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"content": "\u003cp>Victor Jara might not be a household name outside his home country of Chile, but perhaps it should be: his story remains as relevant as it is poignant.\u003c/p>\n\u003cp>A singer-songwriter, theater director and working-class activist often called “the Bob Dylan of South America,” Jara became well-known in the late 1960s and early ’70s for his songs and writings on inequality, labor and social justice. That focus that took on a whole new layer of tragic irony when he was kidnapped, tortured and killed by Chilean military officers working for newly installed dictator Pinochet during the U.S.-backed coup of 1973.\u003c/p>\n\u003cp>\u003cem>The Resurrection of Victor Jara\u003c/em>, a 2015 documentary from director John Travers, explores the folk legend’s life, death and legacy through archival footage, interviews with musicians (Bono, Pete Seeger and Arlo Guthrie among them), and Jara’s songs — the artist’s own recordings as well as performances by the wide range of Chilean and Argentine musicians he influenced.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IT5pGOyAnDU\u003c/p>\n\u003cp>The film gets its West Coast debut this Saturday, Feb. 18, at Artists’ Television Access in San Francisco, as one of\u003ca href=\"http://film.noisepop.com/\" target=\"_blank\" rel=\"noopener\"> 11 films that comprise the Noise Pop festival’s 2017 lineup\u003c/a>. (Though it’s still primarily a music festival, Noise Pop has in recent years steadily expanded its film schedule; this year’s documentaries explore everything from the \u003ca href=\"http://film.noisepop.com/events/2017/2/18/my-buddha-is-punk\" target=\"_blank\" rel=\"noopener\">Burmese punk scene\u003c/a> to the rise of modern\u003ca href=\"http://film.noisepop.com/events/2017/2/17/festival\" target=\"_blank\" rel=\"noopener\"> festival culture\u003c/a> to rare footage from the \u003ca href=\"http://film.noisepop.com/events/2017/2/20/when-i-lay-my-burden-down-rare-footage-from-the-alan-lomax-archive-1937-1983\" target=\"_blank\" rel=\"noopener\">archives of folklorist Alan Lomax\u003c/a>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Resurrection\u003c/em>’s producer, Fernando Andres, will be onhand at ATA for a post-screening Q&A. And in case anyone needed help connecting the thematic threads presented by\u003ci> \u003c/i>Victor Jara’s story to modern-day problems: the feature-length film will be preceded by the 10-minute short \u003ci>The Boombox Collection: Boots Riley\u003c/i>, by local filmmaker Mohammad Gorjestani. The first installment in a portrait series focusing on underground hip-hop artists, the 2016 doc follows The Coup’s frontman on a drive through his native Oakland as he reflects on his long-running crusade against capitalism and his efforts to use music as a “mouthpiece.”\u003c/p>\n\u003cp>“It’s always being said that a movement needs art,” says Riley at one point. “I think art needs a movement.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>\u003cem>‘The Resurrection of Victor Jara’ screens at 4pm this Saturday, Feb. 18, at \u003ca href=\"http://www.atasite.org/\" target=\"_blank\" rel=\"noopener\">Artists’ Television Access\u003c/a> in San Francisco. \u003ca href=\"http://film.noisepop.com/events/2017/2/18/the-resurrection-of-victor-jara\" target=\"_blank\" rel=\"noopener\">Tickets ($12) and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Victor Jara might not be a household name outside his home country of Chile, but perhaps it should be: his story remains as relevant as it is poignant.\u003c/p>\n\u003cp>A singer-songwriter, theater director and working-class activist often called “the Bob Dylan of South America,” Jara became well-known in the late 1960s and early ’70s for his songs and writings on inequality, labor and social justice. That focus that took on a whole new layer of tragic irony when he was kidnapped, tortured and killed by Chilean military officers working for newly installed dictator Pinochet during the U.S.-backed coup of 1973.\u003c/p>\n\u003cp>\u003cem>The Resurrection of Victor Jara\u003c/em>, a 2015 documentary from director John Travers, explores the folk legend’s life, death and legacy through archival footage, interviews with musicians (Bono, Pete Seeger and Arlo Guthrie among them), and Jara’s songs — the artist’s own recordings as well as performances by the wide range of Chilean and Argentine musicians he influenced.\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/IT5pGOyAnDU'\n title='//www.youtube.com/embed/IT5pGOyAnDU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film gets its West Coast debut this Saturday, Feb. 18, at Artists’ Television Access in San Francisco, as one of\u003ca href=\"http://film.noisepop.com/\" target=\"_blank\" rel=\"noopener\"> 11 films that comprise the Noise Pop festival’s 2017 lineup\u003c/a>. (Though it’s still primarily a music festival, Noise Pop has in recent years steadily expanded its film schedule; this year’s documentaries explore everything from the \u003ca href=\"http://film.noisepop.com/events/2017/2/18/my-buddha-is-punk\" target=\"_blank\" rel=\"noopener\">Burmese punk scene\u003c/a> to the rise of modern\u003ca href=\"http://film.noisepop.com/events/2017/2/17/festival\" target=\"_blank\" rel=\"noopener\"> festival culture\u003c/a> to rare footage from the \u003ca href=\"http://film.noisepop.com/events/2017/2/20/when-i-lay-my-burden-down-rare-footage-from-the-alan-lomax-archive-1937-1983\" target=\"_blank\" rel=\"noopener\">archives of folklorist Alan Lomax\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Resurrection\u003c/em>’s producer, Fernando Andres, will be onhand at ATA for a post-screening Q&A. And in case anyone needed help connecting the thematic threads presented by\u003ci> \u003c/i>Victor Jara’s story to modern-day problems: the feature-length film will be preceded by the 10-minute short \u003ci>The Boombox Collection: Boots Riley\u003c/i>, by local filmmaker Mohammad Gorjestani. The first installment in a portrait series focusing on underground hip-hop artists, the 2016 doc follows The Coup’s frontman on a drive through his native Oakland as he reflects on his long-running crusade against capitalism and his efforts to use music as a “mouthpiece.”\u003c/p>\n\u003cp>“It’s always being said that a movement needs art,” says Riley at one point. “I think art needs a movement.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>\u003cem>‘The Resurrection of Victor Jara’ screens at 4pm this Saturday, Feb. 18, at \u003ca href=\"http://www.atasite.org/\" target=\"_blank\" rel=\"noopener\">Artists’ Television Access\u003c/a> in San Francisco. \u003ca href=\"http://film.noisepop.com/events/2017/2/18/the-resurrection-of-victor-jara\" target=\"_blank\" rel=\"noopener\">Tickets ($12) and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Simon Savelyev’s \u003cem>Googly Eyes\u003c/em> is the perfect cynical romantic comedy for Valentine’s Day. Or, really, any day of the year. Starring \u003ca target=\"_blank\" href=\"http://www.imdb.com/name/nm1640173/\" rel=\"noopener\">Cooper Barnes\u003c/a> as Gary (Nickelodeon’s \u003cem>Henry Danger\u003c/em>) and \u003ca target=\"_blank\" href=\"http://www.imdb.com/name/nm3189010/?ref_=tt_cl_t2\" rel=\"noopener\">Laura Spencer\u003c/a> as Suzy (\u003cem>The Big Bang Theory\u003c/em>), this wry short follows a newly broken-up couple as they try \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/02/14/director-simon-saveylev-on-his-cynical-rom-com-googly-eyes/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/02/14/director-simon-saveylev-on-his-cynical-rom-com-googly-eyes/\" target=\"_blank\" title=\"Director Simon Saveylev on his Cynical Rom-Com ‘Googly Eyes’\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Simon Savelyev’s \u003cem>Googly Eyes\u003c/em> is the perfect cynical romantic comedy for Valentine’s Day. Or, really, any day of the year. Starring \u003ca target=\"_blank\" href=\"http://www.imdb.com/name/nm1640173/\" rel=\"noopener\">Cooper Barnes\u003c/a> as Gary (Nickelodeon’s \u003cem>Henry Danger\u003c/em>) and \u003ca target=\"_blank\" href=\"http://www.imdb.com/name/nm3189010/?ref_=tt_cl_t2\" rel=\"noopener\">Laura Spencer\u003c/a> as Suzy (\u003cem>The Big Bang Theory\u003c/em>), this wry short follows a newly broken-up couple as they try \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/02/14/director-simon-saveylev-on-his-cynical-rom-com-googly-eyes/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/02/14/director-simon-saveylev-on-his-cynical-rom-com-googly-eyes/\" target=\"_blank\" title=\"Director Simon Saveylev on his Cynical Rom-Com ‘Googly Eyes’\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Returning this year for its ninth well-mannered sojourn at the Vogue Theatre, the \u003ca href=\"http://mostlybritish.org\" target=\"_blank\" rel=\"noopener\">Mostly British Film Festival\u003c/a> offers a mix of stiff-upper-lip historical dramas and harder-hitting contemporary stories. That describes the fest’s core offering of new and recent movies from the Isles, Ireland and Australia; its annual spotlight of vintage classics is a good deal quirkier. There’s Neil Jordan’s beautifully directed crime/love story \u003cem>Mona Lisa\u003c/em> (featuring Bob Hoskins’ unforgettable turn), a couple silent treasures (Anthony Asquith’s engrossing love triangle \u003cem>Underground\u003c/em> and the breathtaking documentary \u003cem>Epic of Everest\u003c/em>) and a Beatles reunion (the Fab Three of \u003cem>A Hard Day’s Night\u003c/em>, \u003cem>Backbeat\u003c/em> and \u003cem>Nowhere Boy\u003c/em>).\u003c/p>\n\u003cp>Mostly British (running Feb. 16–23; full details \u003ca href=\"http://mostlybritish.org\" target=\"_blank\" rel=\"noopener\">here\u003c/a>) is most valuable, however, as the local venue for a favorite actress or director’s latest work, especially if the film lacks the commercial elements (stars, guns, happy ending) that generally lead to a U.S. theatrical release. Terence Davies, a uniquely sensitive director with a talent for stunning compositions that convey his characters’ unexpressed emotions, directs Cynthia Nixon as Emily Dickinson in \u003cem>A Quiet Passion\u003c/em> (Wednesday, Feb. 22). The wonderful Rachel Griffiths plays a grieving mother who befriends a homeless lad in the Irish drama \u003cem>Mammal\u003c/em> (Sunday, Feb. 19), while the sublime Timothy Spall portrays a depressed widower who bonds with runaway Juno Temple in \u003cem>Away\u003c/em> (Tuesday, Feb. 21).\u003c/p>\n\u003cp>For a more unsettling buddy picture, check out up-and-comer Michael Lennox’s noirish feature debut \u003cem>A Patch of Fog\u003c/em> (Friday, Feb. 17). The best part, possibly? The marvelous British crime novelist Tony Broadbent (\u003cem>The Smoke\u003c/em>) is slated to introduce the film.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Returning this year for its ninth well-mannered sojourn at the Vogue Theatre, the \u003ca href=\"http://mostlybritish.org\" target=\"_blank\" rel=\"noopener\">Mostly British Film Festival\u003c/a> offers a mix of stiff-upper-lip historical dramas and harder-hitting contemporary stories. That describes the fest’s core offering of new and recent movies from the Isles, Ireland and Australia; its annual spotlight of vintage classics is a good deal quirkier. There’s Neil Jordan’s beautifully directed crime/love story \u003cem>Mona Lisa\u003c/em> (featuring Bob Hoskins’ unforgettable turn), a couple silent treasures (Anthony Asquith’s engrossing love triangle \u003cem>Underground\u003c/em> and the breathtaking documentary \u003cem>Epic of Everest\u003c/em>) and a Beatles reunion (the Fab Three of \u003cem>A Hard Day’s Night\u003c/em>, \u003cem>Backbeat\u003c/em> and \u003cem>Nowhere Boy\u003c/em>).\u003c/p>\n\u003cp>Mostly British (running Feb. 16–23; full details \u003ca href=\"http://mostlybritish.org\" target=\"_blank\" rel=\"noopener\">here\u003c/a>) is most valuable, however, as the local venue for a favorite actress or director’s latest work, especially if the film lacks the commercial elements (stars, guns, happy ending) that generally lead to a U.S. theatrical release. Terence Davies, a uniquely sensitive director with a talent for stunning compositions that convey his characters’ unexpressed emotions, directs Cynthia Nixon as Emily Dickinson in \u003cem>A Quiet Passion\u003c/em> (Wednesday, Feb. 22). The wonderful Rachel Griffiths plays a grieving mother who befriends a homeless lad in the Irish drama \u003cem>Mammal\u003c/em> (Sunday, Feb. 19), while the sublime Timothy Spall portrays a depressed widower who bonds with runaway Juno Temple in \u003cem>Away\u003c/em> (Tuesday, Feb. 21).\u003c/p>\n\u003cp>For a more unsettling buddy picture, check out up-and-comer Michael Lennox’s noirish feature debut \u003cem>A Patch of Fog\u003c/em> (Friday, Feb. 17). The best part, possibly? The marvelous British crime novelist Tony Broadbent (\u003cem>The Smoke\u003c/em>) is slated to introduce the film.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'The LEGO Batman Movie' Drags The Caped Crusader Out Of The Shadows (Again)",
