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"content": "\u003cp>With more than five decades of experience under his belt, longtime Bay Area entertainment journalist John Stanley has covered a wide array of stories from the realms of film, television and the stage. He began in 1961 as a pop culture reporter for the \u003cem>San Francisco Chronicle\u003c/em>, where he stayed for 33 years, interviewing some of the most legendary movie stars and personalities of the classic silver screen.\u003c/p>\n\u003cp>But for generations of Bay Area horror and Sci-fi fans, he’s best known as a host of the late-night, cult favorite KTVU show \u003cem>Creature Features\u003c/em>, which ran in the mid-1970s through the mid-1980s.\u003c/p>\n\u003cp>Stanley will be sure to encounter fans of both these bodies of work this weekend when \u003ca href=\"http://www.thealiencon.com/\" target=\"_blank\" rel=\"noopener\">he appears at the inaugural Alien Con in Santa Clara, this Friday, Oct. 28 through Sunday, Oct. 30\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12265628\" class=\"wp-caption alignright\" style=\"max-width: 920px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/920x920.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12265628\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/920x920.jpg\" alt=\"John Stanley (left) and Bob Wilkins on the set of 'Creature Features.'\" width=\"920\" height=\"631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/920x920.jpg 920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/920x920-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/920x920-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/920x920-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/920x920-240x165.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/920x920-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/920x920-520x357.jpg 520w\" sizes=\"(max-width: 920px) 100vw, 920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John Stanley (left) and Bob Wilkins on the set of ‘Creature Features.’\u003c/figcaption>\u003c/figure>\n\u003cp>Though he’s been retired for quite a while, the 76-year-old writer hasn’t slowed down, continuing to write on a freelance basis. Earlier this year, he mined the wealth of his extensive newspaper career archive to publish a two-volume set of books featuring interviews with more than 70 famous funny men and women, titled \u003cem>The Funniest Comedy Icons of the 20th Century\u003c/em> (BearManor Media).\u003c/p>\n\u003cp>In the books, which provide a look into the bygone world of vintage Hollywood and showbiz, Stanley recounts chats with stars including Bob Hope, Bing Crosby, Lucile Ball, Joan Rivers, Woody Allen and more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It amazes me sometimes that I collected all of that material,” says Stanley over the phone from his home in Pacifica. “It was wonderful to put them all together and update them a little bit, give them a fresh point of view.”\u003c/p>\n\u003cp>Much of the material has never been published before — in his original assignments, Stanley worked with the space constraints of a print publication. But combing through his notes and interviews, he found a treasure trove of unused anecdotes from celebrities, including many who, despite being some of the most famous people on the planet at the time, were stunningly down-to-earth.\u003c/p>\n\u003cp>Bob Hope, for example, stands out as a particularly fond memory. Stanley recalls how a publicist brought Stanley to Hope’s front door, introduced the two, and then left, leaving them for a one-on-one talk and lunch.\u003c/p>\n\u003cp>“One of the great moments was when he ran up the stairs [back into the house] and I followed him, and as I walked down the corridor I realized that the walls were covered with photographs of his USO tours,” says Stanley. “Him with generals MacArthur and Eisenhower, with four presidents. Bob then told me this very moving story.”\u003c/p>\n\u003cp>Hope recounted a time during World War II in which he had entertained the troops just before a major invasion. Several weeks later he was visiting a military hospital when a few of the patients, wounded soldiers, looked over and remembered him from that particular show. Joyfully, they started chanting the name of the island where the show had taken place.\u003c/p>\n\u003cp>“Bob said ‘That was the one and only time I visited a military hospital and I broke down. Tears were running down my face. I had to walk out of the ward; I had never done that. I recomposed myself out in the hallway, turned around, went back in, and acted like nothing had happened.’”\u003c/p>\n\u003cfigure id=\"attachment_12265630\" class=\"wp-caption alignright\" style=\"max-width: 679px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Stanley-Skeleton.