dark Knight\u003c/em> had nine years ago, and no superhero movie has enjoyed since. 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"content": "\u003cp>Actors are the most visible links the movies possess to their own past, because while actors age, the image of them that we carry with us does not. When you look at Shirley MacLaine today, you can see the young widow giggling over a corpse in Alfred Hitchcock’s \u003cem>The Trouble With Harry\u003c/em>, the melancholy mistress in \u003cem>The Apartment\u003c/em> whose radiant smile masks the fact that she’s given up on love and life, and the heartbreaking single mother forced to watch her daughter die in \u003cem>Terms of Endearment\u003c/em>. You can see all of these women at once, if you like, and then you can reflect on MacLaine’s astonishing stature in the Hollywood canon, that infamous ego elevating her whole life to another plane of performance, or her long-held New Age beliefs that she has lived many lives before her current one, nailing the trick of a full existence each time.\u003c/p>\n\u003cp>MacLaine has earned the right to coast by in otherwise unremarkable films that kiss the ground she walks on. It’s the familiar Hollywood old-timer move, pulled off in recent years by the likes of Jane Fonda (\u003cem>Peace, Love, & Misunderstanding\u003c/em>) and Jerry Lewis (\u003cem>Max Rose\u003c/em>).\u003cem> \u003c/em>But it’s rare to see such hero-worshipping star vehicles as unsubtle about their intentions as \u003cem>The Last Word\u003c/em>, in which a mean businesswoman tries to pad her own obituary with good deeds so everyone will fondly remember her after she has passed. Director Mark Pellington’s treacly Sundance dramedy is about a woman shoring up her own legacy, but it’s so empty and witless, dressing up a formulaic story with boatloads of unearned sentiment and embarrassing, one-note characters, that it seems destined to lie here as a bloated paperweight on MacLaine’s own memory.\u003c/p>\n\u003cp>MacLaine plays Harriet, a retired ad executive who lives alone in her mansion, bossing around the hired help until a near-death scare compels her to reexamine her life. She recruits Anne, the local newspaper’s obituary writer (Amanda Seyfried), to help her embellish her time on this mortal plane, an absurd breach of journalistic objectivity that’s nevertheless one of the easier things to swallow about Stuart Ross Fink’s insipid script. (“Let me get this straight,” characters say, before repeating the film’s oh-so-quirky premise back to us.)\u003c/p>\n\u003cp>Obituary writers secretly have the most thoughtful, heartfelt jobs in the newsroom. The excellent documentary \u003cem>Obit\u003c/em>, due to arrive in theaters at the end of April, details how these reporters try to capture the best version of their subjects’ lives with less than a day’s notice, employing sweeping yet modest prose while extracting meaningful quotes from emotionally drained friends and family. The brief flashes of wit that do exist in \u003cem>The Last Word\u003c/em> come when it tries to puncture this mythos; commenting on the empty platitudes accompanying a recently deceased acquaintance, Harriet snaps, “She was dead, and they were being polite.” Here we’re meant to see this woman as not only a control freak but also someone who can cut to the core of people, who “tells it like it is,” even (especially) if she has to dance on a grave to do it.\u003c/p>\n\u003cp>Harriet then gives a wildly cynical breakdown of what she sees as the “four essential components of any good obituary,” a checklist for a well-examined life — family, work, community service and “wild card” — that we assume the film is setting us up to transcend. Except it doesn’t. That cynicism becomes the roadmap to Harriet’s own earnest deification: she drags Anne to the local at-risk youth center to deliver a speech that confuses “at-risk” with “taking risks,” then picks out her favorite poor child to mentor, as if shopping at a supermarket. The movie makes a joke about this, and then proceeds to let her do it anyway, selecting a tough black girl (newcomer AnnJewel Lee Dixon) who talks like a middle-aged white man’s idea of a tough black girl, and having her follow the hero everywhere like a potty-mouthed puppy. Minority prop: Check.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rediscovering a love of music, Harriet next dusts off her record collection and wheels it into the local alt-rock radio station, leveraging her bluster and complete lack of DJ experience into a morning drivetime slot. Wild card: check. The current DJ loses her job to this end-of-life crisis case who offers to do it for free, yet later applauds Harriet’s first session, hooting, “Much respect.” There are times like this when the film wants us to find Harriet’s actions life-affirming and cute instead of what they are, which is cruel and selfish. In a reunion with her estranged daughter (Anne Heche, bringing her always-wonderful comic timing), Harriet can’t help but laugh hysterically when she hears how successful she’s become. In her mind this confirms she was a good mother, and thus no longer needs to feel guilt for decades of broken-off contact. This is a special kind of narcissist’s logic that only sounds like redemption to someone who’s never had to truly redeem themselves.\u003c/p>\n\u003cp>MacLaine clearly relishes being worshipped by young folks, and eats up the screen in her DJ chair, delivering withering looks at all of her co-stars. But she never gives her character a sense that any human connections she’s making are intentional. Seyfried’s job, then, is to express on her own face everything that MacLaine does not: to mug and mug, and mug some more, until we accept she’s found her new mother figure. (Anne’s own mother, of course, walked out on her when she was young, presumably bound for the Island of Conveniently Absent Parents.) To jump from Harriet’s gynecologist remarking she has “the angriest vagina this side of China” to an end-of-life revisionist history stating that, actually, the woman wasn’t all bad would take a special emotional leap — or, maybe, just a scene where three cross-generational misfits jump into a lake together.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>How odd it is to see an actor who defines Hollywood royalty entrust her legacy to a movie that doesn’t even know how to pad an obituary correctly. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Shirley+MacLaine+Gets+%27The+Last+Word%27+%E2%80%94+And+You%27ll+Want+It+To+Be+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actors are the most visible links the movies possess to their own past, because while actors age, the image of them that we carry with us does not. When you look at Shirley MacLaine today, you can see the young widow giggling over a corpse in Alfred Hitchcock’s \u003cem>The Trouble With Harry\u003c/em>, the melancholy mistress in \u003cem>The Apartment\u003c/em> whose radiant smile masks the fact that she’s given up on love and life, and the heartbreaking single mother forced to watch her daughter die in \u003cem>Terms of Endearment\u003c/em>. You can see all of these women at once, if you like, and then you can reflect on MacLaine’s astonishing stature in the Hollywood canon, that infamous ego elevating her whole life to another plane of performance, or her long-held New Age beliefs that she has lived many lives before her current one, nailing the trick of a full existence each time.\u003c/p>\n\u003cp>MacLaine has earned the right to coast by in otherwise unremarkable films that kiss the ground she walks on. It’s the familiar Hollywood old-timer move, pulled off in recent years by the likes of Jane Fonda (\u003cem>Peace, Love, & Misunderstanding\u003c/em>) and Jerry Lewis (\u003cem>Max Rose\u003c/em>).\u003cem> \u003c/em>But it’s rare to see such hero-worshipping star vehicles as unsubtle about their intentions as \u003cem>The Last Word\u003c/em>, in which a mean businesswoman tries to pad her own obituary with good deeds so everyone will fondly remember her after she has passed. Director Mark Pellington’s treacly Sundance dramedy is about a woman shoring up her own legacy, but it’s so empty and witless, dressing up a formulaic story with boatloads of unearned sentiment and embarrassing, one-note characters, that it seems destined to lie here as a bloated paperweight on MacLaine’s own memory.\u003c/p>\n\u003cp>MacLaine plays Harriet, a retired ad executive who lives alone in her mansion, bossing around the hired help until a near-death scare compels her to reexamine her life. She recruits Anne, the local newspaper’s obituary writer (Amanda Seyfried), to help her embellish her time on this mortal plane, an absurd breach of journalistic objectivity that’s nevertheless one of the easier things to swallow about Stuart Ross Fink’s insipid script. (“Let me get this straight,” characters say, before repeating the film’s oh-so-quirky premise back to us.)\u003c/p>\n\u003cp>Obituary writers secretly have the most thoughtful, heartfelt jobs in the newsroom. The excellent documentary \u003cem>Obit\u003c/em>, due to arrive in theaters at the end of April, details how these reporters try to capture the best version of their subjects’ lives with less than a day’s notice, employing sweeping yet modest prose while extracting meaningful quotes from emotionally drained friends and family. The brief flashes of wit that do exist in \u003cem>The Last Word\u003c/em> come when it tries to puncture this mythos; commenting on the empty platitudes accompanying a recently deceased acquaintance, Harriet snaps, “She was dead, and they were being polite.” Here we’re meant to see this woman as not only a control freak but also someone who can cut to the core of people, who “tells it like it is,” even (especially) if she has to dance on a grave to do it.