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"content": "\u003cp>Sunrise, sunset: light into darkness, darkness into light.\u003c/p>\n\u003cp>This perpetual cycling through archetypal phases of yin and yang, light slapstick and dour melodrama, is what lends Batman his unique mutability. His fellow heroes are a more stolid lot. They tend to pick a lane and stick with it.\u003c/p>\n\u003cp>Not Batman. Dude’s ephemeral. A veritable will o’ the wisp, that guy.\u003c/p>\n\u003cp>For 78 years we nerds, devout students of his endless adventures, have witnessed him phasing through this dark/light cycle on the comics page. But when it comes to shaping the idea of Batman — how he exists in the public consciousness — it’s TV and movies that matter.\u003c/p>\n\u003cp>And it’s possible to see that same cycle at work there, too, if you know where and how to look for it. Every turn of the cycle occurs for a reason, as a reaction to the phase that came before.\u003c/p>\n\u003ch3>1966: Camp Crusader\u003c/h3>\n\u003cp>https://youtu.be/mjKyGs-G6Sg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The ’60s Batman television series starring Adam West brought the Caped Crusader before the eyes of the wider world in a huge way. A huge, goofy way.\u003c/p>\n\u003cp>The network and studio executives behind the series didn’t create the show out of any particular love for the character. In fact, they considered Batman — and superheroes, and comics themselves — to be disposable junk culture. They approached the creation of the series from the outside: producer Bill Dozier read a few Batman comics, and decided to reproduce them exactly — but with a tone that treated them like serious drama, like Ibsen’s \u003cem>A Doll’s House\u003c/em> in tights.\u003c/p>\n\u003cp>They made him a square, a cop in a cape, a bat-eared representation of the Establishment. He drank milk, lectured Robin about pedestrian safety, and would never think of double-parking the Batmobile. That tone, and the campy silliness it engendered, made the show a sensation, albeit a short-lived one.\u003c/p>\n\u003cp>Everything about the show’s approach angered Batman’s hardcore fans, however, and their resentment would live on long after the series went off the air. It was so strong, in fact, that it threw a long shadow from which Batman is only now beginning to emerge.\u003c/p>\n\u003ch3>1989: Bat-Goth\u003c/h3>\n\u003cp>https://youtu.be/G13ZHx36l8M\u003c/p>\n\u003cp>Throughout the ’70s and ’80s the Batman of the comics existed as a spirited refutation of everything the ’60 TV series had stood for. This new Batman was a brooding loner (Robin had shipped off to college) who haunted the urban night.\u003c/p>\n\u003cp>It was this Batman that director Tim Burton picked up on, in creating the 1989 \u003cem>Batman\u003c/em> film starring Michael Keaton. His Dark Knight was truly dark, and somber, and goth — and also, with respect to to Michelle Pfeiffer’s Catwoman — kinda kinky.\u003c/p>\n\u003ch3>1990s: Camp Strikes Back\u003c/h3>\n\u003cp>https://youtu.be/suOgRZflPtk\u003c/p>\n\u003cp>When director Joel Schumacher took over the series, he attempted to pull Batman back into the light, although the light in question was neon pink. In homage to the 1960s series, he upped the campy archness, restored Robin to the mix and — in a move that has enshrined him in nerd infamy — slapped some nipples on the sculpted musculature of the Bat-suit.\u003c/p>\n\u003cp>The reaction of the hardcore Bat-nerds was swift and savage. They took to the nascent internet to demand that future films treat the character as seriously (read: as grimly and grittily) as the comics had been doing for years.\u003c/p>\n\u003cp>After a brief fallow period, they got their wish.\u003c/p>\n\u003ch3>2000s: Batman, Bedimmed\u003c/h3>\n\u003cp>https://youtu.be/bkU7Cl2SSvI\u003c/p>\n\u003cp>Director Christopher Nolan’s Bat-trilogy, beginning with \u003cem>Batman Begins\u003c/em>, seemed like a mission statement for the complete refutation of Schumacher’s Batman — and by extension, of the ’60s series as well. By leaning into a rugged, gunmetal-gray vision that prized somber practicality over anything that smacked of stylization or — God forbid — flair, Nolan gave the hardcore fans the Batman they loved in the grim-and-gritty comics. This was a Batman who would be taken seriously (read: who was very, very serious). The fans proved fiercely protective: Several critics who dared to suggest that the somberness of Nolan’s \u003cem>The Dark Knight Rises,\u003c/em> in particular\u003cem>, \u003c/em>smacked of bloated pretension were greeted with death threats.\u003c/p>\n\u003ch3>2017: LEGO My Ego\u003c/h3>\n\u003cp>https://youtu.be/rGQUKzSDhrg\u003c/p>\n\u003cp>And so we come to \u003cem>The LEGO Batman Movie\u003c/em>, which is just the latest attempt to bring the broody Batman out of his cave, into the light and sun of the upper world.\u003c/p>\n\u003cp>But this attempt is fundamentally different.\u003c/p>\n\u003cp>The creators of the 1966 TV series brought condescension to Batman. Tim Burton brought a determination to remake the character in his own, emo- outsider image. Schumacher brought camp and areolae. Nolan brought a grayscale dourness.\u003c/p>\n\u003cp>Every one of them came at the character from the outside, and imposed their vision on top of him.\u003c/p>\n\u003cp>The screenwriters and director of \u003cem>The LEGO Batman Movie\u003c/em>, on the other hand, come at him with 1. a very specific comedic sensibility and 2. a deep, deep, \u003cem>deep\u003c/em> knowledge of the character’s history that, it turns out, is indistinguishable from love.\u003c/p>\n\u003cp>Their Batman is something else, as well — something important: a complete tool.\u003c/p>\n\u003cp>He’s a jerk who takes himself far too seriously, a brooding loner who insists, at every opportunity, upon his own consummate awesomeness.\u003c/p>\n\u003cp>This is not merely a characterization — a “way in” to the character they’d teach in screenwriting classes.\u003c/p>\n\u003cp>It is a pointed critique of the dour, sulky, militantly humorless Batman that has existed in the public consciousness for nearly 40 years. It is also, more to the point, a slap in the face of the hardcore fanboy culture around him, a culture that insists only one “true” version of the character exists, and stubbornly clings to the conviction that they “own” Batman.\u003c/p>\n\u003cp>Which is to say: It’s a reminder — a not particularly gentle one — that this stuff was always supposed to be \u003cem>fun\u003c/em>.\u003c/p>\n\u003cp>Consider this, as well: The plot of this movie involves Batman learning that being a dark, disaffected, brooding loner isn’t enough. He needs to make human connections, needs to let other people in.\u003c/p>\n\u003cp>In a very real sense, it’s about Batman transitioning from an arrested adolescence as a sulky goth, brooding alone in his room, into an adulthood that requires him to join society.\u003c/p>\n\u003cp>Which is probably why, despite the movie’s deep, abiding and aggressive silliness, \u003cem>The LEGO Batman Movie\u003c/em> stands as the most \u003cem>emotionally mature\u003c/em> Batman film yet made.\u003c/p>\n\u003cp>It’s also one that might — that just might — manage to end the eternal cycle of light/dark Batman, once and for all.\u003c/p>\n\u003cp>Because no matter how savagely it lampoons the Dark Knight as an egotistical jerk, it so clearly comes from a place of deep knowledge that even the hardest-core fanboy will have no choice but to respect it.\u003c/p>\n\u003cp>Nolan, Burton, Schumacher, even the creators of the 1960s Batman TV series were outsiders looking in; the team behind \u003cem>LEGO Batman\u003c/em> are not. And that matters, because of a very simple, abiding truth first recorded, I believe, by Pliny the Elder, namely:\u003c/p>\n\u003cp>Game recognize game.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In other words: I strongly doubt that any self-respecting Bat-fan will be able to gin up much in the way of frothing nerdrage over a film that includes \u003ca href=\"http://batman.wikia.com/wiki/Zebra-Man\">\u003cem>a frickin’ Zebra-Man cameo\u003c/em>.\u003c/a> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/div>\n\n",
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"excerpt": "In 'The LEGO Batman Movie,' the Dark Knight... lightens up. NPR critic Glen Weldon says it's only the latest example of the character cycling through phases of darkness and light.",
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"description": "In 'The LEGO Batman Movie,' the Dark Knight... lightens up. NPR critic Glen Weldon says it's only the latest example of the character cycling through phases of darkness and light.",
"title": "'The LEGO Batman Movie' Drags The Caped Crusader Out Of The Shadows (Again) | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sunrise, sunset: light into darkness, darkness into light.\u003c/p>\n\u003cp>This perpetual cycling through archetypal phases of yin and yang, light slapstick and dour melodrama, is what lends Batman his unique mutability. His fellow heroes are a more stolid lot. They tend to pick a lane and stick with it.\u003c/p>\n\u003cp>Not Batman. Dude’s ephemeral. A veritable will o’ the wisp, that guy.\u003c/p>\n\u003cp>For 78 years we nerds, devout students of his endless adventures, have witnessed him phasing through this dark/light cycle on the comics page. But when it comes to shaping the idea of Batman — how he exists in the public consciousness — it’s TV and movies that matter.\u003c/p>\n\u003cp>And it’s possible to see that same cycle at work there, too, if you know where and how to look for it. Every turn of the cycle occurs for a reason, as a reaction to the phase that came before.\u003c/p>\n\u003ch3>1966: Camp Crusader\u003c/h3>\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/mjKyGs-G6Sg'\n title='//www.youtube.com/embed/mjKyGs-G6Sg'\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>The ’60s Batman television series starring Adam West brought the Caped Crusader before the eyes of the wider world in a huge way. A huge, goofy way.\u003c/p>\n\u003cp>The network and studio executives behind the series didn’t create the show out of any particular love for the character. In fact, they considered Batman — and superheroes, and comics themselves — to be disposable junk culture. They approached the creation of the series from the outside: producer Bill Dozier read a few Batman comics, and decided to reproduce them exactly — but with a tone that treated them like serious drama, like Ibsen’s \u003cem>A Doll’s House\u003c/em> in tights.\u003c/p>\n\u003cp>They made him a square, a cop in a cape, a bat-eared representation of the Establishment. He drank milk, lectured Robin about pedestrian safety, and would never think of double-parking the Batmobile. That tone, and the campy silliness it engendered, made the show a sensation, albeit a short-lived one.\u003c/p>\n\u003cp>Everything about the show’s approach angered Batman’s hardcore fans, however, and their resentment would live on long after the series went off the air. It was so strong, in fact, that it threw a long shadow from which Batman is only now beginning to emerge.\u003c/p>\n\u003ch3>1989: Bat-Goth\u003c/h3>\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/G13ZHx36l8M'\n title='//www.youtube.com/embed/G13ZHx36l8M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Throughout the ’70s and ’80s the Batman of the comics existed as a spirited refutation of everything the ’60 TV series had stood for. This new Batman was a brooding loner (Robin had shipped off to college) who haunted the urban night.