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12265630\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Stanley-Skeleton.jpg\" alt=\"John Stanley\" width=\"679\" height=\"1076\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Stanley-Skeleton.jpg 679w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Stanley-Skeleton-160x254.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Stanley-Skeleton-240x380.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Stanley-Skeleton-375x594.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Stanley-Skeleton-520x824.jpg 520w\" sizes=\"(max-width: 679px) 100vw, 679px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John Stanley. \u003ccite>(Courtesy of John Stanley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another chapter details some of the challenges of dealing with celebrities that didn’t want to conform to the standard interview process. In 1967, Stanley was assigned to interview Woody Allen at the Hungry I in San Francisco’s North Beach — but things didn’t go quite as planned.\u003c/p>\n\u003cp>“He steps up to the bar and bluntly, flat-out tells me he does not want to do an interview with me,” remembers Stanley. “But then he says to come back the next night and that he’ll have something for me. In all my years of doing celebrity interviews, I’ve never encountered a moment like this one.”\u003c/p>\n\u003cp>When Stanley returned the next night, Allen gave him a “manifesto” — which turned into a comedic, rambling article that the journalist brought when he met with his editor the next day. The two discussed it, shrugged their shoulders, and decided to publish it in place of a standard interview.\u003c/p>\n\u003cp>While the celebrity stories from his \u003cem>Chronicle\u003c/em> career might seem impressive, he’s got a bona fide fan base from his \u003cem>Creature Features\u003c/em> days.\u003c/p>\n\u003cp>Picking up on that fandom, the show’s producers are planning a comeback. On the evening of Saturday, Oct. 29, North Bay TV (a local broadcast station) will air \u003cem>Watch Horror Films, Keep America Strong\u003c/em>, a documentary about the show. It will also premiere a new version of \u003cem>Creature Features\u003c/em>, starring Stanley as a special guest in the first episode.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mnCFstKR0Dw\u003c/p>\n\u003cp>“When those who used to watch \u003cem>Creature Features\u003c/em> see it again, they are suddenly transported back through time — it’s like looking through an old photo album or reliving happy moments from one’s adolescence,” says Stanley of the show’s fans.\u003c/p>\n\u003cp>“It’s amazing. It’s like a corpse that never quite dies,” he says with a laugh, finding the Halloween-appropriate analogy. “It just keeps shambling through another decade of your life.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://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\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"color: #000000\">John Stanley appears at Alien Con this weekend, Oct. 28 through Oct. 30, at the Santa Clara Convention Center. \u003ca href=\"https://www.thealiencon.com/\" target=\"_blank\" rel=\"noopener\">More info and tickets ($45 – $50) here\u003c/a>. \u003c/span>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With more than five decades of experience under his belt, longtime Bay Area entertainment journalist John Stanley has covered a wide array of stories from the realms of film, television and the stage. He began in 1961 as a pop culture reporter for the \u003cem>San Francisco Chronicle\u003c/em>, where he stayed for 33 years, interviewing some of the most legendary movie stars and personalities of the classic silver screen.\u003c/p>\n\u003cp>But for generations of Bay Area horror and Sci-fi fans, he’s best known as a host of the late-night, cult favorite KTVU show \u003cem>Creature Features\u003c/em>, which ran in the mid-1970s through the mid-1980s.\u003c/p>\n\u003cp>Stanley will be sure to encounter fans of both these bodies of work this weekend when \u003ca href=\"http://www.thealiencon.com/\" target=\"_blank\" rel=\"noopener\">he appears at the inaugural Alien Con in Santa Clara, this Friday, Oct. 28 through Sunday, Oct. 30\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12265628\" class=\"wp-caption alignright\" style=\"max-width: 920px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/920x920.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12265628\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/920x920.jpg\" alt=\"John Stanley (left) and Bob Wilkins on the set of 'Creature Features.'\" width=\"920\" height=\"631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/920x920.jpg 920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/920x920-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/920x920-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/920x920-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/920x920-240x165.