\u003c/p>\n\u003cp>Harriet then gives a wildly cynical breakdown of what she sees as the “four essential components of any good obituary,” a checklist for a well-examined life — family, work, community service and “wild card” — that we assume the film is setting us up to transcend. Except it doesn’t. That cynicism becomes the roadmap to Harriet’s own earnest deification: she drags Anne to the local at-risk youth center to deliver a speech that confuses “at-risk” with “taking risks,” then picks out her favorite poor child to mentor, as if shopping at a supermarket. The movie makes a joke about this, and then proceeds to let her do it anyway, selecting a tough black girl (newcomer AnnJewel Lee Dixon) who talks like a middle-aged white man’s idea of a tough black girl, and having her follow the hero everywhere like a potty-mouthed puppy. Minority prop: Check.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rediscovering a love of music, Harriet next dusts off her record collection and wheels it into the local alt-rock radio station, leveraging her bluster and complete lack of DJ experience into a morning drivetime slot. Wild card: check. The current DJ loses her job to this end-of-life crisis case who offers to do it for free, yet later applauds Harriet’s first session, hooting, “Much respect.” There are times like this when the film wants us to find Harriet’s actions life-affirming and cute instead of what they are, which is cruel and selfish. In a reunion with her estranged daughter (Anne Heche, bringing her always-wonderful comic timing), Harriet can’t help but laugh hysterically when she hears how successful she’s become. In her mind this confirms she was a good mother, and thus no longer needs to feel guilt for decades of broken-off contact. This is a special kind of narcissist’s logic that only sounds like redemption to someone who’s never had to truly redeem themselves.\u003c/p>\n\u003cp>MacLaine clearly relishes being worshipped by young folks, and eats up the screen in her DJ chair, delivering withering looks at all of her co-stars. But she never gives her character a sense that any human connections she’s making are intentional. Seyfried’s job, then, is to express on her own face everything that MacLaine does not: to mug and mug, and mug some more, until we accept she’s found her new mother figure. (Anne’s own mother, of course, walked out on her when she was young, presumably bound for the Island of Conveniently Absent Parents.) To jump from Harriet’s gynecologist remarking she has “the angriest vagina this side of China” to an end-of-life revisionist history stating that, actually, the woman wasn’t all bad would take a special emotional leap — or, maybe, just a scene where three cross-generational misfits jump into a lake together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>How odd it is to see an actor who defines Hollywood royalty entrust her legacy to a movie that doesn’t even know how to pad an obituary correctly. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Shirley+MacLaine+Gets+%27The+Last+Word%27+%E2%80%94+And+You%27ll+Want+It+To+Be+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: A Play About Roe v. Wade, Reimagining Laura Nyro, and Loving a Big Thief",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great show around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>Our quick shoutouts on the Do List this week are both free, so they’re \u003cstrong>CHEAP THRILLS\u003c/strong>, and we love that. David crowed about a show that pairs movie posters with the abstract paintings that might have inspired them at the \u003ca href=\"http://anderson.stanford.edu/exhibitions-programs/\" target=\"_blank\" rel=\"noopener\">Anderson Collection at Stanford\u003c/a>; KQED’s own Sarah Hotchkiss wrote about it \u003ca href=\"https://ww2.kqed.org/arts/2017/03/01/paintings-get-the-hollywood-treatment-in-student-curated-show-at-anderson/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> I’m excited about the San Francisco Conservatory of Music’s annual \u003ca href=\"https://sfcm.edu/events/hot-air-music-festival\" target=\"_blank\" rel=\"noopener\">Hot Air Music Festival\u003c/a>, featuring students and alumni ensembles (The Ignition Duo, Friction Quartet, and The Living Earth Show among them) performing music you just won’t hear anywhere else. Details for the all-day show, Sunday, March 5, at the SFCM are \u003ca href=\"https://sfcm.edu/events/hot-air-music-festival\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=S1b1MDl6Kc8\u003c/p>\n\u003cp>\u003cstrong>March 4\u003c/strong>: Laura Nyro wrote and performed some of the biggest hits of the late ’60s and early 70’s, including “Save the Country” and “Stoned Soul Picnic,” during a too, too short career — she died in 1997 of ovarian cancer. Now pianist Billy Childs has recorded a celebration of Nyro’s music with an all-star band (Shawn Colvin, Rickie Lee Jones, Becca Stevens, Renée Fleming, Yo-Yo Ma, Lisa Fischer, Alison Krauss, Susan Tedeschi, Wayne Shorter, Esperanza Spalding, and Dianne Reeves — wow), and he’s bringing the tribute show to San Francisco. Nyro, born Laura Nigro in the Bronx, combined gospel, pop, rock and jazz, with lyrics that were political, poetic, and sometimes whimsical. And for the local connection: her first major professional gig was at the age of 18 at San Francisco’s Hungry I coffeehouse. Details for Childs’ SF Performances concert Saturday night at SFJAZZ \u003ca href=\"http://sfperformances.org/performances/1617/BillyChilds.html\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YdaNlZhmHoM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>March 3–April 2\u003c/strong>: Here’s another tribute to a late singer-songwriter; this time it’s blueswoman Alberta Hunter (1895-1984). San Francisco’s \u003ca href=\"http://www.jewellegomez.com/\" target=\"_blank\" rel=\"noopener\">Jewelle Gomez \u003c/a>(\u003cem>Waiting for Giovanni) \u003c/em>has written \u003cem>Leaving the Blues\u003c/em>, a play about Hunter, her music, and her life as a lesbian artist, with a big focus on Hunter’s relationship with her partner Lottie Tyler. Hunter quit music for years to work as a nurse, then came out of retirement at the age of 82 and became more popular than ever. Gomez wrote the play with actress Desiree Rogers in mind for the lead, who often works with the LGBT-focused \u003ca href=\"http://www.nctcsf.org/\" target=\"_blank\" rel=\"noopener\">New Conservatory Theatre Center\u003c/a>. That’s where this show gets its world premiere. \u003ca href=\"http://www.nctcsf.org/shows/2016-17-Season/Leaving-the-Blues\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9CibfyfjKLk\u003c/p>\n\u003cp>\u003cstrong>March 5:\u003c/strong> We’re featuring still another singer-songwriter now. Do you detect a theme? \u003ca href=\"http://gabrielkahane.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Gabriel Kahane \u003c/a>writes and plays tunes that are a blend of art song, pop, and cabaret, and he’s set Craigslist ads to music in a song cycle he’s calling \u003cem>Craigslistlieder\u003c/em>, including ditties like “Half a Box of Condoms.” Kahane comes by his love of this classic genre naturally: His dad is pianist and conductor \u003ca href=\"http://www.cmartists.com/artists/jeffrey-kahane.htm\" target=\"_blank\" rel=\"noopener\">Jeffrey Kahane\u003c/a> (formerly music director for the Santa Rosa Symphony), and son Gabriel is writing songs that somehow both celebrate and mock the old lieder tradition. At this week’s concert, Kahane also sings Schumann’s song cycle, “\u003ca href=\"https://www.youtube.com/watch?v=cor-5Cps3uU\" target=\"_blank\" rel=\"noopener\">Dichterliebe,\u003c/a>” which is just gorgeous, and selections from recent recordings. Details for Kahane’s Sunday concert at SFJAZZ \u003ca href=\"http://sfperformances.org/performances/1617/GabrielKahane.html\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E9Yfildcwpg\u003c/p>\n\u003cp>\u003cstrong>March 3–April 2\u003c/strong>: Here’s a play about \u003ca href=\"https://en.wikipedia.org/wiki/Roe_v._Wade\" target=\"_blank\" rel=\"noopener\">Roe v. Wade \u003c/a>that is not a courtroom drama. It’s a modern history play about the very complicated life of Sarah Weddington, the lawyer who successfully fought to make abortion legal; and the equally complicated life of her client Norma McCorvey, who died a few weeks ago, and who famously campaigned against abortion later in her life. Playwright Lisa Loomer says when she wrote the piece for its premiere at the \u003ca href=\"https://www.osfashland.org/\" target=\"_blank\" rel=\"noopener\">Oregon Shakespeare Festival\u003c/a>, she and her collaborators all assumed Hillary Clinton would now be president, and she says the show is all the more timely now that we’ve elected a president who’s pledged to appoint justices who will overturn Roe. In a recent interview, Loomer talked about how her own thinking about abortion changed as she wrote the play. “The awful thing about being a human being,” she said, “is that we have to make terrible choices. And the play made me very wary of people who would seek to make my choices seemingly easier than they are, or to tell me, you don’t need to choose, just do what I tell you to do.” There will be pre- and post-show discussions at many of the performances with people working on the issues of women’s health and reproductive rights. Details for Roe at the Berkeley Repertory Theater \u003ca href=\"https://www.berkeleyrep.org/season/1617/10665.asp\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D0E5vMkDfOI\u003c/p>\n\u003cp>\u003cstrong>March 7\u003c/strong>: \u003ca href=\"http://www.bigthief.net/\" target=\"_blank\" rel=\"noopener\">Big Thief\u003c/a>’s new album is called \u003ca href=\"https://saddle-creek.com/products/masterpiece\" target=\"_blank\" rel=\"noopener\">\u003cem>Masterpiece\u003c/em>\u003c/a>, a title which takes a lot of guts when it’s also your first album as a band. But it’s darn good, with all the songs by vocalist and guitarist Adrianne Lenker (who spent time at the Berklee School of Music). She and Buck Meek are the core of the band, with Max Oleartchik on bass, and James Krivchenia on drums. The title track is pretty rocking, but other songs stray down indie folk and country roads in surprising ways. Catch them in a small club while you still can. Details for Big Thief’s gig at the Rickshaw Stop on Tuesday \u003ca href=\"http://www.rickshawstop.com/event/1400912-big-thief-san-francisco/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"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\n",