\u003c/p>\n\u003cp>It was this Batman that director Tim Burton picked up on, in creating the 1989 \u003cem>Batman\u003c/em> film starring Michael Keaton. His Dark Knight was truly dark, and somber, and goth — and also, with respect to to Michelle Pfeiffer’s Catwoman — kinda kinky.\u003c/p>\n\u003ch3>1990s: Camp Strikes Back\u003c/h3>\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/suOgRZflPtk'\n title='//www.youtube.com/embed/suOgRZflPtk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When director Joel Schumacher took over the series, he attempted to pull Batman back into the light, although the light in question was neon pink. In homage to the 1960s series, he upped the campy archness, restored Robin to the mix and — in a move that has enshrined him in nerd infamy — slapped some nipples on the sculpted musculature of the Bat-suit.\u003c/p>\n\u003cp>The reaction of the hardcore Bat-nerds was swift and savage. They took to the nascent internet to demand that future films treat the character as seriously (read: as grimly and grittily) as the comics had been doing for years.\u003c/p>\n\u003cp>After a brief fallow period, they got their wish.\u003c/p>\n\u003ch3>2000s: Batman, Bedimmed\u003c/h3>\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/bkU7Cl2SSvI'\n title='//www.youtube.com/embed/bkU7Cl2SSvI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Director Christopher Nolan’s Bat-trilogy, beginning with \u003cem>Batman Begins\u003c/em>, seemed like a mission statement for the complete refutation of Schumacher’s Batman — and by extension, of the ’60s series as well. By leaning into a rugged, gunmetal-gray vision that prized somber practicality over anything that smacked of stylization or — God forbid — flair, Nolan gave the hardcore fans the Batman they loved in the grim-and-gritty comics. This was a Batman who would be taken seriously (read: who was very, very serious). The fans proved fiercely protective: Several critics who dared to suggest that the somberness of Nolan’s \u003cem>The Dark Knight Rises,\u003c/em> in particular\u003cem>, \u003c/em>smacked of bloated pretension were greeted with death threats.\u003c/p>\n\u003ch3>2017: LEGO My Ego\u003c/h3>\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/rGQUKzSDhrg'\n title='//www.youtube.com/embed/rGQUKzSDhrg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And so we come to \u003cem>The LEGO Batman Movie\u003c/em>, which is just the latest attempt to bring the broody Batman out of his cave, into the light and sun of the upper world.\u003c/p>\n\u003cp>But this attempt is fundamentally different.\u003c/p>\n\u003cp>The creators of the 1966 TV series brought condescension to Batman. Tim Burton brought a determination to remake the character in his own, emo- outsider image. Schumacher brought camp and areolae. Nolan brought a grayscale dourness.\u003c/p>\n\u003cp>Every one of them came at the character from the outside, and imposed their vision on top of him.\u003c/p>\n\u003cp>The screenwriters and director of \u003cem>The LEGO Batman Movie\u003c/em>, on the other hand, come at him with 1. a very specific comedic sensibility and 2. a deep, deep, \u003cem>deep\u003c/em> knowledge of the character’s history that, it turns out, is indistinguishable from love.\u003c/p>\n\u003cp>Their Batman is something else, as well — something important: a complete tool.\u003c/p>\n\u003cp>He’s a jerk who takes himself far too seriously, a brooding loner who insists, at every opportunity, upon his own consummate awesomeness.\u003c/p>\n\u003cp>This is not merely a characterization — a “way in” to the character they’d teach in screenwriting classes.\u003c/p>\n\u003cp>It is a pointed critique of the dour, sulky, militantly humorless Batman that has existed in the public consciousness for nearly 40 years. It is also, more to the point, a slap in the face of the hardcore fanboy culture around him, a culture that insists only one “true” version of the character exists, and stubbornly clings to the conviction that they “own” Batman.\u003c/p>\n\u003cp>Which is to say: It’s a reminder — a not particularly gentle one — that this stuff was always supposed to be \u003cem>fun\u003c/em>.\u003c/p>\n\u003cp>Consider this, as well: The plot of this movie involves Batman learning that being a dark, disaffected, brooding loner isn’t enough. He needs to make human connections, needs to let other people in.\u003c/p>\n\u003cp>In a very real sense, it’s about Batman transitioning from an arrested adolescence as a sulky goth, brooding alone in his room, into an adulthood that requires him to join society.\u003c/p>\n\u003cp>Which is probably why, despite the movie’s deep, abiding and aggressive silliness, \u003cem>The LEGO Batman Movie\u003c/em> stands as the most \u003cem>emotionally mature\u003c/em> Batman film yet made.\u003c/p>\n\u003cp>It’s also one that might — that just might — manage to end the eternal cycle of light/dark Batman, once and for all.\u003c/p>\n\u003cp>Because no matter how savagely it lampoons the Dark Knight as an egotistical jerk, it so clearly comes from a place of deep knowledge that even the hardest-core fanboy will have no choice but to respect it.\u003c/p>\n\u003cp>Nolan, Burton, Schumacher, even the creators of the 1960s Batman TV series were outsiders looking in; the team behind \u003cem>LEGO Batman\u003c/em> are not. And that matters, because of a very simple, abiding truth first recorded, I believe, by Pliny the Elder, namely:\u003c/p>\n\u003cp>Game recognize game.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In other words: I strongly doubt that any self-respecting Bat-fan will be able to gin up much in the way of frothing nerdrage over a film that includes \u003ca href=\"http://batman.wikia.com/wiki/Zebra-Man\">\u003cem>a frickin’ Zebra-Man cameo\u003c/em>.\u003c/a> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>KQED Arts is proud to partner with Noise Pop in their 25th year of celebrating the Bay Area's vibrant independent music and arts scene. In addition to the music festivities, a lineup of independent film screenings kicks off February 17. This year's film series will feature three KQED shorts: \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/08/02/tacos-punk-discussing-what-women-of-color-face-in-the-local-scene/\">Tacos & Punk: Discussing What Women of Color Face in the Local Scene\u003c/a>, \u003ca href=\"https://ww2.kqed.org/arts/2016/07/05/composer-cheryl-leonard-makes-the-rocks-sing/\">Rock Composer Cheryl Leonard Makes the Rocks Sing\u003c/a>,\u003c/em> and \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/04/25/alex-nieto-police-shooting-spurs-young-actors-to-reclaim-their-neighborhood-identity/\">Police Shooting Spurs Young Actors to Reclaim Neighborhood\u003c/a>\u003c/em>. Catch these shorts on the big screen before the following films:\u003c/p>\n\u003cp>\u003ca href=\"http://film.noisepop.com/events/2017/2/17/the-art-of-listening\" target=\"_blank\">\u003cem>The Art of Listening\u003c/em>: Roxie Theater on Friday, February 17 at 7 pm\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=3&v=8Ms4DGZaKYM\u003c/p>\n\u003cp>\u003ca href=\"http://film.noisepop.com/events/2017/2/17/l7-pretend-were-dead\" target=\"_blank\">\u003cem>Pretend We're Dead\u003c/em>: Roxie Theater on Friday, February 17 at 9 pm \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D3qFKB78uic\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://film.noisepop.com/events/2017/2/19/stronger-than-bullets\" target=\"_blank\">\u003cem>Stronger than Bullets\u003c/em>: Artists Television Access on Sunday, February 19 at 2 pm\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BAo5i65jFQM\u003c/p>\n\u003cp>Fill out the form below for a chance to win a pair of tickets to any film featuring a KQED Arts short.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://docs.google.com/forms/d/e/1FAIpQLSd1f9LayNKI1ybwasNNlM03sLSPLxQSvsTCFdBoZaTbNxhoDw/viewform?%20embedded=true\" width=\"800\" height=\"600\" frameborder=\"0\" marginheight=\"0\" marginwidth=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>From all entries, we’ll randomly select two winners for a pair of tickets (worth $12 per ticket). \u003cstrong>Deadline to enter is Wednesday, February 15 at 11:59 pm.\u003c/strong> Winners will be notified by e-mail on Thursday, February 16 and tickets will be held at Will Call. You must be a California resident and 18 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp style=\"color: #000000\">\u003cstrong>\u003ca href=\"http://film.noisepop.com/\">Noise Pop 25 Film Series\u003c/a>\u003cem>\u003cbr>\n\u003c/em>\u003c/strong>\u003cb>Feb 16 to Feb 20 \u003c/b>\u003cb>\u003cbr>\n\u003c/b>\u003cb>Various theaters: \u003ca href=\"https://drafthouse.com/sf\" target=\"_blank\">Alamo Drafthouse\u003c/a>, \u003ca href=\"http://www.roxie.com/\" target=\"_blank\">Roxie Theater\u003c/a>, \u003ca href=\"http://www.swedishamericanhall.com/\" target=\"_blank\">Sweedish American Hall\u003c/a> and \u003ca href=\"http://www.atasite.org/\" target=\"_blank\">Artists' Television Access\u003c/a>. \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp style=\"color: #000000\">\u003cstrong>\u003ca href=\"http://film.noisepop.com/\" target=\"_blank\">Purchase tickets\u003c/a>\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>KQED Arts is proud to partner with Noise Pop in their 25th year of celebrating the Bay Area's vibrant independent music and arts scene. In addition to the music festivities, a lineup of independent film screenings kicks off February 17. This year's film series will feature three KQED shorts: \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/08/02/tacos-punk-discussing-what-women-of-color-face-in-the-local-scene/\">Tacos & Punk: Discussing What Women of Color Face in the Local Scene\u003c/a>, \u003ca href=\"https://ww2.kqed.org/arts/2016/07/05/composer-cheryl-leonard-makes-the-rocks-sing/\">Rock Composer Cheryl Leonard Makes the Rocks Sing\u003c/a>,\u003c/em> and \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/04/25/alex-nieto-police-shooting-spurs-young-actors-to-reclaim-their-neighborhood-identity/\">Police Shooting Spurs Young Actors to Reclaim Neighborhood\u003c/a>\u003c/em>. Catch these shorts on the big screen before the following films:\u003c/p>\n\u003cp>\u003ca href=\"http://film.noisepop.com/events/2017/2/17/the-art-of-listening\" target=\"_blank\">\u003cem>The Art of Listening\u003c/em>: Roxie Theater on Friday, February 17 at 7 pm\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/8Ms4DGZaKYM'\n title='//www.youtube.com/embed/8Ms4DGZaKYM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"http://film.noisepop.com/events/2017/2/17/l7-pretend-were-dead\" target=\"_blank\">\u003cem>Pretend We're Dead\u003c/em>: Roxie Theater on Friday, February 17 at 9 pm \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/D3qFKB78uic'\n title='//www.youtube.com/embed/D3qFKB78uic'\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>\u003ca href=\"http://film.noisepop.com/events/2017/2/19/stronger-than-bullets\" target=\"_blank\">\u003cem>Stronger than Bullets\u003c/em>: Artists Television Access on Sunday, February 19 at 2 pm\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/BAo5i65jFQM'\n title='//www.youtube.com/embed/BAo5i65jFQM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Fill out the form below for a chance to win a pair of tickets to any film featuring a KQED Arts short.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://docs.google.com/forms/d/e/1FAIpQLSd1f9LayNKI1ybwasNNlM03sLSPLxQSvsTCFdBoZaTbNxhoDw/viewform?%20embedded=true\" width=\"800\" height=\"600\" frameborder=\"0\" marginheight=\"0\" marginwidth=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>From all entries, we’ll randomly select two winners for a pair of tickets (worth $12 per ticket). \u003cstrong>Deadline to enter is Wednesday, February 15 at 11:59 pm.