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/920x920-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/920x920-520x357.jpg 520w\" sizes=\"(max-width: 920px) 100vw, 920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John Stanley (left) and Bob Wilkins on the set of ‘Creature Features.’\u003c/figcaption>\u003c/figure>\n\u003cp>Though he’s been retired for quite a while, the 76-year-old writer hasn’t slowed down, continuing to write on a freelance basis. Earlier this year, he mined the wealth of his extensive newspaper career archive to publish a two-volume set of books featuring interviews with more than 70 famous funny men and women, titled \u003cem>The Funniest Comedy Icons of the 20th Century\u003c/em> (BearManor Media).\u003c/p>\n\u003cp>In the books, which provide a look into the bygone world of vintage Hollywood and showbiz, Stanley recounts chats with stars including Bob Hope, Bing Crosby, Lucile Ball, Joan Rivers, Woody Allen and more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It amazes me sometimes that I collected all of that material,” says Stanley over the phone from his home in Pacifica. “It was wonderful to put them all together and update them a little bit, give them a fresh point of view.”\u003c/p>\n\u003cp>Much of the material has never been published before — in his original assignments, Stanley worked with the space constraints of a print publication. But combing through his notes and interviews, he found a treasure trove of unused anecdotes from celebrities, including many who, despite being some of the most famous people on the planet at the time, were stunningly down-to-earth.\u003c/p>\n\u003cp>Bob Hope, for example, stands out as a particularly fond memory. Stanley recalls how a publicist brought Stanley to Hope’s front door, introduced the two, and then left, leaving them for a one-on-one talk and lunch.\u003c/p>\n\u003cp>“One of the great moments was when he ran up the stairs [back into the house] and I followed him, and as I walked down the corridor I realized that the walls were covered with photographs of his USO tours,” says Stanley. “Him with generals MacArthur and Eisenhower, with four presidents. Bob then told me this very moving story.”\u003c/p>\n\u003cp>Hope recounted a time during World War II in which he had entertained the troops just before a major invasion. Several weeks later he was visiting a military hospital when a few of the patients, wounded soldiers, looked over and remembered him from that particular show. Joyfully, they started chanting the name of the island where the show had taken place.\u003c/p>\n\u003cp>“Bob said ‘That was the one and only time I visited a military hospital and I broke down. Tears were running down my face. I had to walk out of the ward; I had never done that. I recomposed myself out in the hallway, turned around, went back in, and acted like nothing had happened.’”\u003c/p>\n\u003cfigure id=\"attachment_12265630\" class=\"wp-caption alignright\" style=\"max-width: 679px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Stanley-Skeleton.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12265630\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Stanley-Skeleton.jpg\" alt=\"John Stanley\" width=\"679\" height=\"1076\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Stanley-Skeleton.jpg 679w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Stanley-Skeleton-160x254.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Stanley-Skeleton-240x380.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Stanley-Skeleton-375x594.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Stanley-Skeleton-520x824.jpg 520w\" sizes=\"(max-width: 679px) 100vw, 679px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John Stanley. \u003ccite>(Courtesy of John Stanley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another chapter details some of the challenges of dealing with celebrities that didn’t want to conform to the standard interview process. In 1967, Stanley was assigned to interview Woody Allen at the Hungry I in San Francisco’s North Beach — but things didn’t go quite as planned.\u003c/p>\n\u003cp>“He steps up to the bar and bluntly, flat-out tells me he does not want to do an interview with me,” remembers Stanley. “But then he says to come back the next night and that he’ll have something for me. In all my years of doing celebrity interviews, I’ve never encountered a moment like this one.”\u003c/p>\n\u003cp>When Stanley returned the next night, Allen gave him a “manifesto” — which turned into a comedic, rambling article that the journalist brought when he met with his editor the next day. The two discussed it, shrugged their shoulders, and decided to publish it in place of a standard interview.