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"excerpt": "Cy and David's picks this week include 'Roe' at Berkeley Rep, the band Big Thief, and parlor songs about Craigslist.",
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"title": "Cy and David's Picks: A Play About Roe v. Wade, Reimagining Laura Nyro, and Loving a Big Thief | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great show around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>Our quick shoutouts on the Do List this week are both free, so they’re \u003cstrong>CHEAP THRILLS\u003c/strong>, and we love that. David crowed about a show that pairs movie posters with the abstract paintings that might have inspired them at the \u003ca href=\"http://anderson.stanford.edu/exhibitions-programs/\" target=\"_blank\" rel=\"noopener\">Anderson Collection at Stanford\u003c/a>; KQED’s own Sarah Hotchkiss wrote about it \u003ca href=\"https://ww2.kqed.org/arts/2017/03/01/paintings-get-the-hollywood-treatment-in-student-curated-show-at-anderson/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> I’m excited about the San Francisco Conservatory of Music’s annual \u003ca href=\"https://sfcm.edu/events/hot-air-music-festival\" target=\"_blank\" rel=\"noopener\">Hot Air Music Festival\u003c/a>, featuring students and alumni ensembles (The Ignition Duo, Friction Quartet, and The Living Earth Show among them) performing music you just won’t hear anywhere else. Details for the all-day show, Sunday, March 5, at the SFCM are \u003ca href=\"https://sfcm.edu/events/hot-air-music-festival\" target=\"_blank\" rel=\"noopener\">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/S1b1MDl6Kc8'\n title='//www.youtube.com/embed/S1b1MDl6Kc8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 4\u003c/strong>: Laura Nyro wrote and performed some of the biggest hits of the late ’60s and early 70’s, including “Save the Country” and “Stoned Soul Picnic,” during a too, too short career — she died in 1997 of ovarian cancer. Now pianist Billy Childs has recorded a celebration of Nyro’s music with an all-star band (Shawn Colvin, Rickie Lee Jones, Becca Stevens, Renée Fleming, Yo-Yo Ma, Lisa Fischer, Alison Krauss, Susan Tedeschi, Wayne Shorter, Esperanza Spalding, and Dianne Reeves — wow), and he’s bringing the tribute show to San Francisco. Nyro, born Laura Nigro in the Bronx, combined gospel, pop, rock and jazz, with lyrics that were political, poetic, and sometimes whimsical. And for the local connection: her first major professional gig was at the age of 18 at San Francisco’s Hungry I coffeehouse. Details for Childs’ SF Performances concert Saturday night at SFJAZZ \u003ca href=\"http://sfperformances.org/performances/1617/BillyChilds.html\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YdaNlZhmHoM'\n title='//www.youtube.com/embed/YdaNlZhmHoM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 3–April 2\u003c/strong>: Here’s another tribute to a late singer-songwriter; this time it’s blueswoman Alberta Hunter (1895-1984). San Francisco’s \u003ca href=\"http://www.jewellegomez.com/\" target=\"_blank\" rel=\"noopener\">Jewelle Gomez \u003c/a>(\u003cem>Waiting for Giovanni) \u003c/em>has written \u003cem>Leaving the Blues\u003c/em>, a play about Hunter, her music, and her life as a lesbian artist, with a big focus on Hunter’s relationship with her partner Lottie Tyler. Hunter quit music for years to work as a nurse, then came out of retirement at the age of 82 and became more popular than ever. Gomez wrote the play with actress Desiree Rogers in mind for the lead, who often works with the LGBT-focused \u003ca href=\"http://www.nctcsf.org/\" target=\"_blank\" rel=\"noopener\">New Conservatory Theatre Center\u003c/a>. That’s where this show gets its world premiere. \u003ca href=\"http://www.nctcsf.org/shows/2016-17-Season/Leaving-the-Blues\" 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/9CibfyfjKLk'\n title='//www.youtube.com/embed/9CibfyfjKLk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 5:\u003c/strong> We’re featuring still another singer-songwriter now. Do you detect a theme? \u003ca href=\"http://gabrielkahane.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Gabriel Kahane \u003c/a>writes and plays tunes that are a blend of art song, pop, and cabaret, and he’s set Craigslist ads to music in a song cycle he’s calling \u003cem>Craigslistlieder\u003c/em>, including ditties like “Half a Box of Condoms.” Kahane comes by his love of this classic genre naturally: His dad is pianist and conductor \u003ca href=\"http://www.cmartists.com/artists/jeffrey-kahane.htm\" target=\"_blank\" rel=\"noopener\">Jeffrey Kahane\u003c/a> (formerly music director for the Santa Rosa Symphony), and son Gabriel is writing songs that somehow both celebrate and mock the old lieder tradition. At this week’s concert, Kahane also sings Schumann’s song cycle, “\u003ca href=\"https://www.youtube.com/watch?v=cor-5Cps3uU\" target=\"_blank\" rel=\"noopener\">Dichterliebe,\u003c/a>” which is just gorgeous, and selections from recent recordings. Details for Kahane’s Sunday concert at SFJAZZ \u003ca href=\"http://sfperformances.org/performances/1617/GabrielKahane.html\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/E9Yfildcwpg'\n title='//www.youtube.com/embed/E9Yfildcwpg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 3–April 2\u003c/strong>: Here’s a play about \u003ca href=\"https://en.wikipedia.org/wiki/Roe_v._Wade\" target=\"_blank\" rel=\"noopener\">Roe v. Wade \u003c/a>that is not a courtroom drama. It’s a modern history play about the very complicated life of Sarah Weddington, the lawyer who successfully fought to make abortion legal; and the equally complicated life of her client Norma McCorvey, who died a few weeks ago, and who famously campaigned against abortion later in her life. Playwright Lisa Loomer says when she wrote the piece for its premiere at the \u003ca href=\"https://www.osfashland.org/\" target=\"_blank\" rel=\"noopener\">Oregon Shakespeare Festival\u003c/a>, she and her collaborators all assumed Hillary Clinton would now be president, and she says the show is all the more timely now that we’ve elected a president who’s pledged to appoint justices who will overturn Roe. In a recent interview, Loomer talked about how her own thinking about abortion changed as she wrote the play. “The awful thing about being a human being,” she said, “is that we have to make terrible choices. And the play made me very wary of people who would seek to make my choices seemingly easier than they are, or to tell me, you don’t need to choose, just do what I tell you to do.” There will be pre- and post-show discussions at many of the performances with people working on the issues of women’s health and reproductive rights. Details for Roe at the Berkeley Repertory Theater \u003ca href=\"https://www.berkeleyrep.org/season/1617/10665.asp\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/D0E5vMkDfOI'\n title='//www.youtube.com/embed/D0E5vMkDfOI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 7\u003c/strong>: \u003ca href=\"http://www.bigthief.net/\" target=\"_blank\" rel=\"noopener\">Big Thief\u003c/a>’s new album is called \u003ca href=\"https://saddle-creek.com/products/masterpiece\" target=\"_blank\" rel=\"noopener\">\u003cem>Masterpiece\u003c/em>\u003c/a>, a title which takes a lot of guts when it’s also your first album as a band. But it’s darn good, with all the songs by vocalist and guitarist Adrianne Lenker (who spent time at the Berklee School of Music). She and Buck Meek are the core of the band, with Max Oleartchik on bass, and James Krivchenia on drums. The title track is pretty rocking, but other songs stray down indie folk and country roads in surprising ways. Catch them in a small club while you still can. Details for Big Thief’s gig at the Rickshaw Stop on Tuesday \u003ca href=\"http://www.rickshawstop.com/event/1400912-big-thief-san-francisco/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"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\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For every Academy Award winner developing the next Pixar hit, there is someone toiling away in a basement, working on something that will probably never play in theaters before a \u003cem>Finding Nemo\u003c/em> sequel. But that’s exactly the kind of film Jeanette Bonds and Sean Buckelew want for the \u003ca href=\"http://www.glasanimation.com/\" target=\"_blank\" rel=\"noopener\">GLAS Animation Festival\u003c/a>. \u003c/p>\n\u003cp>While there are plenty of established animation-specific festivals in Europe, Japan, and elsewhere, there are only a handful in the United States, and nothing quite like GLAS. So Bonds helped start the event in 2016, creating a space specifically for independent animators, with Buckelew as lead programmer. Now in its second year, the festival hosts screenings, panels, and more at venues across Berkeley from March 2–5, with a schedule that includes an international mix of films and directors. \u003c/p>\n\u003cp>Both Bonds and Buckelew are graduates of CalArts’ experimental animation program. Before GLAS, Bonds worked as a programmer and screener for events like Slamdance and the Los Angeles Film Festival, while Buckelew created the animated sequences in \u003cem>We are Your Friends\u003c/em> and \u003cem>He Named Me Malala\u003c/em> (and is featured in \u003ca href=\"https://vimeo.com/170070171/9a7d5161c2\" target=\"_blank\" rel=\"noopener\">Season 4 of KQED’s Film School Shorts\u003c/a>). They’re also members of Late Night Work Club, a cohort of indie animators. (The collective has two screenings at GLAS this year, which Bonds and Buckelew highly recommend.)