\u003c/strong> Winners will be notified by e-mail on Thursday, February 16 and tickets will be held at Will Call. You must be a California resident and 18 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp style=\"color: #000000\">\u003cstrong>\u003ca href=\"http://film.noisepop.com/\">Noise Pop 25 Film Series\u003c/a>\u003cem>\u003cbr>\n\u003c/em>\u003c/strong>\u003cb>Feb 16 to Feb 20 \u003c/b>\u003cb>\u003cbr>\n\u003c/b>\u003cb>Various theaters: \u003ca href=\"https://drafthouse.com/sf\" target=\"_blank\">Alamo Drafthouse\u003c/a>, \u003ca href=\"http://www.roxie.com/\" target=\"_blank\">Roxie Theater\u003c/a>, \u003ca href=\"http://www.swedishamericanhall.com/\" target=\"_blank\">Sweedish American Hall\u003c/a> and \u003ca href=\"http://www.atasite.org/\" target=\"_blank\">Artists' Television Access\u003c/a>. \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp style=\"color: #000000\">\u003cstrong>\u003ca href=\"http://film.noisepop.com/\" target=\"_blank\">Purchase tickets\u003c/a>\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Spinal Tap has reunited — this time in a Los Angeles court to challenge the French studio Vivendi S.A. for millions in profits from the classic mockumentary \u003cem>This Is Spinal Tap\u003c/em>.\u003c/p>\n\u003cp>Christopher Guest, Michael McKean and Rob Reiner on Tuesday joined a federal lawsuit filed by bandmate and Spinal Tap co-creator Harry Shearer.\u003c/p>\n\u003cp>Shearer, who also voices numerous characters on \u003cem>The Simpsons\u003c/em>, sued Vivendi S.A. and its subsidiary StudioCanal in October alleging the companies fraudulently withheld profits and the rights to the characters from the 1984 film. Reiner directed and narrated the classic satire of a fictional British rock band on the decline, whose hits included the songs “Sex Farm” and “Stonehenge.”\u003c/p>\n\u003cp>Guest and McKean have teamed up on other satire films, including “Best in Show” and “A Mighty Wind,” in which they were joined by Shearer.\u003c/p>\n\u003cp>“What makes this case so egregious is the prolonged and deliberate concealment of profit and the purposeful manipulation of revenue allocation between various Vivendi subsidiaries – to the detriment of the creative talent behind the band and film,” Reiner wrote in a statement. “Such anti-competitive practices need to be exposed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I am hoping this lawsuit goes to 11,” Reiner wrote, borrowing a line from the film.\u003c/p>\n\u003cp>“\u003cem>This is Spinal Tap\u003c/em> was the result of four very stubborn guys working very hard to create something new under the sun,” McKean wrote in a statement. “The movie’s influence on the last three decades of film comedy is something we are very proud of. But the buck always stopped somewhere short of Rob, Harry, Chris and myself. It’s time for a reckoning. It’s only right.”\u003c/p>\n\u003cp>Vivendi declined comment, citing a policy against discussing pending litigation.\u003c/p>\n\u003cp>The lawsuit also seeks certain rights to the film, including trademarks on the band’s name and the name of Shearer’s character, Derek Smalls.\u003c/p>\n\u003cp>His lawsuit initially sought $125 million in damages, but the amended complaint seeks $400 million. A jury would determine the amount of any judgment.\u003c/p>\n\u003cp>The four co-creators have been told that their share of Spinal Tap profits were $81 in merchandise profits between 1984 and 2013, and $98 in music royalties for the same years, the lawsuit states. It contends Vivendi hasn’t produced detailed figures since 2013.\u003c/p>\n\u003cp>The film earned $4.5 million in theaters when it was released, and its re-release earned $193,000, according to figures from box office analysis firm comScore.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Those figures do not take into account money the film earned on the home video market, which would include VHS tapes, DVDs, Blu-Ray and its airings on television and cable.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Spinal Tap has reunited — this time in a Los Angeles court to challenge the French studio Vivendi S.A. for millions in profits from the classic mockumentary \u003cem>This Is Spinal Tap\u003c/em>.\u003c/p>\n\u003cp>Christopher Guest, Michael McKean and Rob Reiner on Tuesday joined a federal lawsuit filed by bandmate and Spinal Tap co-creator Harry Shearer.\u003c/p>\n\u003cp>Shearer, who also voices numerous characters on \u003cem>The Simpsons\u003c/em>, sued Vivendi S.A. and its subsidiary StudioCanal in October alleging the companies fraudulently withheld profits and the rights to the characters from the 1984 film. Reiner directed and narrated the classic satire of a fictional British rock band on the decline, whose hits included the songs “Sex Farm” and “Stonehenge.”\u003c/p>\n\u003cp>Guest and McKean have teamed up on other satire films, including “Best in Show” and “A Mighty Wind,” in which they were joined by Shearer.\u003c/p>\n\u003cp>“What makes this case so egregious is the prolonged and deliberate concealment of profit and the purposeful manipulation of revenue allocation between various Vivendi subsidiaries – to the detriment of the creative talent behind the band and film,” Reiner wrote in a statement. “Such anti-competitive practices need to be exposed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I am hoping this lawsuit goes to 11,” Reiner wrote, borrowing a line from the film.\u003c/p>\n\u003cp>“\u003cem>This is Spinal Tap\u003c/em> was the result of four very stubborn guys working very hard to create something new under the sun,” McKean wrote in a statement. “The movie’s influence on the last three decades of film comedy is something we are very proud of. But the buck always stopped somewhere short of Rob, Harry, Chris and myself. It’s time for a reckoning. It’s only right.”\u003c/p>\n\u003cp>Vivendi declined comment, citing a policy against discussing pending litigation.\u003c/p>\n\u003cp>The lawsuit also seeks certain rights to the film, including trademarks on the band’s name and the name of Shearer’s character, Derek Smalls.\u003c/p>\n\u003cp>His lawsuit initially sought $125 million in damages, but the amended complaint seeks $400 million. A jury would determine the amount of any judgment.\u003c/p>\n\u003cp>The four co-creators have been told that their share of Spinal Tap profits were $81 in merchandise profits between 1984 and 2013, and $98 in music royalties for the same years, the lawsuit states. It contends Vivendi hasn’t produced detailed figures since 2013.\u003c/p>\n\u003cp>The film earned $4.5 million in theaters when it was released, and its re-release earned $193,000, according to figures from box office analysis firm comScore.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Those figures do not take into account money the film earned on the home video market, which would include VHS tapes, DVDs, Blu-Ray and its airings on television and cable.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "\"She Was Like an Aunt\" - 'Still I Rise' Co-Directors Discuss Working with Maya Angelou",
"headTitle": "“She Was Like an Aunt” – ‘Still I Rise’ Co-Directors Discuss Working with Maya Angelou | KQED",
"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/20/maya-angelou-legacy-of-an-artist/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Maya_300x300.jpg\" alt=\"Maya_300x300\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12735398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>After five years planning, shooting and editing, Rita Coburn Whack and Bob Hercules had their documentary, \u003cem>\u003ca href=\"http://www.pbs.org/wnet/americanmasters/maya-angelou-film/7533/\" target=\"_blank\" rel=\"noopener\">Maya Angelou: And Still I Rise,\u003c/a>\u003c/em> play at Sundance last year. Now their biography of Maya Angelou’s life will be broadcast as part of the \u003cem>American Masters\u003c/em> series this month on PBS. We caught up with both filmmakers, separately, over the phone to talk about their collaboration with each other and with Maya Angelou herself. (Edited for length and clarity).\u003c/p>\n\u003cp>\u003cstrong>Before you made the documentary, had you previously met or worked with Maya Angelou?\u003c/strong>\u003c/p>\n\u003cp>Rita Coburn Whack: From 2006-2010 I worked with Oprah Radio in Chicago. At that particular time Maya Angelou was one of my radio hosts. I would spend three to four days a month with her in either her Winston-Salem home, her New York Harlem brownstone, or on the road with her because she traveled on a bus like a country music singer. That’s how she got from place to place for her speaking engagements.\u003c/p>\n\u003cp>Bob Hercules: In 1999 I was working on a film for a non-profit organization, Prevent Child Abuse America. We decided to see if we could get Maya Angelou to narrate the film since we knew it was a cause dear to her heart because she had been victim of sexual abuse. She immediately agreed to do it so I flew down to Winston-Salem to meet her at a studio. We recorded the voiceover and then spent some time talking with her.\u003c/p>\n\u003cfigure id=\"attachment_12697439\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12697439\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Rita-Coburn-Whack-800x865.jpg\" alt=\"Rita Coburn Whack\" width=\"800\" height=\"865\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rita-Coburn-Whack-800x865.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rita-Coburn-Whack-160x173.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rita-Coburn-Whack-768x831.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rita-Coburn-Whack-240x260.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rita-Coburn-Whack-375x406.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rita-Coburn-Whack-520x562.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rita-Coburn-Whack.jpg 943w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rita Coburn Whack\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What did Maya Angelou mean to you before you met her?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>RCW: I lived in a little town outside of Chicago. We had chickens on the block. The library was in the basement of the village hall and across from it was the jail. You’d have to be a very brave little girl to run in there and run as fast as you could to get a book. Pippi Longstocking and Encyclopedia Brown — those were the books that were available to me. One day I saw \u003cem>I Know Why the Caged Bird Sings,\u003c/em> and a black woman was on the back cover. I hadn’t seen that before. That’s how precious that book was to me. It was the first book by a black woman that I saw. I grabbed that book and I ran all the way home.\u003c/p>\n\u003cp>BH: I remember when I read \u003cem>Caged Bird\u003c/em> for the first time, it was a long time ago, and I don’t know if it was in a college class, but I remember for me as a white privileged middle class male, growing up in a town that had hardly any African Americans, it was a profound experience for me to read that book because of her description of the viciousness of racism at the time of the Jim Crow south, growing up in Arkansas, and the town that was divided. One side was white and one side was black. The way she conveyed it was different from other books I had read about the same subject. For one thing there was no bitterness in her voice. It was done with a sense of grace and it was done with a sense of poetry.\u003c/p>\n\u003cp>The second thing was many years later at my office on the day of Bill Clinton’s inauguration, January of 1993, I shut down my office and we just watched. And I knew Maya Angelou was reading the poem. That was part of my interest. And it was majestic to hear her read and watching it live and just feeling the excitement of it and the power of it and the sweep of it.\u003c/p>\n\u003cfigure id=\"attachment_12697440\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12697440\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Bob-Hercules-photo-800x633.jpg\" alt=\"Bob Hercules\" width=\"800\" height=\"633\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Bob-Hercules-photo-800x633.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Bob-Hercules-photo-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Bob-Hercules-photo-768x607.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Bob-Hercules-photo-1020x806.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Bob-Hercules-photo-1180x933.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Bob-Hercules-photo-960x759.