\u003c/p>\n\u003cp>While the celebrity stories from his \u003cem>Chronicle\u003c/em> career might seem impressive, he’s got a bona fide fan base from his \u003cem>Creature Features\u003c/em> days.\u003c/p>\n\u003cp>Picking up on that fandom, the show’s producers are planning a comeback. On the evening of Saturday, Oct. 29, North Bay TV (a local broadcast station) will air \u003cem>Watch Horror Films, Keep America Strong\u003c/em>, a documentary about the show. It will also premiere a new version of \u003cem>Creature Features\u003c/em>, starring Stanley as a special guest in the first episode.\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/mnCFstKR0Dw'\n title='//www.youtube.com/embed/mnCFstKR0Dw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“When those who used to watch \u003cem>Creature Features\u003c/em> see it again, they are suddenly transported back through time — it’s like looking through an old photo album or reliving happy moments from one’s adolescence,” says Stanley of the show’s fans.\u003c/p>\n\u003cp>“It’s amazing. It’s like a corpse that never quite dies,” he says with a laugh, finding the Halloween-appropriate analogy. “It just keeps shambling through another decade of your life.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://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\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"color: #000000\">John Stanley appears at Alien Con this weekend, Oct. 28 through Oct. 30, at the Santa Clara Convention Center. \u003ca href=\"https://www.thealiencon.com/\" target=\"_blank\" rel=\"noopener\">More info and tickets ($45 – $50) here\u003c/a>. \u003c/span>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "san-francisco-filmmaker-kevin-epps-relieved-after-his-release-from-jail",
"title": "San Francisco Filmmaker Kevin Epps Speaks After His Release From Jail",
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"content": "\u003cp>San Francisco filmmaker Kevin Epps had a bewildered air about him while he sat at a local Peet’s Coffee shop with his attorney, Mark Webb, on Wednesday afternoon, following his release from jail the night before. \u003c/p>\n\u003cp>[contextly_sidebar id=”Scx4xx4MGrCO6ceNY6w9Uga2I0kbLtNa”]\u003c/p>\n\u003cp>“I’m going through a myriad of different emotions,” Epps said.\u003c/p>\n\u003cp>Police \u003ca href=\"https://ww2.kqed.org/arts/2016/10/25/kevin-epps-documentary-filmmaker-arrested-in-glen-park-homicide/\" target=\"_blank\" rel=\"noopener\">arrested Epps Monday\u003c/a>, following a fatal shooting in his Glen Park home. The district attorney’s office released him Tuesday, determining “insufficient evidence to charge Kevin Epps at this time,” though the investigation continues.\u003c/p>\n\u003cp>“I’m really humble. Blessings to God, blessings to be here after going through this traumatic experience. Thank you, San Francisco,” he said, choking up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/290168274″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Webb says he spoke with the prosecutor, who seemed inclined to see the incident Monday as a case of self-defense. That’s not a characterization released by the district attorney’s office as of yet, but the Medical Examiner’s office has confirmed the man killed was Marcus Polk, Sr., and family members have told various Bay Area news organizations Polk, Sr. was not welcome in the home.\u003c/p>\n\u003cp>Epps has made a series of well-regarded documentaries about the African-American experience in the Bay Area, including the 2003 film \u003cem>Straight Outta Hunters Point\u003c/em>. \u003c/p>\n\u003cp>“The body of work that Kevin has created and accomplished as a filmmaker is known to you and known to the city,” Webb says. He adds that reputation counts for something with the district attorney. “He weighed everything in terms of who Kevin is and what happened inside that house.”\u003c/p>\n\u003cp>Epps says he looks forward to continue making films, and to be a “voice for the voiceless.”\u003c/p>\n\u003cp>\u003cstrong>Listen to more of the conversation here:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/290159344″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco filmmaker Kevin Epps had a bewildered air about him while he sat at a local Peet’s Coffee shop with his attorney, Mark Webb, on Wednesday afternoon, following his release from jail the night before. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I’m going through a myriad of different emotions,” Epps said.\u003c/p>\n\u003cp>Police \u003ca href=\"https://ww2.kqed.org/arts/2016/10/25/kevin-epps-documentary-filmmaker-arrested-in-glen-park-homicide/\" target=\"_blank\" rel=\"noopener\">arrested Epps Monday\u003c/a>, following a fatal shooting in his Glen Park home. The district attorney’s office released him Tuesday, determining “insufficient evidence to charge Kevin Epps at this time,” though the investigation continues.