\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/203754807\u003cbr>\n\u003c/aside>\n\u003cp>But GLAS isn’t a festival designed exclusively for a cliquish audience of indie animators. “I think there are curators who are more formal, but Jeanette and I are just into movies,” Buckelew says. “I would show my parents all this stuff and hope they get excited. It’s almost pitching to that level — I like audiences to really enjoy screenings.”\u003c/p>\n\u003cp>The festival has also managed to snag some of the most familiar names in mainstream animation. Last year’s guest of honor was Henry Selick, director of \u003cem>The Nightmare Before Christmas\u003c/em> and \u003cem>Coraline\u003c/em>, while this year features Brad Bird, who made \u003cem>The Iron Giant\u003c/em>, \u003cem>The Incredibles\u003c/em>, and even \u003cem>Mission Impossible: Ghost Protocol\u003c/em>, all of which screen at the fest. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“[Bird] is one of the few directors who’s worked in both live action and animation,” Bonds points out. “That’s rare and important and exciting.” \u003c/p>\n\u003cp>While Buckelew is a Berkeley native, neither he nor Bonds live in the Bay Area. As a matter of fact, they’re both based in Los Angeles. So why not host the festival in Hollywood?\u003c/p>\n\u003cp>“L.A. is a 24/7 film festival, and you’re constantly competing with a Robert de Niro thing for 10 bucks somewhere, and most people aren’t even going to that,” Bond says. \u003c/p>\n\u003cfigure id=\"attachment_12832522\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Deer-Flower-800x451.jpg\" alt=\"Scene from 'Deer Flower'\" width=\"800\" height=\"451\" class=\"size-medium wp-image-12832522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower.jpg 1980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scene from ‘Deer Flower.’ \u003ccite>(Courtesy of GLAS Animation Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley had everything Bonds wanted: multiple theaters within walking distance of each other, hotels and restaurants, and, most importantly, a community that was excited to support a brand new festival. \u003c/p>\n\u003cp>“A lot of other cities didn’t really have that,” Bonds says. \u003c/p>\n\u003cp>And in just two short years, GLAS has managed to attract an audience of animators and fans from across the country and around the world to the East Bay, while still managing to be accessible to a local crowd. \u003c/p>\n\u003cp>“No matter who you are, there’s one or two films you’ll go home and Google and see if they’re online so you can send them to a friend,” Buckelew says. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For every Academy Award winner developing the next Pixar hit, there is someone toiling away in a basement, working on something that will probably never play in theaters before a \u003cem>Finding Nemo\u003c/em> sequel. But that’s exactly the kind of film Jeanette Bonds and Sean Buckelew want for the \u003ca href=\"http://www.glasanimation.com/\" target=\"_blank\" rel=\"noopener\">GLAS Animation Festival\u003c/a>. \u003c/p>\n\u003cp>While there are plenty of established animation-specific festivals in Europe, Japan, and elsewhere, there are only a handful in the United States, and nothing quite like GLAS. So Bonds helped start the event in 2016, creating a space specifically for independent animators, with Buckelew as lead programmer. Now in its second year, the festival hosts screenings, panels, and more at venues across Berkeley from March 2–5, with a schedule that includes an international mix of films and directors. \u003c/p>\n\u003cp>Both Bonds and Buckelew are graduates of CalArts’ experimental animation program. Before GLAS, Bonds worked as a programmer and screener for events like Slamdance and the Los Angeles Film Festival, while Buckelew created the animated sequences in \u003cem>We are Your Friends\u003c/em> and \u003cem>He Named Me Malala\u003c/em> (and is featured in \u003ca href=\"https://vimeo.com/170070171/9a7d5161c2\" target=\"_blank\" rel=\"noopener\">Season 4 of KQED’s Film School Shorts\u003c/a>). They’re also members of Late Night Work Club, a cohort of indie animators. (The collective has two screenings at GLAS this year, which Bonds and Buckelew highly recommend.)\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/203754807\u003cbr>\n\u003c/aside>\n\u003cp>But GLAS isn’t a festival designed exclusively for a cliquish audience of indie animators. “I think there are curators who are more formal, but Jeanette and I are just into movies,” Buckelew says. “I would show my parents all this stuff and hope they get excited. It’s almost pitching to that level — I like audiences to really enjoy screenings.”\u003c/p>\n\u003cp>The festival has also managed to snag some of the most familiar names in mainstream animation. Last year’s guest of honor was Henry Selick, director of \u003cem>The Nightmare Before Christmas\u003c/em> and \u003cem>Coraline\u003c/em>, while this year features Brad Bird, who made \u003cem>The Iron Giant\u003c/em>, \u003cem>The Incredibles\u003c/em>, and even \u003cem>Mission Impossible: Ghost Protocol\u003c/em>, all of which screen at the fest. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“[Bird] is one of the few directors who’s worked in both live action and animation,” Bonds points out. “That’s rare and important and exciting.” \u003c/p>\n\u003cp>While Buckelew is a Berkeley native, neither he nor Bonds live in the Bay Area. As a matter of fact, they’re both based in Los Angeles. So why not host the festival in Hollywood?\u003c/p>\n\u003cp>“L.A. is a 24/7 film festival, and you’re constantly competing with a Robert de Niro thing for 10 bucks somewhere, and most people aren’t even going to that,” Bond says. \u003c/p>\n\u003cfigure id=\"attachment_12832522\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Deer-Flower-800x451.jpg\" alt=\"Scene from 'Deer Flower'\" width=\"800\" height=\"451\" class=\"size-medium wp-image-12832522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower.jpg 1980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scene from ‘Deer Flower.’ \u003ccite>(Courtesy of GLAS Animation Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley had everything Bonds wanted: multiple theaters within walking distance of each other, hotels and restaurants, and, most importantly, a community that was excited to support a brand new festival. \u003c/p>\n\u003cp>“A lot of other cities didn’t really have that,” Bonds says. \u003c/p>\n\u003cp>And in just two short years, GLAS has managed to attract an audience of animators and fans from across the country and around the world to the East Bay, while still managing to be accessible to a local crowd. \u003c/p>\n\u003cp>“No matter who you are, there’s one or two films you’ll go home and Google and see if they’re online so you can send them to a friend,” Buckelew says. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"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\n\u003c/div>\u003c/p>",
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"title": "Where Did Russell Brand Go? The Answer is More Interesting and Complex than You'd Think",
"headTitle": "Where Did Russell Brand Go? The Answer is More Interesting and Complex than You’d Think | KQED",
"content": "\u003cp>There is a high likelihood that, if you reside in the United States, it’s been a while since you’ve thought about \u003ca href=\"https://en.wikipedia.org/wiki/Russell_Brand\" target=\"_blank\" rel=\"noopener noreferrer\">Russell Brand\u003c/a>. Seven years ago, the British comedian, actor and writer brought his brand of big-haired troublemaking to our screens both large and small, in a manner that felt like the beginning of something huge. So where the hell did he go?\u003c/p>\n\u003cp>Brand first hosted the \u003ca href=\"http://www.mtv.com/video-playlists/2ydpmy/russell-brand-s-greatest-mtv-moments-so-far/9840tl\" target=\"_blank\" rel=\"noopener noreferrer\">MTV VMAs\u003c/a> in 2008, after his breakout role in \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0800039/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">Forgetting Sarah Marshall\u003c/a>\u003c/em>, and immediately\u003cem> \u003c/em>caused a furor after he used the spotlight to refer to George W. Bush as a “retarded cowboy,” as well as make fun of the Jonas Brothers’ pro-celibacy stance. Nevertheless, he was invited to hand out \u003ca href=\"http://www.mtv.com/news/2924701/vma-statue-moonman/\" target=\"_blank\" rel=\"noopener noreferrer\">Moonmen\u003c/a> again in 2009 and 2012, and found himself with his own \u003ca href=\"http://www.cc.com/full-episodes/9bhrcj/stand-up-library-russell-brand-in-new-york-city-season-1-ep-101\" target=\"_blank\" rel=\"noopener noreferrer\">Comedy Central stand-up special\u003c/a>, as well as starring roles in \u003ca href=\"http://www.imdb.com/title/tt1226229/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Get Him to the Greek\u003c/em>\u003c/a> (2010), \u003cem>\u003ca href=\"http://www.imdb.com/title/tt1323594/?ref_=nv_sr_2\" target=\"_blank\" rel=\"noopener noreferrer\">Despicable Me\u003c/a>\u003c/em> (2010), \u003ca href=\"http://www.imdb.com/title/tt1334512/?ref_=fn_al_tt_2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Arthur\u003c/em>\u003c/a> (2011, in a role \u003cem>New York Magazine\u003c/em> described as “\u003ca href=\"https://www.theguardian.com/culture/2011/apr/15/russell-brand-arthur-hollywood-rise\" target=\"_blank\" rel=\"noopener noreferrer\">career-killing\u003c/a>”), \u003ca href=\"http://www.imdb.com/title/tt1274300/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Tempest\u003c/em> \u003c/a>(2011), \u003ca href=\"http://www.imdb.com/title/tt1411704/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hop\u003c/em>\u003c/a> (2011), and (let’s just forget this one ever happened) \u003ca href=\"http://www.imdb.com/title/tt1336608/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rock of Ages\u003c/em>\u003c/a> (2012). Arguably, though, Brand is best-remembered (stateside, at least) in the role of \u003ca href=\"http://www.heart.co.uk/showbiz/artists/katy-perry/photos/katy-perry-russell-brand-wedding/\" target=\"_blank\" rel=\"noopener noreferrer\">Katy Perry’s husband\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_66533\" class=\"wp-caption aligncenter\" style=\"max-width: 454px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-66533\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/zteqgnrcx6fwtzq6.jpg\" alt=\"Katy Perry and Russell Brand in US Weekly.