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Bob-Hercules-photo-240x190.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Bob-Hercules-photo-375x296.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Bob-Hercules-photo-520x411.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Bob-Hercules-photo.jpg 1366w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bob Hercules\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was the difference between the person you imagined her to be and who she actually was when you finally met her?\u003c/strong>\u003c/p>\n\u003cp>RCW: I felt like she was an Aunt. I felt like she was somebody that I was related to. I also felt that when I looked at her from afar, she could put on airs. What I found when I was closer to her, that she had reinvented herself in the way that black women of a certain era do. By that I mean, right after slavery, people would laugh at the names that black women would take on. They would call themselves Princess this or Queen that. What they didn’t understand is historically the reason why women did that is they didn’t want to be called “Hey girl” and they didn’t want to be called out of their name. It was a self esteem builder at a time when self esteem was in short supply.\u003c/p>\n\u003cp>What I found when I met her was that she held herself with what I would call a certain comportment. That means that no matter what your past is, as you reinvent yourself, it’s not about assimilating. It’s about a certain amount of respect. When I saw her personally she had evolved to the point that that was who she was.\u003c/p>\n\u003cp>\u003cstrong>As filmmakers, what did you want to do make this biography unique?\u003c/strong>\u003c/p>\n\u003cp>BH: Number one, we realized that there would be no need for a narrator, that Maya Angelou would be essentially the narrator of the film. You couldn’t do any better than that. It’d be a folly to have a narrator. That was something Rita and I instantly agreed upon. We were lucky enough to have a chance to interview her about three times before she passed.\u003c/p>\n\u003cp>The story was so complicated and so huge that what we settled upon as strategy was that we would tell a bunch of stories at greater length and then we would skip over other parts of her life, not that they weren’t of value either, but you have to make decisions at some point. And also I didn’t want to get into a position of being shallow. For example, the play \u003cem>The Blacks\u003c/em> by Jean Genet, that is a very unknown play now. It’s almost lost in history, but it was very important at the time. It ran on Broadway for nearly five years, and it was a very important play politically. It awakened some political ideas in her, so it was crucial.\u003c/p>\n\u003cfigure id=\"attachment_12697441\" class=\"wp-caption alignright\" style=\"max-width: 580px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Maya-1970s-Getty-Images.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Maya-1970s-Getty-Images.jpg\" alt=\"Maya Angelou in 1970\" width=\"580\" height=\"720\" class=\"size-full wp-image-12697441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Maya-1970s-Getty-Images.jpg 580w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Maya-1970s-Getty-Images-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Maya-1970s-Getty-Images-240x298.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Maya-1970s-Getty-Images-375x466.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Maya-1970s-Getty-Images-520x646.jpg 520w\" sizes=\"(max-width: 580px) 100vw, 580px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maya Angelou in 1970 \u003ccite>(Photo: Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you convince her to participate in the documentary?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>RCW: I asked Maya Angelou, “Would you do a documentary?” The first thing she said was, “You know I don’t need another thing.” I didn’t say a word because you saw what happened with that young woman in the film who called her “Maya.” Let me tell you something, she would always take you to town. It was her way. She would teach you a lesson if you would ask for it. Right? So I didn’t say anything because what I learned was you did better to be quiet and to listen. I waited and she said, “Do you know what you’re asking?” And I thought about it and I thought about it more later. I was asking somebody to go through their life again. She had written seven autobiographical memoirs and I’m asking you to go through your life at the end of your life, to dig all of that up. You have to trust that I can tell it. Since I didn’t I didn’t say anything, she looked at me and said, “Now if you’re going to take this, you better take it all the way.” Which meant, you better do a good job. All I was trying to do was do the best job I could because when she looked at me and said, “You better take it all the way.” That was the point.\u003c/p>\n\n",
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"excerpt": "Co-directors Rita Coburn Whack and Bob Hercules discuss working with the legendary writer/performer on the documentary, 'Maya Angelou: And Still I Rise.' ",
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"description": "Co-directors Rita Coburn Whack and Bob Hercules discuss working with the legendary writer/performer on the documentary, 'Maya Angelou: And Still I Rise.' ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/20/maya-angelou-legacy-of-an-artist/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Maya_300x300.jpg\" alt=\"Maya_300x300\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12735398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>After five years planning, shooting and editing, Rita Coburn Whack and Bob Hercules had their documentary, \u003cem>\u003ca href=\"http://www.pbs.org/wnet/americanmasters/maya-angelou-film/7533/\" target=\"_blank\" rel=\"noopener\">Maya Angelou: And Still I Rise,\u003c/a>\u003c/em> play at Sundance last year. Now their biography of Maya Angelou’s life will be broadcast as part of the \u003cem>American Masters\u003c/em> series this month on PBS. We caught up with both filmmakers, separately, over the phone to talk about their collaboration with each other and with Maya Angelou herself. (Edited for length and clarity).\u003c/p>\n\u003cp>\u003cstrong>Before you made the documentary, had you previously met or worked with Maya Angelou?\u003c/strong>\u003c/p>\n\u003cp>Rita Coburn Whack: From 2006-2010 I worked with Oprah Radio in Chicago. At that particular time Maya Angelou was one of my radio hosts. I would spend three to four days a month with her in either her Winston-Salem home, her New York Harlem brownstone, or on the road with her because she traveled on a bus like a country music singer. That’s how she got from place to place for her speaking engagements.\u003c/p>\n\u003cp>Bob Hercules: In 1999 I was working on a film for a non-profit organization, Prevent Child Abuse America. We decided to see if we could get Maya Angelou to narrate the film since we knew it was a cause dear to her heart because she had been victim of sexual abuse. She immediately agreed to do it so I flew down to Winston-Salem to meet her at a studio. We recorded the voiceover and then spent some time talking with her.\u003c/p>\n\u003cfigure id=\"attachment_12697439\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12697439\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Rita-Coburn-Whack-800x865.jpg\" alt=\"Rita Coburn Whack\" width=\"800\" height=\"865\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rita-Coburn-Whack-800x865.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rita-Coburn-Whack-160x173.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rita-Coburn-Whack-768x831.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rita-Coburn-Whack-240x260.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rita-Coburn-Whack-375x406.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rita-Coburn-Whack-520x562.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rita-Coburn-Whack.jpg 943w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rita Coburn Whack\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What did Maya Angelou mean to you before you met her?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>RCW: I lived in a little town outside of Chicago. We had chickens on the block. The library was in the basement of the village hall and across from it was the jail. You’d have to be a very brave little girl to run in there and run as fast as you could to get a book. Pippi Longstocking and Encyclopedia Brown — those were the books that were available to me. One day I saw \u003cem>I Know Why the Caged Bird Sings,\u003c/em> and a black woman was on the back cover. I hadn’t seen that before. That’s how precious that book was to me. It was the first book by a black woman that I saw. I grabbed that book and I ran all the way home.\u003c/p>\n\u003cp>BH: I remember when I read \u003cem>Caged Bird\u003c/em> for the first time, it was a long time ago, and I don’t know if it was in a college class, but I remember for me as a white privileged middle class male, growing up in a town that had hardly any African Americans, it was a profound experience for me to read that book because of her description of the viciousness of racism at the time of the Jim Crow south, growing up in Arkansas, and the town that was divided. One side was white and one side was black. The way she conveyed it was different from other books I had read about the same subject. For one thing there was no bitterness in her voice. It was done with a sense of grace and it was done with a sense of poetry.\u003c/p>\n\u003cp>The second thing was many years later at my office on the day of Bill Clinton’s inauguration, January of 1993, I shut down my office and we just watched. And I knew Maya Angelou was reading the poem. That was part of my interest. And it was majestic to hear her read and watching it live and just feeling the excitement of it and the power of it and the sweep of it.\u003c/p>\n\u003cfigure id=\"attachment_12697440\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12697440\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Bob-Hercules-photo-800x633.jpg\" alt=\"Bob Hercules\" width=\"800\" height=\"633\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Bob-Hercules-photo-800x633.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Bob-Hercules-photo-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Bob-Hercules-photo-768x607.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Bob-Hercules-photo-1020x806.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Bob-Hercules-photo-1180x933.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Bob-Hercules-photo-960x759.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Bob-Hercules-photo-240x190.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Bob-Hercules-photo-375x296.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Bob-Hercules-photo-520x411.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Bob-Hercules-photo.jpg 1366w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bob Hercules\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was the difference between the person you imagined her to be and who she actually was when you finally met her?\u003c/strong>\u003c/p>\n\u003cp>RCW: I felt like she was an Aunt. I felt like she was somebody that I was related to. I also felt that when I looked at her from afar, she could put on airs. What I found when I was closer to her, that she had reinvented herself in the way that black women of a certain era do. By that I mean, right after slavery, people would laugh at the names that black women would take on. They would call themselves Princess this or Queen that. What they didn’t understand is historically the reason why women did that is they didn’t want to be called “Hey girl” and they didn’t want to be called out of their name. It was a self esteem builder at a time when self esteem was in short supply.\u003c/p>\n\u003cp>What I found when I met her was that she held herself with what I would call a certain comportment. That means that no matter what your past is, as you reinvent yourself, it’s not about assimilating. It’s about a certain amount of respect. When I saw her personally she had evolved to the point that that was who she was.