\u003c/p>\n\u003cp>“I’m really humble. Blessings to God, blessings to be here after going through this traumatic experience. Thank you, San Francisco,” he said, choking up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>UPDATE:\u003c/b> San Francisco filmmaker Kevin Epps will not be charged in the fatal shooting of a man in his Glen Park home. The district attorney’s office tells KQED “There is insufficient evidence to charge the case at this time. The case remains under investigation.”\u003c/p>\n\u003cp>A video was posted to Epps’ \u003ca href=\"https://www.instagram.com/p/BMB4cpcgC-B/?taken-by=kevinepps1\" target=\"_blank\" rel=\"noopener\">Instagram feed\u003c/a> Wednesday morning, tagged God is great #freshout , let me live. Blacklivesmatter#kevinepps I love my kids #kamaridakid @musicallytied. In the video, Epps can be heard to say “Man, it’s good to be out. This is a blessing.”\u003c/p>\n\u003cp>San Francisco police arrested Epps in connection with a fatal shooting in the Glen Park neighborhood Monday afternoon.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/290159024″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Paramedics who responded to the scene declared the victim, a man in his 40s, dead by gunshot. Neither the SFPD nor the Coroner’s office has identified the man, but the victim’s son, Marcus Polk, Jr, told \u003ca href=\"http://www.nbcbayarea.com/news/local/SFPD-Investigating-Homicide-in-Glen-Park-398264461.html\" target=\"_blank\" rel=\"noopener\">NBC Bay Area\u003c/a> it was his dad and that the two men, Polk, Sr. and Epps, argued before the shooting. \u003ca href=\"http://sanfrancisco.cbslocal.com/video/category/news/3566872-san-francisco-filmmaker-arrested-in-glen-park-homicide/\" target=\"_blank\" rel=\"noopener\">CBS reported\u003c/a> Epps is married to the woman Marcus Polk, Sr, used to be married to.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the details of what happened Monday are still unclear, friends of Epps have been tweeting in sympathy.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">Prayers up☝ for the brother \u003ca href=\"https://twitter.com/kevinepps\">@kevinepps\u003c/a> and his family ????????\u003c/p>\n\u003cp>— Khalid A.White, Ed.D (@brother_white) \u003ca href=\"https://twitter.com/brother_white/status/790924978321403908\">October 25, 2016\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Epps rose to fame in 2003 after producing and directing the documentary \u003ca href=\"http://www.imdb.com/name/nm1338821/bio?ref_=nm_ov_bio_sm\">\u003cem>Straight Outta Hunters Point\u003c/em>. \u003c/a> The critically acclaimed film focused on the gang life and violence in one of San Francisco’s roughest neighborhoods. He followed it in 2014 with \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2012/02/23/with_straight_outta_hunters_point_2_filmmaker_kevin_epps_goes/\" target=\"_blank\" rel=\"noopener\">Straight Outta Hunters Point 2\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Over the years, Epps became a community activist focused on the African-American experience in the San Francisco Bay Area. His other films include \u003ca href=\"http://www.imdb.com/title/tt3492470/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener\">\u003ci>Rap Dreams\u003c/i>\u003c/a> and \u003ca href=\"http://www.imdb.com/title/tt4369060/?ref_=nm_ov_bio_lk3\" target=\"_blank\" rel=\"noopener\">\u003ci>The Black Rock AKA Black Alcatraz\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>Epps remains best known as an ambassador for the neighborhood he grew up in. In a \u003ca href=\"http://archives.sfweekly.com/exhibitionist/2012/02/24/kevin-epps-on-his-life-changing-straight-outta-hunters-point-documentaries\" target=\"_blank\" rel=\"noopener\">2012 interview\u003c/a> with \u003cem>SF Weekly\u003c/em>, Epps said, “I was able to showcase the film at all these different film festivals and people that would never know about Bayview-Hunters Point could get a view of it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5bvDqVzoTdI\u003c/p>\n\u003cp>Rudy Corpuz, Jr, heads the violence prevention program \u003ca href=\"http://unitedplayaz.com/\" target=\"_blank\" rel=\"noopener\">United Playaz\u003c/a>, where Epps recently hosted a workshop for teens on entrepreneurship. “Everything he talked about was about growth,” Corpuz says. “It was about development. It was about building your spirit.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Corpuz adds he knows Epps to be the kind of guy who would neutralize heated situations, not escalate them. But with so few details available, Corpuz can only wait to find out what really happened.