\" width=\"454\" height=\"615\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/02/zteqgnrcx6fwtzq6.jpg 454w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/zteqgnrcx6fwtzq6-160x217.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/zteqgnrcx6fwtzq6-240x325.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/zteqgnrcx6fwtzq6-375x508.jpg 375w\" sizes=\"(max-width: 454px) 100vw, 454px\">\u003cfigcaption class=\"wp-caption-text\">Katy Perry and Russell Brand in US Weekly.\u003c/figcaption>\u003c/figure>\n\u003cp>The couple’s 27-month marriage was a tabloid dream from the get-go. After their 2010 wedding in India—the basis for Perry’s performance of \u003ca href=\"http://www.usmagazine.com/celebrity-body/news/katy-perry-finally-shares-wedding-images----at-the-grammys--2011132\" target=\"_blank\" rel=\"noopener noreferrer\">“Not Like the Movies”\u003c/a> at the Grammys three months later—\u003cem>Marie Claire\u003c/em> called them “one of Hollywood’s hottest pairings.” By the time Brand had famously broken up with Perry via text and filed for divorce, the cover of \u003cem>US Weekly\u003c/em> screamed “MARRIED TO A CRAZY MAN” instead.\u003c/p>\n\u003cp>There is an assumption for many people on this side of the Atlantic that Brand’s disappearance is related to the fact that he was only famous because of Perry; that once those rings came off, his career died because he could no longer ride her coattails. (“Now he doesn’t have Katy Perry, he’s just a nobody,” we hear at the start of his \u003cem>Brand: A Second Coming\u003c/em> documentary.) Others suggest that his films just never did well enough at the box office to keep him in business.\u003c/p>\n\u003cp>The truth is far more complex—and far more interesting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It is true that the consistently unfiltered Brand is a difficult prospect to sell to American audiences. His distinctly European flamboyance is off-putting for conservatives, as is the sexually crude wordplay he favors (which has also landed him \u003ca href=\"https://en.wikipedia.org/wiki/The_Russell_Brand_Show_prank_telephone_calls_row\" target=\"_blank\" rel=\"noopener noreferrer\">in hot water\u003c/a> in his native England). His tendency toward verbose flourishes can be read by American audiences as pretentious and self-indulgent. It’s also true that when one tries to squeeze Brand into any kind of structured format, he is rarely able to shine—as FX found out when they gave him a chat show, \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Brand_X_with_Russell_Brand\" target=\"_blank\" rel=\"noopener noreferrer\">Brand X\u003c/a>\u003c/em>, which lasted just two seasons.\u003c/p>\n\u003cp>[aside postid=arts_13935238]The real root of Brand’s absence from our screens has less to do with ratings than it does with his own relationship with guilt, fame and spirituality. The key turning point for Brand was \u003ca href=\"https://www.youtube.com/watch?v=msMRZZIw6g0\" target=\"_blank\" rel=\"noopener noreferrer\">a trip to Africa\u003c/a> on behalf of Comic Relief in 2013. Having spent days witnessing dire poverty and suffering, surrounded by children orphaned by AIDS, he returned to the opulence of Hollywood life \u003ca href=\"http://www.cosmopolitan.co.uk/entertainment/news/a39349/russell-brand-documentary-katy-perry/\" target=\"_blank\" rel=\"noopener noreferrer\">and declared\u003c/a>: “Oh my fucking God, I’m living this life that’s the very thing I detest: vapid, vacuous celebrity.”\u003c/p>\n\u003cp>The turnaround was fast. In 2013, Brand guest-edited \u003ca href=\"http://www.newstatesman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The New Statesman\u003c/em>\u003c/a>—an award-winning British publication concerned with politics and current affairs. Shortly afterwards, he appeared on BBC’s \u003ca href=\"http://www.bbc.co.uk/programmes/b006mk25\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Newsnight\u003c/em>\u003c/a>, an equally stuffy and intellectually minded television show. The interview caused adoration and outrage in equal measure from the British public, with Brand talking about his unwillingness to vote and his desire for revolution. The usually unflappable host, Jeremy Paxman, was visibly irritated by the whole thing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3YR4CseY9pk\u003c/p>\n\u003cp>When Brand talks about his personal philosophies, he does so from a place of experience. Before the \u003cem>Newsnight\u003c/em> interview, his years of seeking peace and fulfillment through drug abuse and promiscuous sex were artfully and amusingly relayed in 2007’s foolishly titled but thought-provoking autobiography, \u003ca href=\"https://www.amazon.com/My-Booky-Wook-Memoir-Stand-Up/dp/0061857807\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>My Booky Wook\u003c/em>\u003c/a>. The less-interesting followup, \u003ca href=\"https://www.amazon.com/Booky-Wook-This-Time-Personal/dp/0061958085\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Booky Wook 2: This Time It’s Personal\u003c/em>\u003c/a> (2010) saw Brand inching toward real international fame for the first time and seeking solace there, as well as in his new relationship with Perry. “For Katy,” the book’s dedication reads. “This is my past. You are my future.” (Another example of Brand throwing himself into his choices of the moment with absolute fervor).\u003c/p>\n\u003cp>[aside postid=arts_13923161]Post-divorce, and post-Hollywood, Brand plunged into figuring out where to go next. By 2014, he had concluded, very vocally, that the answer for him lay in a somewhat jarring combination of spiritual and political activism. In the book he released that year, \u003ca href=\"https://www.amazon.com/Revolution-Russell-Brand/dp/1101882913/ref=sr_1_1?s=books&ie=UTF8&qid=1487279097&sr=1-1&keywords=russell+brand\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Revolution\u003c/em>\u003c/a>, he writes: “The solution is not fame or money or any transient adornment of the individual. The only revolution that can really change the world is the one in your own consciousness, and mine has already begun.”\u003c/p>\n\u003cp>In an interview to promote the book, Brand \u003ca href=\"https://www.ft.com/content/64206eb2-583f-11e4-a31b-00144feab7de\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>The Financial Times\u003c/em>\u003c/a> (of all places) that he wasn’t “interested in making money any more”—a truth demonstrated by \u003ca href=\"http://www.tmz.com/2012/02/08/russell-brand-katy-perry-divorce-money/\" target=\"_blank\" rel=\"noopener noreferrer\">his refusal to take the $20 million from Katy Perry\u003c/a> that he was legally entitled to from their divorce. “I think an economic ideology is oppositional to the spiritual ideologies that are what we need to adopt if we’re to save our planet and humankind,” he said. “Capitalism … prevents us from seeing that we’re all connected.”\u003c/p>\n\u003cp>In the 2014 documentary, \u003cem>Russell Brand: A Second Coming\u003c/em>, he asserts his view of fame and fortune in a manner that is blunt: “Fame, power and money is bullshit,” he says. “I’ve now seen what happens if you make money in Hollywood. It’s a pretend world. Nothing’s real.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Py2Y0_B805w\u003c/p>\n\u003cp>Since he disappeared from America, Brand has been off trying to make himself useful. For five years now, he has been campaigning to get drug addiction treated as a health issue, rather than a criminal one. He counsels drug addicts in his spare time. He has two documentaries on the subject available on Netflix (\u003ca href=\"http://topdocumentaryfilms.com/russell-brand-addiction-recovery/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>From Addiction to Recovery\u003c/em>\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=jInyztmwU_U\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>End the Drugs War\u003c/em>\u003c/a>) and he has offered expert testimony to the \u003ca href=\"https://www.youtube.com/watch?v=O_LHuII-jYQ\" target=\"_blank\" rel=\"noopener noreferrer\">U.K. government \u003c/a>on the subject.\u003c/p>\n\u003cp>In addition, there are the social and political commentaries Brand disperses on his \u003ca href=\"https://www.youtube.com/watch?v=w3Ou5uFFn8Q\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Trews\u003c/em>\u003c/a> YouTube channel, a perfect outlet for him to vent and inform in a time when \u003ca href=\"http://www.niemanlab.org/2016/05/pew-report-44-percent-of-u-s-adults-get-news-on-facebook/\" target=\"_blank\" rel=\"noopener noreferrer\">62 percent\u003c/a> of American adults access news through social media. Remarkably, Brand named his show “The True News” three years before “fake news” became a thing.