\u003c/p>\n\u003cp>\u003cstrong>As filmmakers, what did you want to do make this biography unique?\u003c/strong>\u003c/p>\n\u003cp>BH: Number one, we realized that there would be no need for a narrator, that Maya Angelou would be essentially the narrator of the film. You couldn’t do any better than that. It’d be a folly to have a narrator. That was something Rita and I instantly agreed upon. We were lucky enough to have a chance to interview her about three times before she passed.\u003c/p>\n\u003cp>The story was so complicated and so huge that what we settled upon as strategy was that we would tell a bunch of stories at greater length and then we would skip over other parts of her life, not that they weren’t of value either, but you have to make decisions at some point. And also I didn’t want to get into a position of being shallow. For example, the play \u003cem>The Blacks\u003c/em> by Jean Genet, that is a very unknown play now. It’s almost lost in history, but it was very important at the time. It ran on Broadway for nearly five years, and it was a very important play politically. It awakened some political ideas in her, so it was crucial.\u003c/p>\n\u003cfigure id=\"attachment_12697441\" class=\"wp-caption alignright\" style=\"max-width: 580px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Maya-1970s-Getty-Images.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Maya-1970s-Getty-Images.jpg\" alt=\"Maya Angelou in 1970\" width=\"580\" height=\"720\" class=\"size-full wp-image-12697441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Maya-1970s-Getty-Images.jpg 580w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Maya-1970s-Getty-Images-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Maya-1970s-Getty-Images-240x298.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Maya-1970s-Getty-Images-375x466.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Maya-1970s-Getty-Images-520x646.jpg 520w\" sizes=\"(max-width: 580px) 100vw, 580px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maya Angelou in 1970 \u003ccite>(Photo: Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you convince her to participate in the documentary?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>RCW: I asked Maya Angelou, “Would you do a documentary?” The first thing she said was, “You know I don’t need another thing.” I didn’t say a word because you saw what happened with that young woman in the film who called her “Maya.” Let me tell you something, she would always take you to town. It was her way. She would teach you a lesson if you would ask for it. Right? So I didn’t say anything because what I learned was you did better to be quiet and to listen. I waited and she said, “Do you know what you’re asking?” And I thought about it and I thought about it more later. I was asking somebody to go through their life again. She had written seven autobiographical memoirs and I’m asking you to go through your life at the end of your life, to dig all of that up. You have to trust that I can tell it. Since I didn’t I didn’t say anything, she looked at me and said, “Now if you’re going to take this, you better take it all the way.” Which meant, you better do a good job. All I was trying to do was do the best job I could because when she looked at me and said, “You better take it all the way.” That was the point.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the pleasures of \u003ca href=\"http://sfindie.com/festivals/sf-indiefest/\" target=\"_blank\" rel=\"noopener\">SF IndieFest\u003c/a>, a.k.a. the San Francisco Independent Film Festival (through Feb. 16 at San Francisco’s Roxie and Alamo Drafthouse), is the ability to bounce on its wave of rampant and fierce iconoclasm. Doesn’t that sound especially tempting the day after the Super Bowl broadcast, an all-you-can-eat-buffet of generic hyperbole? \u003c/p>\n\u003cp>Indiefest provides an annual reminder that this land is your land of eccentrics and obsessives, way-out-there philosophers and benighted misfits. (I don’t just mean the people in front of the camera, by the way.)\u003c/p>\n\u003cfigure id=\"attachment_12730520\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/The-Other-Kids-1200.jpg\" alt=\"Still from 'The Other Kids.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-12730520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/The-Other-Kids-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/The-Other-Kids-1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/The-Other-Kids-1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/The-Other-Kids-1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/The-Other-Kids-1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/The-Other-Kids-1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/The-Other-Kids-1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/The-Other-Kids-1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/The-Other-Kids-1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/The-Other-Kids-1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Other Kids.’ \u003ccite>(Courtesy of SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let’s single out the local filmmakers, beginning with Chris Brown’s beautifully observed \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=261667~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=6173503d-6026-4e15-8756-9995f44ea9c0&\" target=\"_blank\" rel=\"noopener\">The Other Kids\u003c/a>\u003c/em> (Feb. 12, 2:45pm and Feb. 13, 9:30pm at the Roxie). A seamless collaboration with a group of Tuolomne County high school seniors, the film meshes reality and fiction to nail the adolescent sensation of being pitched between the present and the future, and that wobble when banality segues into the life-changing in a blink of the eye. \u003c/p>\n\u003cp>Lise Swenson was the godmother of narrative filmmaking in the Mission, and her passing last year leaves a tremendous void. Her last feature, \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=261671~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=6173503d-6026-4e15-8756-9995f44ea9c0&\" target=\"_blank\" rel=\"noopener\">Saltwater\u003c/a>\u003c/em>, an experiential drama about one’s responsibility to family and the planet that she shot at the Salton Sea, receives its world premiere Feb. 9, 7:15pm and Feb. 11, 2:45pm (both at the Roxie). \u003c/p>\n\u003cp>In celebration of Swenson’s life, art and truly fierce iconoclasm, Indiefest and the Roxie host a free screening of her picaresque 2004 street saga, \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=261664~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=6173503d-6026-4e15-8756-9995f44ea9c0&\" target=\"_blank\" rel=\"noopener\">Mission Movie\u003c/a>\u003c/em>, Feb. 11 at 12:30pm.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the pleasures of \u003ca href=\"http://sfindie.com/festivals/sf-indiefest/\" target=\"_blank\" rel=\"noopener\">SF IndieFest\u003c/a>, a.k.a. the San Francisco Independent Film Festival (through Feb. 16 at San Francisco’s Roxie and Alamo Drafthouse), is the ability to bounce on its wave of rampant and fierce iconoclasm. Doesn’t that sound especially tempting the day after the Super Bowl broadcast, an all-you-can-eat-buffet of generic hyperbole? \u003c/p>\n\u003cp>Indiefest provides an annual reminder that this land is your land of eccentrics and obsessives, way-out-there philosophers and benighted misfits. (I don’t just mean the people in front of the camera, by the way.)\u003c/p>\n\u003cfigure id=\"attachment_12730520\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/The-Other-Kids-1200.jpg\" alt=\"Still from 'The Other Kids.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-12730520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/The-Other-Kids-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/The-Other-Kids-1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/The-Other-Kids-1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/The-Other-Kids-1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/The-Other-Kids-1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/The-Other-Kids-1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/The-Other-Kids-1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/The-Other-Kids-1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/The-Other-Kids-1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/The-Other-Kids-1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Other Kids.’ \u003ccite>(Courtesy of SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let’s single out the local filmmakers, beginning with Chris Brown’s beautifully observed \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=261667~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=6173503d-6026-4e15-8756-9995f44ea9c0&\" target=\"_blank\" rel=\"noopener\">The Other Kids\u003c/a>\u003c/em> (Feb. 12, 2:45pm and Feb. 13, 9:30pm at the Roxie). A seamless collaboration with a group of Tuolomne County high school seniors, the film meshes reality and fiction to nail the adolescent sensation of being pitched between the present and the future, and that wobble when banality segues into the life-changing in a blink of the eye. \u003c/p>\n\u003cp>Lise Swenson was the godmother of narrative filmmaking in the Mission, and her passing last year leaves a tremendous void. Her last feature, \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=261671~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=6173503d-6026-4e15-8756-9995f44ea9c0&\" target=\"_blank\" rel=\"noopener\">Saltwater\u003c/a>\u003c/em>, an experiential drama about one’s responsibility to family and the planet that she shot at the Salton Sea, receives its world premiere Feb. 9, 7:15pm and Feb. 11, 2:45pm (both at the Roxie). \u003c/p>\n\u003cp>In celebration of Swenson’s life, art and truly fierce iconoclasm, Indiefest and the Roxie host a free screening of her picaresque 2004 street saga, \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=261664~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=6173503d-6026-4e15-8756-9995f44ea9c0&\" target=\"_blank\" rel=\"noopener\">Mission Movie\u003c/a>\u003c/em>, Feb. 11 at 12:30pm.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "James Baldwin, In His Own Searing, Revelatory Words: 'I Am Not Your Negro'",
"headTitle": "James Baldwin, In His Own Searing, Revelatory Words: ‘I Am Not Your Negro’ | KQED",
"content": "\u003cp>James Baldwin is having a posthumous resurgence, but we are so in need of his words at this moment that it’s hard to believe he hasn’t still been writing every day since his death in 1987. In every genre Baldwin dabbled, from novels to political commentary to arts criticism, he found the core of our identity as a nation: a core that feeds off division and prejudice; that celebrates its own history while refusing to learn from it; and that was, and plainly remains, too painful for anyone other than him to talk about honestly.\u003c/p>\n\u003cp>Today’s media is flush with essayists who trace a direct line to Baldwin, the most prominent being Ta-Nehisi Coates, whose bestselling sensation \u003cem>Between the World and Me\u003c/em> is a grim postscript to Baldwin’s \u003cem>The Fire Next Time\u003c/em>, and dispels even the slim notion of hope for true racial justice Baldwin offered in 1963. But Baldwin refused to see himself as a “race writer”: Instead, he framed arguments for equality as pleas to save the entire American soul from corrosive hatred and isolation. The exceptional new documentary \u003cem>I Am Not Your Negro\u003c/em>, which director Raoul Peck began to work on before the Obama presidency, gives us a fresh new view on Baldwin’s words, while also reminding us that the same American soul he struggled so hard to convince us was worth saving remains on life support today.\u003c/p>\n\u003cp>https://youtu.be/rNUYdgIyaPM\u003c/p>\n\u003cp>\u003cem>I Am Not Your Negro\u003c/em> is also not your Baldwin CliffsNotes. Instead, Peck gives us a far more urgent, revelatory document: a visual imagining of the writer’s last, unfinished manuscript. Titled \u003cem>Remember This House\u003c/em>, it was to be Baldwin’s personal reflection on the lives and assassinations of Martin Luther King Jr., Malcolm X, and Medgar Evers, all of whom he was close with. “I want these three lives to bang against and reveal each other,” Baldwin wrote. And as these lives bang, Baldwin’s (and Peck’s) gaze turns: from the Civil Rights struggles of the 1960s to America’s insistence on imagining great social progress where little has occurred.