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>UPDATE:\u003c/b> San Francisco filmmaker Kevin Epps will not be charged in the fatal shooting of a man in his Glen Park home. The district attorney’s office tells KQED “There is insufficient evidence to charge the case at this time. The case remains under investigation.”\u003c/p>\n\u003cp>A video was posted to Epps’ \u003ca href=\"https://www.instagram.com/p/BMB4cpcgC-B/?taken-by=kevinepps1\" target=\"_blank\" rel=\"noopener\">Instagram feed\u003c/a> Wednesday morning, tagged God is great #freshout , let me live. Blacklivesmatter#kevinepps I love my kids #kamaridakid @musicallytied. In the video, Epps can be heard to say “Man, it’s good to be out. This is a blessing.”\u003c/p>\n\u003cp>San Francisco police arrested Epps in connection with a fatal shooting in the Glen Park neighborhood Monday afternoon.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/290159024″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/290159024″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Paramedics who responded to the scene declared the victim, a man in his 40s, dead by gunshot. Neither the SFPD nor the Coroner’s office has identified the man, but the victim’s son, Marcus Polk, Jr, told \u003ca href=\"http://www.nbcbayarea.com/news/local/SFPD-Investigating-Homicide-in-Glen-Park-398264461.html\" target=\"_blank\" rel=\"noopener\">NBC Bay Area\u003c/a> it was his dad and that the two men, Polk, Sr. and Epps, argued before the shooting. \u003ca href=\"http://sanfrancisco.cbslocal.com/video/category/news/3566872-san-francisco-filmmaker-arrested-in-glen-park-homicide/\" target=\"_blank\" rel=\"noopener\">CBS reported\u003c/a> Epps is married to the woman Marcus Polk, Sr, used to be married to.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the details of what happened Monday are still unclear, friends of Epps have been tweeting in sympathy.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">Prayers up☝ for the brother \u003ca href=\"https://twitter.com/kevinepps\">@kevinepps\u003c/a> and his family ????????\u003c/p>\n\u003cp>— Khalid A.White, Ed.D (@brother_white) \u003ca href=\"https://twitter.com/brother_white/status/790924978321403908\">October 25, 2016\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Epps rose to fame in 2003 after producing and directing the documentary \u003ca href=\"http://www.imdb.com/name/nm1338821/bio?ref_=nm_ov_bio_sm\">\u003cem>Straight Outta Hunters Point\u003c/em>. \u003c/a> The critically acclaimed film focused on the gang life and violence in one of San Francisco’s roughest neighborhoods. He followed it in 2014 with \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2012/02/23/with_straight_outta_hunters_point_2_filmmaker_kevin_epps_goes/\" target=\"_blank\" rel=\"noopener\">Straight Outta Hunters Point 2\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Over the years, Epps became a community activist focused on the African-American experience in the San Francisco Bay Area. His other films include \u003ca href=\"http://www.imdb.com/title/tt3492470/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener\">\u003ci>Rap Dreams\u003c/i>\u003c/a> and \u003ca href=\"http://www.imdb.com/title/tt4369060/?ref_=nm_ov_bio_lk3\" target=\"_blank\" rel=\"noopener\">\u003ci>The Black Rock AKA Black Alcatraz\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>Epps remains best known as an ambassador for the neighborhood he grew up in. In a \u003ca href=\"http://archives.sfweekly.com/exhibitionist/2012/02/24/kevin-epps-on-his-life-changing-straight-outta-hunters-point-documentaries\" target=\"_blank\" rel=\"noopener\">2012 interview\u003c/a> with \u003cem>SF Weekly\u003c/em>, Epps said, “I was able to showcase the film at all these different film festivals and people that would never know about Bayview-Hunters Point could get a view of it.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5bvDqVzoTdI'\n title='//www.youtube.com/embed/5bvDqVzoTdI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rudy Corpuz, Jr, heads the violence prevention program \u003ca href=\"http://unitedplayaz.com/\" target=\"_blank\" rel=\"noopener\">United Playaz\u003c/a>, where Epps recently hosted a workshop for teens on entrepreneurship. “Everything he talked about was about growth,” Corpuz says. “It was about development. It was about building your spirit.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Corpuz adds he knows Epps to be the kind of guy who would neutralize heated situations, not escalate them. But with so few details available, Corpuz can only wait to find out what really happened.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The 6 Most Salacious Erotic Thrillers to Watch This Halloween",
"title": "The 6 Most Salacious Erotic Thrillers to Watch This Halloween",