\u003c/p>\n\u003cp>[aside postid=arts_13934462]Last year, Brand returned to movies after a three-year break. It’s a move accompanied—probably not coincidentally—by the birth of his first child. He appeared in \u003cem>\u003ca href=\"http://www.imdb.com/title/tt1679335/?ref_=nm_flmg_act_3\" target=\"_blank\" rel=\"noopener noreferrer\">Trolls\u003c/a> \u003c/em>and\u003cem>\u003ca href=\"http://www.imdb.com/videoplayer/vi1341044249?ref_=tt_pv_vi_aiv_1\" target=\"_blank\" rel=\"noopener noreferrer\"> Army of One\u003c/a> (\u003c/em>alongside Nicolas Cage)\u003cem>. \u003c/em>This year, he will return to his Dr. Nefario role in \u003cem>\u003ca href=\"http://www.imdb.com/title/tt3469046/?ref_=nm_flmg_act_1\" target=\"_blank\" rel=\"noopener noreferrer\">Despicable Me 3\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Undoubtedly, though, Brand’s years of chasing fulfillment via fame and glamor are very much over. These days, living in the British countryside, he finds \u003ca href=\"https://www.youtube.com/watch?v=axaQeZdVOgM\" target=\"_blank\" rel=\"noopener noreferrer\">personal satisfaction\u003c/a> in simplicity (“I’m so much happier over the course of the day to see one or two people and a few chickens,” he told \u003ca href=\"http://www.standard.co.uk/showbiz/celebrity-news/russell-brand-on-being-a-firsttime-father-i-feel-litup-about-the-idea-i-m-very-excited-a3372941.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>ES Magazine\u003c/em>\u003c/a> last year) and professional fulfillment through his continuing analyses of how politics affects the proletariat. In addition to his public ponderings on spirituality and the meaning of life, he has returned to school to study religion and global politics.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Brand is that most unusual of figures—a man who succeeded and then walked away from blinding opportunities to give personal growth priority over wealth. In an age of reality television, when being famous for fame’s sake has \u003ca href=\"http://guardianlv.com/2013/08/studies-show-that-children-just-want-to-be-famous/\" target=\"_blank\" rel=\"noopener noreferrer\">more allure than ever\u003c/a>, he offers a valuable alternative.\u003c/p>\n\n",
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"excerpt": "Some think Brand left Hollywood due to his divorce from Katy Perry. His story has much more to do with redemption than failure.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a high likelihood that, if you reside in the United States, it’s been a while since you’ve thought about \u003ca href=\"https://en.wikipedia.org/wiki/Russell_Brand\" target=\"_blank\" rel=\"noopener noreferrer\">Russell Brand\u003c/a>. Seven years ago, the British comedian, actor and writer brought his brand of big-haired troublemaking to our screens both large and small, in a manner that felt like the beginning of something huge. So where the hell did he go?\u003c/p>\n\u003cp>Brand first hosted the \u003ca href=\"http://www.mtv.com/video-playlists/2ydpmy/russell-brand-s-greatest-mtv-moments-so-far/9840tl\" target=\"_blank\" rel=\"noopener noreferrer\">MTV VMAs\u003c/a> in 2008, after his breakout role in \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0800039/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">Forgetting Sarah Marshall\u003c/a>\u003c/em>, and immediately\u003cem> \u003c/em>caused a furor after he used the spotlight to refer to George W. Bush as a “retarded cowboy,” as well as make fun of the Jonas Brothers’ pro-celibacy stance. Nevertheless, he was invited to hand out \u003ca href=\"http://www.mtv.com/news/2924701/vma-statue-moonman/\" target=\"_blank\" rel=\"noopener noreferrer\">Moonmen\u003c/a> again in 2009 and 2012, and found himself with his own \u003ca href=\"http://www.cc.com/full-episodes/9bhrcj/stand-up-library-russell-brand-in-new-york-city-season-1-ep-101\" target=\"_blank\" rel=\"noopener noreferrer\">Comedy Central stand-up special\u003c/a>, as well as starring roles in \u003ca href=\"http://www.imdb.com/title/tt1226229/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Get Him to the Greek\u003c/em>\u003c/a> (2010), \u003cem>\u003ca href=\"http://www.imdb.com/title/tt1323594/?ref_=nv_sr_2\" target=\"_blank\" rel=\"noopener noreferrer\">Despicable Me\u003c/a>\u003c/em> (2010), \u003ca href=\"http://www.imdb.com/title/tt1334512/?ref_=fn_al_tt_2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Arthur\u003c/em>\u003c/a> (2011, in a role \u003cem>New York Magazine\u003c/em> described as “\u003ca href=\"https://www.theguardian.com/culture/2011/apr/15/russell-brand-arthur-hollywood-rise\" target=\"_blank\" rel=\"noopener noreferrer\">career-killing\u003c/a>”), \u003ca href=\"http://www.imdb.com/title/tt1274300/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Tempest\u003c/em> \u003c/a>(2011), \u003ca href=\"http://www.imdb.com/title/tt1411704/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hop\u003c/em>\u003c/a> (2011), and (let’s just forget this one ever happened) \u003ca href=\"http://www.imdb.com/title/tt1336608/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rock of Ages\u003c/em>\u003c/a> (2012). Arguably, though, Brand is best-remembered (stateside, at least) in the role of \u003ca href=\"http://www.heart.co.uk/showbiz/artists/katy-perry/photos/katy-perry-russell-brand-wedding/\" target=\"_blank\" rel=\"noopener noreferrer\">Katy Perry’s husband\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_66533\" class=\"wp-caption aligncenter\" style=\"max-width: 454px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-66533\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/zteqgnrcx6fwtzq6.jpg\" alt=\"Katy Perry and Russell Brand in US Weekly.\" width=\"454\" height=\"615\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/02/zteqgnrcx6fwtzq6.jpg 454w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/zteqgnrcx6fwtzq6-160x217.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/zteqgnrcx6fwtzq6-240x325.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/zteqgnrcx6fwtzq6-375x508.jpg 375w\" sizes=\"(max-width: 454px) 100vw, 454px\">\u003cfigcaption class=\"wp-caption-text\">Katy Perry and Russell Brand in US Weekly.\u003c/figcaption>\u003c/figure>\n\u003cp>The couple’s 27-month marriage was a tabloid dream from the get-go. After their 2010 wedding in India—the basis for Perry’s performance of \u003ca href=\"http://www.usmagazine.com/celebrity-body/news/katy-perry-finally-shares-wedding-images----at-the-grammys--2011132\" target=\"_blank\" rel=\"noopener noreferrer\">“Not Like the Movies”\u003c/a> at the Grammys three months later—\u003cem>Marie Claire\u003c/em> called them “one of Hollywood’s hottest pairings.” By the time Brand had famously broken up with Perry via text and filed for divorce, the cover of \u003cem>US Weekly\u003c/em> screamed “MARRIED TO A CRAZY MAN” instead.\u003c/p>\n\u003cp>There is an assumption for many people on this side of the Atlantic that Brand’s disappearance is related to the fact that he was only famous because of Perry; that once those rings came off, his career died because he could no longer ride her coattails. (“Now he doesn’t have Katy Perry, he’s just a nobody,” we hear at the start of his \u003cem>Brand: A Second Coming\u003c/em> documentary.) Others suggest that his films just never did well enough at the box office to keep him in business.\u003c/p>\n\u003cp>The truth is far more complex—and far more interesting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It is true that the consistently unfiltered Brand is a difficult prospect to sell to American audiences. His distinctly European flamboyance is off-putting for conservatives, as is the sexually crude wordplay he favors (which has also landed him \u003ca href=\"https://en.wikipedia.org/wiki/The_Russell_Brand_Show_prank_telephone_calls_row\" target=\"_blank\" rel=\"noopener noreferrer\">in hot water\u003c/a> in his native England). His tendency toward verbose flourishes can be read by American audiences as pretentious and self-indulgent. It’s also true that when one tries to squeeze Brand into any kind of structured format, he is rarely able to shine—as FX found out when they gave him a chat show, \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Brand_X_with_Russell_Brand\" target=\"_blank\" rel=\"noopener noreferrer\">Brand X\u003c/a>\u003c/em>, which lasted just two seasons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The real root of Brand’s absence from our screens has less to do with ratings than it does with his own relationship with guilt, fame and spirituality. The key turning point for Brand was \u003ca href=\"https://www.youtube.com/watch?v=msMRZZIw6g0\" target=\"_blank\" rel=\"noopener noreferrer\">a trip to Africa\u003c/a> on behalf of Comic Relief in 2013. Having spent days witnessing dire poverty and suffering, surrounded by children orphaned by AIDS, he returned to the opulence of Hollywood life \u003ca href=\"http://www.cosmopolitan.co.uk/entertainment/news/a39349/russell-brand-documentary-katy-perry/\" target=\"_blank\" rel=\"noopener noreferrer\">and declared\u003c/a>: “Oh my fucking God, I’m living this life that’s the very thing I detest: vapid, vacuous celebrity.”\u003c/p>\n\u003cp>The turnaround was fast. In 2013, Brand guest-edited \u003ca href=\"http://www.newstatesman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The New Statesman\u003c/em>\u003c/a>—an award-winning British publication concerned with politics and current affairs. Shortly afterwards, he appeared on BBC’s \u003ca href=\"http://www.bbc.co.uk/programmes/b006mk25\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Newsnight\u003c/em>\u003c/a>, an equally stuffy and intellectually minded television show. The interview caused adoration and outrage in equal measure from the British public, with Brand talking about his unwillingness to vote and his desire for revolution. The usually unflappable host, Jeremy Paxman, was visibly irritated by the whole 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/3YR4CseY9pk'\n title='//www.youtube.com/embed/3YR4CseY9pk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When Brand talks about his personal philosophies, he does so from a place of experience. Before the \u003cem>Newsnight\u003c/em> interview, his years of seeking peace and fulfillment through drug abuse and promiscuous sex were artfully and amusingly relayed in 2007’s foolishly titled but thought-provoking autobiography, \u003ca href=\"https://www.amazon.com/My-Booky-Wook-Memoir-Stand-Up/dp/0061857807\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>My Booky Wook\u003c/em>\u003c/a>. The less-interesting followup, \u003ca href=\"https://www.amazon.com/Booky-Wook-This-Time-Personal/dp/0061958085\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Booky Wook 2: This Time It’s Personal\u003c/em>\u003c/a> (2010) saw Brand inching toward real international fame for the first time and seeking solace there, as well as in his new relationship with Perry. “For Katy,” the book’s dedication reads. “This is my past. You are my future.” (Another example of Brand throwing himself into his choices of the moment with absolute fervor).