\u003c/p>\n\u003cp>The film uses only Baldwin’s words, superbly narrated by Samuel L. Jackson. There are no talking heads to put them “into context,” because the context is already there, in our history and all around us. Peck, working from 30 pages of raw text gifted him by Baldwin’s sister Gloria, animates the prose with archival news clips, still photographs, and scenes from popular films of Baldwin’s time. And he also, with dreamlike continuity, grants brief passage into the modern day: young black men shot by police, the Black Lives Matter protests, a montage of superficial apologies from white politicians. Robert Kennedy accurately predicts that America will see a black president 40 years from his time, and then Baldwin takes apart the idea that we had to wait so long in the first place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Baldwin was also a voracious consumer of pop culture. Some of the film’s most intriguing passages muse on the history of onscreen black identity from Stepin Fetchit to Sidney Poitier, the latter characterized as a kind of panacea to comfort white people. (Poitier’s escaped convict in \u003cem>The Defiant Ones\u003c/em> jumps off a train carrying him to freedom in order to save the white escapee he’s been chained to for the entire film. Baldwin’s response: “Get back on the train, you fool!”) These bits are where you realize just how much of a documentary’s strength depends on its editing. Would Baldwin’s memory of finding a black woman who “looked exactly like Joan Crawford” have carried as much symbolic weight were it not overlaid on the perfect clip of the lily-white Crawford boogying in \u003cem>Dance, Fools, Dance\u003c/em>?\u003c/p>\n\u003cp>Peck renders his subject’s prose with brisk pacing, without turning \u003cem>Negro\u003c/em> into a soundbite film — a remarkable task, given how much Baldwin structured his sentences with the intention of his audience getting to reread them, picking over their bones for protein. It helps that the film frequently leans on Baldwin’s gift for oratory, as he delivers his own message on college campuses and late-night television, with his wry smile and searching eyes. This approach is dense and yet accessible, and seems to be a direct challenge to Baldwin’s own musings that television “weakens our ability to deal with the world as it is, as we are.” (That Jackson, the reigning king of escapist entertainment, is the one reciting these words adds a delicious layer of irony.)\u003c/p>\n\u003cp>It is easy, in a time when protest feels urgent and the past seems to have vanished, to get swept up in Baldwin’s essays, and in so doing to forget that he was also a peerless storyteller. One flaw to the film is that, by painting such a convincing portrait of Baldwin-as-polemicist, it neglects that only a great novelist could make those arguments as forthright and necessary as he did. In books like \u003cem>Another Country\u003c/em> and \u003cem>Giovanni’s Room\u003c/em>, he could take manners of race and sexuality no one was talking about in public and render them with such finely wrought passion as to rip their invisibility cloaks to shreds. \u003cem>Negro\u003c/em> wants to anoint Baldwin as the voice of reason in our troubled, divided times, but we need to remember he valued the power of stories and chastised those who did not. Of \u003cem>Uncle Tom’s Cabin\u003c/em> author Harriet Beacher Stowe, he once wrote, “She was not so much a novelist as an impassioned pamphleteer.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Though it was just nominated for a Best Documentary Oscar, \u003cem>Negro\u003c/em> seems at risk of being overshadowed in the public eye by the two more popular nominees that broadly deal with that discordant, shapeshifting topic we call “race relations”: the sweeping yet granular true-crime saga \u003cem>O.J.: Made in America\u003c/em>, and the fiery mass-incarceration lecture \u003cem>13th\u003c/em>. All are worthy of attention. But to dismiss all three movies as different pages of the same pamphlet — or to declare that \u003cem>Negro\u003c/em> is only relevant now because it’s Black History Month — is to continue to misunderstand Baldwin’s message. He wasn’t lecturing to “white America” or passing instructions to “black America”; he truly wanted everyone to confront the same narrative together, to stop hiding behind fictions and make some sense of the country. Did he succeed? Well, when confronted with such pressing, vibrantly cinematic power built entirely from decades-old words, we must ask ourselves exactly why, in 2017, these words may as well have been written for the first time. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>James Baldwin is having a posthumous resurgence, but we are so in need of his words at this moment that it’s hard to believe he hasn’t still been writing every day since his death in 1987. In every genre Baldwin dabbled, from novels to political commentary to arts criticism, he found the core of our identity as a nation: a core that feeds off division and prejudice; that celebrates its own history while refusing to learn from it; and that was, and plainly remains, too painful for anyone other than him to talk about honestly.\u003c/p>\n\u003cp>Today’s media is flush with essayists who trace a direct line to Baldwin, the most prominent being Ta-Nehisi Coates, whose bestselling sensation \u003cem>Between the World and Me\u003c/em> is a grim postscript to Baldwin’s \u003cem>The Fire Next Time\u003c/em>, and dispels even the slim notion of hope for true racial justice Baldwin offered in 1963. But Baldwin refused to see himself as a “race writer”: Instead, he framed arguments for equality as pleas to save the entire American soul from corrosive hatred and isolation. The exceptional new documentary \u003cem>I Am Not Your Negro\u003c/em>, which director Raoul Peck began to work on before the Obama presidency, gives us a fresh new view on Baldwin’s words, while also reminding us that the same American soul he struggled so hard to convince us was worth saving remains on life support today.\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/rNUYdgIyaPM'\n title='//www.youtube.com/embed/rNUYdgIyaPM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>I Am Not Your Negro\u003c/em> is also not your Baldwin CliffsNotes. Instead, Peck gives us a far more urgent, revelatory document: a visual imagining of the writer’s last, unfinished manuscript. Titled \u003cem>Remember This House\u003c/em>, it was to be Baldwin’s personal reflection on the lives and assassinations of Martin Luther King Jr., Malcolm X, and Medgar Evers, all of whom he was close with. “I want these three lives to bang against and reveal each other,” Baldwin wrote. And as these lives bang, Baldwin’s (and Peck’s) gaze turns: from the Civil Rights struggles of the 1960s to America’s insistence on imagining great social progress where little has occurred.\u003c/p>\n\u003cp>The film uses only Baldwin’s words, superbly narrated by Samuel L. Jackson. There are no talking heads to put them “into context,” because the context is already there, in our history and all around us. Peck, working from 30 pages of raw text gifted him by Baldwin’s sister Gloria, animates the prose with archival news clips, still photographs, and scenes from popular films of Baldwin’s time. And he also, with dreamlike continuity, grants brief passage into the modern day: young black men shot by police, the Black Lives Matter protests, a montage of superficial apologies from white politicians. Robert Kennedy accurately predicts that America will see a black president 40 years from his time, and then Baldwin takes apart the idea that we had to wait so long in the first place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Baldwin was also a voracious consumer of pop culture. Some of the film’s most intriguing passages muse on the history of onscreen black identity from Stepin Fetchit to Sidney Poitier, the latter characterized as a kind of panacea to comfort white people. (Poitier’s escaped convict in \u003cem>The Defiant Ones\u003c/em> jumps off a train carrying him to freedom in order to save the white escapee he’s been chained to for the entire film. Baldwin’s response: “Get back on the train, you fool!”) These bits are where you realize just how much of a documentary’s strength depends on its editing. Would Baldwin’s memory of finding a black woman who “looked exactly like Joan Crawford” have carried as much symbolic weight were it not overlaid on the perfect clip of the lily-white Crawford boogying in \u003cem>Dance, Fools, Dance\u003c/em>?\u003c/p>\n\u003cp>Peck renders his subject’s prose with brisk pacing, without turning \u003cem>Negro\u003c/em> into a soundbite film — a remarkable task, given how much Baldwin structured his sentences with the intention of his audience getting to reread them, picking over their bones for protein. It helps that the film frequently leans on Baldwin’s gift for oratory, as he delivers his own message on college campuses and late-night television, with his wry smile and searching eyes. This approach is dense and yet accessible, and seems to be a direct challenge to Baldwin’s own musings that television “weakens our ability to deal with the world as it is, as we are.” (That Jackson, the reigning king of escapist entertainment, is the one reciting these words adds a delicious layer of irony.)\u003c/p>\n\u003cp>It is easy, in a time when protest feels urgent and the past seems to have vanished, to get swept up in Baldwin’s essays, and in so doing to forget that he was also a peerless storyteller. One flaw to the film is that, by painting such a convincing portrait of Baldwin-as-polemicist, it neglects that only a great novelist could make those arguments as forthright and necessary as he did. In books like \u003cem>Another Country\u003c/em> and \u003cem>Giovanni’s Room\u003c/em>, he could take manners of race and sexuality no one was talking about in public and render them with such finely wrought passion as to rip their invisibility cloaks to shreds. \u003cem>Negro\u003c/em> wants to anoint Baldwin as the voice of reason in our troubled, divided times, but we need to remember he valued the power of stories and chastised those who did not. Of \u003cem>Uncle Tom’s Cabin\u003c/em> author Harriet Beacher Stowe, he once wrote, “She was not so much a novelist as an impassioned pamphleteer.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though it was just nominated for a Best Documentary Oscar, \u003cem>Negro\u003c/em> seems at risk of being overshadowed in the public eye by the two more popular nominees that broadly deal with that discordant, shapeshifting topic we call “race relations”: the sweeping yet granular true-crime saga \u003cem>O.J.: Made in America\u003c/em>, and the fiery mass-incarceration lecture \u003cem>13th\u003c/em>. All are worthy of attention. But to dismiss all three movies as different pages of the same pamphlet — or to declare that \u003cem>Negro\u003c/em> is only relevant now because it’s Black History Month — is to continue to misunderstand Baldwin’s message. He wasn’t lecturing to “white America” or passing instructions to “black America”; he truly wanted everyone to confront the same narrative together, to stop hiding behind fictions and make some sense of the country. Did he succeed? Well, when confronted with such pressing, vibrantly cinematic power built entirely from decades-old words, we must ask ourselves exactly why, in 2017, these words may as well have been written for the first time. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>See the Academy Award-nominated film hailed as \"one of the most poignant, poetic and beautiful movies of the year\" at \u003ca href=\"https://drafthouse.com/sf/show/moonlight\" target=\"_blank\">Alamo Drafthouse SF\u003c/a>. \u003cem>\u003ca href=\"https://drafthouse.com/sf/show/moonlight\" target=\"_blank\">Moonlight\u003c/a>\u003c/em>\u003c/strong>\u003cem>, \u003c/em>Directed by Barry Jenkins,\u003cstrong> \u003c/strong>follows the life of one African-American man during three key periods in his life. In each, his strength as a son, a man, and a partner will be tested. It is an intensely personal film, by turns romantic and heartbreaking, beautifully nuanced and gorgeously shot.