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"content": "\u003cp>Every October, many of us bring the spirit of Halloween alive through spirited cinema like \u003cem>The Shining\u003c/em>, \u003cem>Carrie\u003c/em>, and \u003cem>The Bride of Chuckie\u003c/em>. But must Halloween favorites always be derived from genres of horror, gore, and slasher flicks? If you’re like me and prefer your suspense with a healthy dollop of titillation, then have no fear; I’ve compiled a list of the most tawdry, salacious, and erotic thrillers of all time.\u003c/p>\n\u003cp>But first, what exactly defines an erotic thriller? The name implies that a film of this nature is, by virtue, depraved -- and that’s precisely correct. A solid erotic thriller must have equal parts depravity, ample nudity, and a plot line completely devoid of any grounding in reality. In addition to these elements, having Michael Douglas star as a douchebag with a heart of gold will undoubtedly make it a blockbuster.\u003c/p>\n\u003cp>Case in point: \u003cem>Fatal Attraction\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fLxGxP1-RUI\u003c/p>\n\u003cp>At first blush, \u003cem>Fatal Attraction\u003c/em> comes across as a classic tale of a Wall Street broker who's bored with his humdrum sex life and decides to spice things up a bit with an extramarital affair. Then all hell breaks loose when his courtship with the beguilingly crazy Alex Forrest, portrayed by Glenn Close, gets a little, well, too close. She gets attached. He wants to detach. She boils the family’s pet rabbit and abducts their androgynous child because those two events would bring anyone closer together, right?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But after all the mania and histrionics, rooting for Alex isn't out of the question because Michael Douglas’ character is such a jerk. Glenn’s portrayal of Alex is one of Hollywood’s most misunderstood yet relatable characters; haven’t we all been spurned by lovers and spent the evening in a catatonic state, flicking the lights on and off with a visage of desperation?\u003c/p>\n\u003cp>Since we’re on the topic of Michael Douglas’ greatest hits, let's talk about \u003cem>Basic Instinct\u003c/em>, perhaps the finest of all erotic thrillers. It's a story of murder, seduction and mystery that'll make you want to jump into a time-traveling convertible to experience San Francisco's '90s nightlife scene. \u003cem>Basic Instinct\u003c/em> is full of so many uncomfortable and grunt-filled Michael Douglas sex scenes that, for me, it borders on horror, the saving grace being Stone’s portrayal of the arrestingly charismatic Catherine Tramell. Stone captures this character so well that, as a viewer, you begin to wonder if she is indeed the icepick murderess the police allege her to be. The next time you’re flustered during a job interview and need a burst of confidence, just try and think to yourself, “What would Catherine Tramell do?”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EZc7uAUa38Q\u003c/p>\n\u003cp>And to finish off the Michael Douglas erotic thriller trifecta, there's the 1994 HR-violation-gone-awry film, \u003cem>Disclosure\u003c/em>, starring Demi Moore as the ultra-sexed CEO of a software company in Seattle. When Demi is hired as Michael Douglas’ boss, and he, again, falls victim to feminine wiles in the form of after-hours office sex, a nasty sexual harassment lawsuit ensues -- where at one point, Douglas’ character exclaims, “She harassed \u003cem>me\u003c/em>!”\u003c/p>\n\u003cp>Produced during a time in which the national dialogue around sexual harassment in the workplace was just starting, you can’t help but wonder if this film was underwritten by a group of men who cheated on their wives and subsequently used it as cinematic proof that it was indeed the female who purposefully led them astray.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pLMIy-5k6Fs\u003c/p>\n\u003cp>In order to describe the sheer level of ridiculousness found in the next movie on this list, there will be \u003cstrong>spoiler alerts\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>Body Double\u003c/em>, released in 1984, centers around an actor, Jake Scully (who looks an awful lot like Bill Maher), who's struggling with claustrophobia. He breaks up with his girlfriend after he catches her cheating on him, and takes a friend up on his offer to stay at his place while he’s away on business. His friend’s apartment could best be described as a masturbatorium, including a circular, rotating bed, and a telescope for peeping on the wealthy neighbor as she seductively dances around with jewelry every night.\u003c/p>\n\u003cp>Jake then stalks the sexy neighbor, witnesses her vicious murder, and immediately returns to the masturbatorium to watch porn (the same night of the murder!), only to realize that the dancing-woman-across-the-way and the porn star dancing on his television is none other than Holly Body (played by a young and pert Melanie Griffith). It’s like an erotic thriller within an erotic thriller! Confused yet? Things only get seedier from there, so it's obviously a must-see.