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Post-divorce, and post-Hollywood, Brand plunged into figuring out where to go next. By 2014, he had concluded, very vocally, that the answer for him lay in a somewhat jarring combination of spiritual and political activism. In the book he released that year, \u003ca href=\"https://www.amazon.com/Revolution-Russell-Brand/dp/1101882913/ref=sr_1_1?s=books&ie=UTF8&qid=1487279097&sr=1-1&keywords=russell+brand\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Revolution\u003c/em>\u003c/a>, he writes: “The solution is not fame or money or any transient adornment of the individual. The only revolution that can really change the world is the one in your own consciousness, and mine has already begun.”\u003c/p>\n\u003cp>In an interview to promote the book, Brand \u003ca href=\"https://www.ft.com/content/64206eb2-583f-11e4-a31b-00144feab7de\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>The Financial Times\u003c/em>\u003c/a> (of all places) that he wasn’t “interested in making money any more”—a truth demonstrated by \u003ca href=\"http://www.tmz.com/2012/02/08/russell-brand-katy-perry-divorce-money/\" target=\"_blank\" rel=\"noopener noreferrer\">his refusal to take the $20 million from Katy Perry\u003c/a> that he was legally entitled to from their divorce. “I think an economic ideology is oppositional to the spiritual ideologies that are what we need to adopt if we’re to save our planet and humankind,” he said. “Capitalism … prevents us from seeing that we’re all connected.”\u003c/p>\n\u003cp>In the 2014 documentary, \u003cem>Russell Brand: A Second Coming\u003c/em>, he asserts his view of fame and fortune in a manner that is blunt: “Fame, power and money is bullshit,” he says. “I’ve now seen what happens if you make money in Hollywood. It’s a pretend world. Nothing’s real.”\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/Py2Y0_B805w'\n title='//www.youtube.com/embed/Py2Y0_B805w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Since he disappeared from America, Brand has been off trying to make himself useful. For five years now, he has been campaigning to get drug addiction treated as a health issue, rather than a criminal one. He counsels drug addicts in his spare time. He has two documentaries on the subject available on Netflix (\u003ca href=\"http://topdocumentaryfilms.com/russell-brand-addiction-recovery/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>From Addiction to Recovery\u003c/em>\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=jInyztmwU_U\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>End the Drugs War\u003c/em>\u003c/a>) and he has offered expert testimony to the \u003ca href=\"https://www.youtube.com/watch?v=O_LHuII-jYQ\" target=\"_blank\" rel=\"noopener noreferrer\">U.K. government \u003c/a>on the subject.\u003c/p>\n\u003cp>In addition, there are the social and political commentaries Brand disperses on his \u003ca href=\"https://www.youtube.com/watch?v=w3Ou5uFFn8Q\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Trews\u003c/em>\u003c/a> YouTube channel, a perfect outlet for him to vent and inform in a time when \u003ca href=\"http://www.niemanlab.org/2016/05/pew-report-44-percent-of-u-s-adults-get-news-on-facebook/\" target=\"_blank\" rel=\"noopener noreferrer\">62 percent\u003c/a> of American adults access news through social media. Remarkably, Brand named his show “The True News” three years before “fake news” became a thing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Last year, Brand returned to movies after a three-year break. It’s a move accompanied—probably not coincidentally—by the birth of his first child. He appeared in \u003cem>\u003ca href=\"http://www.imdb.com/title/tt1679335/?ref_=nm_flmg_act_3\" target=\"_blank\" rel=\"noopener noreferrer\">Trolls\u003c/a> \u003c/em>and\u003cem>\u003ca href=\"http://www.imdb.com/videoplayer/vi1341044249?ref_=tt_pv_vi_aiv_1\" target=\"_blank\" rel=\"noopener noreferrer\"> Army of One\u003c/a> (\u003c/em>alongside Nicolas Cage)\u003cem>. \u003c/em>This year, he will return to his Dr. Nefario role in \u003cem>\u003ca href=\"http://www.imdb.com/title/tt3469046/?ref_=nm_flmg_act_1\" target=\"_blank\" rel=\"noopener noreferrer\">Despicable Me 3\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Undoubtedly, though, Brand’s years of chasing fulfillment via fame and glamor are very much over. These days, living in the British countryside, he finds \u003ca href=\"https://www.youtube.com/watch?v=axaQeZdVOgM\" target=\"_blank\" rel=\"noopener noreferrer\">personal satisfaction\u003c/a> in simplicity (“I’m so much happier over the course of the day to see one or two people and a few chickens,” he told \u003ca href=\"http://www.standard.co.uk/showbiz/celebrity-news/russell-brand-on-being-a-firsttime-father-i-feel-litup-about-the-idea-i-m-very-excited-a3372941.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>ES Magazine\u003c/em>\u003c/a> last year) and professional fulfillment through his continuing analyses of how politics affects the proletariat. In addition to his public ponderings on spirituality and the meaning of life, he has returned to school to study religion and global politics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brand is that most unusual of figures—a man who succeeded and then walked away from blinding opportunities to give personal growth priority over wealth. In an age of reality television, when being famous for fame’s sake has \u003ca href=\"http://guardianlv.com/2013/08/studies-show-that-children-just-want-to-be-famous/\" target=\"_blank\" rel=\"noopener noreferrer\">more allure than ever\u003c/a>, he offers a valuable alternative.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Reliving the Freewheeling 'Roxie Releasing' Years",
"headTitle": "Now Playing! Reliving the Freewheeling ‘Roxie Releasing’ Years | KQED",
"content": "\u003cp>The home video revolution of the 1980s, sparked by the introduction of affordable VCRs, was a major blow to repertory cinemas. Why pay to see a beat-up print of \u003cem>The 400 Blows\u003c/em> or \u003cem>North by Northwest\u003c/em> with ill-mannered people in a theater when you could rent the VHS and curl up on the couch with your partner, some Jiffy Pop, and a glass of cabernet? (In reality, more people checked out the latest Julia Roberts or Richard Gere flick than Truffaut or Hitchcock. But I digress.)\u003c/p>\n\u003cp>The VCR killed countless rep houses, while others survived and thrived via a mix of niche first-run films, revivals of classics in new prints and carefully curated and promoted series (noir, pre-Code, Hong Kong action). In San Francisco, one of the partners at the Roxie Theater, Bill Banning, arrived at the inspired yet risky idea of snagging new films that the major distributors passed by — edgy indie narratives and documentaries about cult artists, notably — and distributing them to independent cinemas around the country.\u003c/p>\n\u003cfigure id=\"attachment_12824481\" class=\"wp-caption aligncenter\" style=\"max-width: 570px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/4-Nico-2.jpg\" alt=\"Still from 'Nico Icon.'\" width=\"570\" height=\"364\" class=\"size-full wp-image-12824481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/4-Nico-2.jpg 570w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/4-Nico-2-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/4-Nico-2-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/4-Nico-2-375x239.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/4-Nico-2-520x332.jpg 520w\" sizes=\"(max-width: 570px) 100vw, 570px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Nico Icon.’ \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roxie Releasing, as the distribution wing was christened, had several advantages — the Roxie itself; San Francisco’s then-famously adventurous moviegoers (we’re talking about the ’80s and ’90s, remember); and a coterie of local critics and outlets interested in covering offbeat, out-of-nowhere movies. RR skipped the usual strategy of opening a movie in New York and parlaying reviews and ticket sales into bookings across the country. Instead, the film would premiere at the Roxie and play, and play, and play. The box-office receipts of RR titles were essential to sustaining the theater for several years while it found its footing in an evolving moviegoing environment, and movies like \u003cem>Red Rock West\u003c/em> and \u003cem>Man Bites Dog\u003c/em> weren’t just hits; they were phenomena that other indie theaters were eager to duplicate.\u003c/p>\n\u003cp>The Roxie revisits those freewheeling days on Saturday, March 4, with a quadruple feature billed as \u003ca href=\"http://www.roxie.com/ai1ec_event/bill-bannings-roxie-releasing-tribute/?instance_id=18022\" target=\"_blank\" rel=\"noopener\">Bill Banning’s Roxie Releasing: A Tribute\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_12824482\" class=\"wp-caption aligncenter\" style=\"max-width: 1050px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/GoldworthyJPG.jpg\" alt=\"Still from 'Rivers and Tides.'