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9NJj12tJzqc\u003c/p>\n\u003cp>Fill out the form below for a chance to win tickets.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://docs.google.com/forms/d/e/1FAIpQLSfDw1p1ZkOPXMbAG2dxrtKwcVk42LlAX0DWLbOBBbd4HA2c9g/viewform?%20embedded=true\" width=\"800\" height=\"600\" frameborder=\"0\" marginheight=\"0\" marginwidth=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>From all entries, we’ll randomly select two winners for a pair of tickets (worth $10 per ticket). \u003cstrong>Deadline to enter is Wednesday, February 8 at 11:59 pm.\u003c/strong> Winners will be notified by e-mail on Thursday, February 9 and tickets will be held at Will Call. You must be a California resident and 18 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp style=\"color: #000000\">\u003cstrong>\u003ca href=\"https://drafthouse.com/sf/show/moonlight\" target=\"_blank\">\u003cem>Moonlight \u003c/em>at the Alamo Draft House\u003c/a>\u003cem>\u003cbr>\n\u003c/em>\u003c/strong>\u003cb>Screening on \u003c/b>\u003cstrong>Friday, February 10\u003c/strong>\u003cb> \u003ca href=\"https://drafthouse.com/sf/show/moonlight\" target=\"_blank\">see showtimes\u003c/a> \u003c/b>\u003cb>\u003cbr>\n\u003c/b>\u003cstrong>\u003ca href=\"https://drafthouse.com/sf/\" target=\"_blank\">Alamo Drafthouse SF\u003c/a>\u003c/strong>\u003cbr>\n\u003cstrong>2550 Mission Street, San Francisco, CA 94110\u003c/strong>\u003cb>\u003cbr>\n\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp style=\"color: #000000\">\u003cstrong>\u003ca href=\"https://drafthouse.com/sf/show/moonlight\" target=\"_blank\">Purchase tickets\u003c/a>\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>See the Academy Award-nominated film hailed as \"one of the most poignant, poetic and beautiful movies of the year\" at \u003ca href=\"https://drafthouse.com/sf/show/moonlight\" target=\"_blank\">Alamo Drafthouse SF\u003c/a>. \u003cem>\u003ca href=\"https://drafthouse.com/sf/show/moonlight\" target=\"_blank\">Moonlight\u003c/a>\u003c/em>\u003c/strong>\u003cem>, \u003c/em>Directed by Barry Jenkins,\u003cstrong> \u003c/strong>follows the life of one African-American man during three key periods in his life. In each, his strength as a son, a man, and a partner will be tested. It is an intensely personal film, by turns romantic and heartbreaking, beautifully nuanced and gorgeously shot.\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/9NJj12tJzqc'\n title='//www.youtube.com/embed/9NJj12tJzqc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Fill out the form below for a chance to win tickets.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://docs.google.com/forms/d/e/1FAIpQLSfDw1p1ZkOPXMbAG2dxrtKwcVk42LlAX0DWLbOBBbd4HA2c9g/viewform?%20embedded=true\" width=\"800\" height=\"600\" frameborder=\"0\" marginheight=\"0\" marginwidth=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>From all entries, we’ll randomly select two winners for a pair of tickets (worth $10 per ticket). \u003cstrong>Deadline to enter is Wednesday, February 8 at 11:59 pm.\u003c/strong> Winners will be notified by e-mail on Thursday, February 9 and tickets will be held at Will Call. You must be a California resident and 18 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In Iranian writer-director Asghar Farhadi’s impeccable \u003cem>A Separation\u003c/em>, emotional devastation results from minor misunderstandings, caused largely by class divides and religious differences. The subtle contrivances of that 2011 film became more overt in its follow-up, \u003cem>The Past\u003c/em>. Now Farhadi has made a drama that billboards its theatricality, opening on the vacant set for a Tehran production of \u003cem>Death of a Salesman\u003c/em>. The parallels with that Arthur Miller play that arise over the course of the film are one reason Farhadi titled it \u003cem>The Salesman\u003c/em>.\u003c/p>\n\u003cp>Rehearsing to play Willie and Linda Loman are another married couple, Emad and Rana (Shahab Hosseini and Taraneh Alidoosti, both exemplary). Emad teaches literature and film to high school boys, which allows Farhadi to include a bit of \u003cem>The Cow\u003c/em>, the 1969 movie considered the first of the Iranian new wave.\u003c/p>\n\u003cp>As the play’s premiere looms, a certain amount of backstage uproar is to be expected. Censors may trim some of Miller’s text, and an actress complains about having to be fully covered while playing a scene in which her character says she’s half-dressed. But such disorder is insignificant compared to the chaos that rattles the lead actors’ offstage life.\u003c/p>\n\u003cp>https://youtu.be/WlKN5PBVLN8\u003c/p>\n\u003cp>Emad and Rana must suddenly flee their apartment after construction on a neighboring site threatens to collapse the building. Walls crack and windows break in a visceral scene that’s also a metaphor for an upcoming disruption of domestic tranquility.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A theater colleague finds the actors a replacement flat, but with it comes a different sort of discord. One room is full of the previous tenant’s belongings, which she can’t remove until she rents a new place. That’s difficult, for the same reason she was forced from her old one: She’s “a woman with a lot of acquaintances.”\u003c/p>\n\u003cp>Not all her clients know she’s moved. One regular arrives and while heading to the shower Rana buzzes him in, thinking it’s her husband. What happens next occurs off-camera, but is not insignificant. Rana ends up unconscious, her head bloodied. (From an Iranian filmmaker’s perspective, this is a boon: Rana’s bandage takes the place of the headscarf that film censors require, but that an Iranian woman wouldn’t necessarily wear at home.)\u003c/p>\n\u003cp>Since the incident could be interpreted as related to sex, Rana doesn’t want to inform the police. Emad understands, but feels compelled to avenge his wife and assuage his pride. (Perhaps playing an American onstage has made the actor see himself as something of a cowboy.) In his haste to escape, the interloper left behind some personal items. Emad finds the clues, and his career as an amateur detective is underway.\u003c/p>\n\u003cp>As in \u003cem>A Separation\u003c/em>, a central motif is miscommunication. Mobile phones and an answering machine play roles, and Rana’s innocent response to an apparently benign (if illicit) visitor snowballs into catastrophe. The apartment’s former tenant, never seen or heard, is not presented as a monster. Neither, ultimately, is the shadowy man Emad pursues.\u003c/p>\n\u003cp>These nuanced characterizations are worthy of the director of \u003cem>A Separation\u003c/em>, which painstakingly demonstrated that everyone has his or her reasons. Although \u003cem>The Salesman\u003c/em>‘s plot is unbelievable, most of the movie occurs in a recognizably genuine world: dirty and battered, but bedeviled by compromise and self-interest, not pure evil. The links between Miller’s Pulitzer-winning melodramatics and Farhadi’s more naturalistic style are not overdone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Until the last act, that is. \u003cem>The Salesman\u003c/em> would be a much better movie if it ended a few minutes sooner. Instead, grudging reconciliation yields to sort of retribution, brutal if inadvertent. The curtain falls on everyday life, and the author’s hand becomes manifest. \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=%27The+Salesman%27%3A+A+Violent+Act+Tests+A+Marriage%2C+And+One+Actor%27s+Humanity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Iranian writer-director Asghar Farhadi’s impeccable \u003cem>A Separation\u003c/em>, emotional devastation results from minor misunderstandings, caused largely by class divides and religious differences. The subtle contrivances of that 2011 film became more overt in its follow-up, \u003cem>The Past\u003c/em>. Now Farhadi has made a drama that billboards its theatricality, opening on the vacant set for a Tehran production of \u003cem>Death of a Salesman\u003c/em>. The parallels with that Arthur Miller play that arise over the course of the film are one reason Farhadi titled it \u003cem>The Salesman\u003c/em>.\u003c/p>\n\u003cp>Rehearsing to play Willie and Linda Loman are another married couple, Emad and Rana (Shahab Hosseini and Taraneh Alidoosti, both exemplary). Emad teaches literature and film to high school boys, which allows Farhadi to include a bit of \u003cem>The Cow\u003c/em>, the 1969 movie considered the first of the Iranian new wave.\u003c/p>\n\u003cp>As the play’s premiere looms, a certain amount of backstage uproar is to be expected. Censors may trim some of Miller’s text, and an actress complains about having to be fully covered while playing a scene in which her character says she’s half-dressed. But such disorder is insignificant compared to the chaos that rattles the lead actors’ offstage life.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WlKN5PBVLN8'\n title='//www.youtube.com/embed/WlKN5PBVLN8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Emad and Rana must suddenly flee their apartment after construction on a neighboring site threatens to collapse the building. Walls crack and windows break in a visceral scene that’s also a metaphor for an upcoming disruption of domestic tranquility.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A theater colleague finds the actors a replacement flat, but with it comes a different sort of discord. One room is full of the previous tenant’s belongings, which she can’t remove until she rents a new place. That’s difficult, for the same reason she was forced from her old one: She’s “a woman with a lot of acquaintances.”\u003c/p>\n\u003cp>Not all her clients know she’s moved. One regular arrives and while heading to the shower Rana buzzes him in, thinking it’s her husband. What happens next occurs off-camera, but is not insignificant. Rana ends up unconscious, her head bloodied. (From an Iranian filmmaker’s perspective, this is a boon: Rana’s bandage takes the place of the headscarf that film censors require, but that an Iranian woman wouldn’t necessarily wear at home.)\u003c/p>\n\u003cp>Since the incident could be interpreted as related to sex, Rana doesn’t want to inform the police. Emad understands, but feels compelled to avenge his wife and assuage his pride. (Perhaps playing an American onstage has made the actor see himself as something of a cowboy.) In his haste to escape, the interloper left behind some personal items. Emad finds the clues, and his career as an amateur detective is underway.\u003c/p>\n\u003cp>As in \u003cem>A Separation\u003c/em>, a central motif is miscommunication. Mobile phones and an answering machine play roles, and Rana’s innocent response to an apparently benign (if illicit) visitor snowballs into catastrophe. The apartment’s former tenant, never seen or heard, is not presented as a monster. Neither, ultimately, is the shadowy man Emad pursues.\u003c/p>\n\u003cp>These nuanced characterizations are worthy of the director of \u003cem>A Separation\u003c/em>, which painstakingly demonstrated that everyone has his or her reasons. Although \u003cem>The Salesman\u003c/em>‘s plot is unbelievable, most of the movie occurs in a recognizably genuine world: dirty and battered, but bedeviled by compromise and self-interest, not pure evil. The links between Miller’s Pulitzer-winning melodramatics and Farhadi’s more naturalistic style are not overdone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Until the last act, that is. \u003cem>The Salesman\u003c/em> would be a much better movie if it ended a few minutes sooner. Instead, grudging reconciliation yields to sort of retribution, brutal if inadvertent. The curtain falls on everyday life, and the author’s hand becomes manifest. \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=%27The+Salesman%27%3A+A+Violent+Act+Tests+A+Marriage%2C+And+One+Actor%27s+Humanity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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