\" width=\"1050\" height=\"750\" class=\"size-full wp-image-12824482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldworthyJPG.jpg 1050w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldworthyJPG-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldworthyJPG-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldworthyJPG-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldworthyJPG-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldworthyJPG-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldworthyJPG-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldworthyJPG-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldworthyJPG-520x371.jpg 520w\" sizes=\"(max-width: 1050px) 100vw, 1050px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Rivers and Tides.’ \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First up is Paul Cox’s gorgeous and moving \u003cem>\u003ca href=\"http://www.roxie.com/ai1ec_event/vincent-1987-35mm/\" target=\"_blank\" rel=\"noopener\">Vincent\u003c/a>\u003c/em> (1987), featuring Van Gogh’s letters to his brother (read by John Hurt, whose recent passing we mourn). German filmmaker Susanne Ofteringer’s only work, \u003cem>\u003ca href=\"http://www.roxie.com/ai1ec_event/nico-icon-35mm/\" target=\"_blank\" rel=\"noopener\">Nico Icon\u003c/a>\u003c/em> (1995), recounts the life and times of another gifted and occasionally tormented artist. Yet another landmark portrait, Thomas Reidelsheimer’s \u003cem>\u003ca href=\"http://www.roxie.com/ai1ec_event/rivers-tides-35mm/\" target=\"_blank\" rel=\"noopener\">Rivers and Tides: Andy Goldsworthy Working With Time\u003c/a>\u003c/em> (2001), takes an altogether different (and equally inspired) tack by depicting the process of creation (and destruction).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All well and good, you say, but what about Banning’s glint-eyed hankering for black comedies that skirted taboos? Glad you asked. \u003cem>\u003ca href=\"http://www.roxie.com/ai1ec_event/freeway-35mm/\" target=\"_blank\" rel=\"noopener\">Freeway\u003c/a>\u003c/em> (1996) caps the bill with the unmitigated pleasure of a foul-mouthed, barely-out-of-her-teens Reese Witherspoon fending off serial killer Kiefer Sutherland. It’s nowhere near as much fun on VHS.\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>For more details on ‘Bill Banning’s Roxie Releasing: A Tribute,’ \u003ca href=\"http://www.roxie.com/ai1ec_event/bill-bannings-roxie-releasing-tribute/?instance_id=18022\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Bill Banning's edgy acquisitions sustained the Roxie when VHS was putting rep houses out of business.",
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"title": "Now Playing! Reliving the Freewheeling 'Roxie Releasing' Years | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The home video revolution of the 1980s, sparked by the introduction of affordable VCRs, was a major blow to repertory cinemas. Why pay to see a beat-up print of \u003cem>The 400 Blows\u003c/em> or \u003cem>North by Northwest\u003c/em> with ill-mannered people in a theater when you could rent the VHS and curl up on the couch with your partner, some Jiffy Pop, and a glass of cabernet? (In reality, more people checked out the latest Julia Roberts or Richard Gere flick than Truffaut or Hitchcock. But I digress.)\u003c/p>\n\u003cp>The VCR killed countless rep houses, while others survived and thrived via a mix of niche first-run films, revivals of classics in new prints and carefully curated and promoted series (noir, pre-Code, Hong Kong action). In San Francisco, one of the partners at the Roxie Theater, Bill Banning, arrived at the inspired yet risky idea of snagging new films that the major distributors passed by — edgy indie narratives and documentaries about cult artists, notably — and distributing them to independent cinemas around the country.\u003c/p>\n\u003cfigure id=\"attachment_12824481\" class=\"wp-caption aligncenter\" style=\"max-width: 570px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/4-Nico-2.jpg\" alt=\"Still from 'Nico Icon.'\" width=\"570\" height=\"364\" class=\"size-full wp-image-12824481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/4-Nico-2.jpg 570w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/4-Nico-2-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/4-Nico-2-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/4-Nico-2-375x239.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/4-Nico-2-520x332.jpg 520w\" sizes=\"(max-width: 570px) 100vw, 570px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Nico Icon.’ \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roxie Releasing, as the distribution wing was christened, had several advantages — the Roxie itself; San Francisco’s then-famously adventurous moviegoers (we’re talking about the ’80s and ’90s, remember); and a coterie of local critics and outlets interested in covering offbeat, out-of-nowhere movies. RR skipped the usual strategy of opening a movie in New York and parlaying reviews and ticket sales into bookings across the country. Instead, the film would premiere at the Roxie and play, and play, and play. The box-office receipts of RR titles were essential to sustaining the theater for several years while it found its footing in an evolving moviegoing environment, and movies like \u003cem>Red Rock West\u003c/em> and \u003cem>Man Bites Dog\u003c/em> weren’t just hits; they were phenomena that other indie theaters were eager to duplicate.\u003c/p>\n\u003cp>The Roxie revisits those freewheeling days on Saturday, March 4, with a quadruple feature billed as \u003ca href=\"http://www.roxie.com/ai1ec_event/bill-bannings-roxie-releasing-tribute/?instance_id=18022\" target=\"_blank\" rel=\"noopener\">Bill Banning’s Roxie Releasing: A Tribute\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_12824482\" class=\"wp-caption aligncenter\" style=\"max-width: 1050px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/GoldworthyJPG.jpg\" alt=\"Still from 'Rivers and Tides.'\" width=\"1050\" height=\"750\" class=\"size-full wp-image-12824482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldworthyJPG.jpg 1050w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldworthyJPG-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldworthyJPG-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldworthyJPG-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldworthyJPG-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldworthyJPG-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldworthyJPG-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldworthyJPG-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldworthyJPG-520x371.jpg 520w\" sizes=\"(max-width: 1050px) 100vw, 1050px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Rivers and Tides.’ \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First up is Paul Cox’s gorgeous and moving \u003cem>\u003ca href=\"http://www.roxie.com/ai1ec_event/vincent-1987-35mm/\" target=\"_blank\" rel=\"noopener\">Vincent\u003c/a>\u003c/em> (1987), featuring Van Gogh’s letters to his brother (read by John Hurt, whose recent passing we mourn). German filmmaker Susanne Ofteringer’s only work, \u003cem>\u003ca href=\"http://www.roxie.com/ai1ec_event/nico-icon-35mm/\" target=\"_blank\" rel=\"noopener\">Nico Icon\u003c/a>\u003c/em> (1995), recounts the life and times of another gifted and occasionally tormented artist. Yet another landmark portrait, Thomas Reidelsheimer’s \u003cem>\u003ca href=\"http://www.roxie.com/ai1ec_event/rivers-tides-35mm/\" target=\"_blank\" rel=\"noopener\">Rivers and Tides: Andy Goldsworthy Working With Time\u003c/a>\u003c/em> (2001), takes an altogether different (and equally inspired) tack by depicting the process of creation (and destruction).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All well and good, you say, but what about Banning’s glint-eyed hankering for black comedies that skirted taboos? Glad you asked. \u003cem>\u003ca href=\"http://www.roxie.com/ai1ec_event/freeway-35mm/\" target=\"_blank\" rel=\"noopener\">Freeway\u003c/a>\u003c/em> (1996) caps the bill with the unmitigated pleasure of a foul-mouthed, barely-out-of-her-teens Reese Witherspoon fending off serial killer Kiefer Sutherland. It’s nowhere near as much fun on VHS.\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>For more details on ‘Bill Banning’s Roxie Releasing: A Tribute,’ \u003ca href=\"http://www.roxie.com/ai1ec_event/bill-bannings-roxie-releasing-tribute/?instance_id=18022\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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 />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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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",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"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",
"title": "Freakonomics Radio",
"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": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"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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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"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",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"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": {
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"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"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",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"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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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"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": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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