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IoYhA3JWD-Q\u003c/p>\n\u003cp>To lend a bit more credibility to erotic thrillers as a bona-fide genre, I caught up with Ian Wolfley, a local filmmaker whose short film, \u003ca href=\"https://vimeo.com/50088899\">\u003cem>Bugchaser\u003c/em>\u003c/a>, won Best Short Film Male at the 2012 FilmOut San Diego. \u003cem>Bugchaser\u003c/em> just so happens to be an erotic thriller, albeit with a touch of grotesqueness (NSFW!). Here's what he had to say about his personal favorite film of the genre:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Color of Night\u003c/em>. The \u003cem>Plan 9 from Outer Space\u003c/em> of erotic thrillers. So contrived, campy, and over-the-top, with a who's-who of character actors in extremely problematic roles (Lesley Ann Warren, Brad Dourif, Lance Heriksen). Roger Ebert opened his review by saying, \"\u003cem>Color of Night\u003c/em> approaches badness from so many directions that one really must admire its imagination. Combining all the worst ingredients of an Agatha Christie whodunit and a sex-crazed slasher film, it ends in a frenzy of recycled thriller elements.\" It was the highest-earning video rental of that year, largely, I'm sure—it was the main reason I rented it over and over—due to the swimming pool sex scene that had Bruce Willis going full frontal. There are rumors online it wasn't actually Willis' willie because his was deemed too small.\u003c/p>\u003c/blockquote>\n\u003cp>https://www.youtube.com/watch?v=yPPuc-XYvH0\u003c/p>\n\u003cp>While on the subject of men going full frontal, I’ll end this list here with a film I wanted to see so badly in middle school that I had to sneak downstairs after midnight and watch it on Cinemax: \u003cem>Wild Things\u003c/em>. From Kevin Bacon’s penis to champagne being poured on Denise Richards’ breasts, there's something for everyone. Not only is the film pure erotic thriller gold, the soundtrack is hands down the most underrated of the '90s.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GP-FSgsWeyg\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Post-\u003cem>Wild Things\u003c/em>, erotic thrillers haven't really been able to live up to what's already been accomplished within the genre. For example, 2009’s \u003cem>Obsessed\u003c/em>, a send-up of \u003cem>Fatal Attraction\u003c/em> in which Beyoncé delivers such a lackluster performance that a cardboard cut-out of Kelly Rowland could have done a better job, only makes you want to watch Glenn Close boil a rabbit again instead. Perhaps that’s just a sign of getting older and finding joy in one’s nostalgia, or maybe the movies on this list are just that good.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every October, many of us bring the spirit of Halloween alive through spirited cinema like \u003cem>The Shining\u003c/em>, \u003cem>Carrie\u003c/em>, and \u003cem>The Bride of Chuckie\u003c/em>. But must Halloween favorites always be derived from genres of horror, gore, and slasher flicks? If you’re like me and prefer your suspense with a healthy dollop of titillation, then have no fear; I’ve compiled a list of the most tawdry, salacious, and erotic thrillers of all time.\u003c/p>\n\u003cp>But first, what exactly defines an erotic thriller? The name implies that a film of this nature is, by virtue, depraved -- and that’s precisely correct. A solid erotic thriller must have equal parts depravity, ample nudity, and a plot line completely devoid of any grounding in reality. In addition to these elements, having Michael Douglas star as a douchebag with a heart of gold will undoubtedly make it a blockbuster.\u003c/p>\n\u003cp>Case in point: \u003cem>Fatal Attraction\u003c/em>.\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/fLxGxP1-RUI'\n title='//www.youtube.com/embed/fLxGxP1-RUI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At first blush, \u003cem>Fatal Attraction\u003c/em> comes across as a classic tale of a Wall Street broker who's bored with his humdrum sex life and decides to spice things up a bit with an extramarital affair. Then all hell breaks loose when his courtship with the beguilingly crazy Alex Forrest, portrayed by Glenn Close, gets a little, well, too close. She gets attached. He wants to detach. She boils the family’s pet rabbit and abducts their androgynous child because those two events would bring anyone closer together, right?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But after all the mania and histrionics, rooting for Alex isn't out of the question because Michael Douglas’ character is such a jerk. Glenn’s portrayal of Alex is one of Hollywood’s most misunderstood yet relatable characters; haven’t we all been spurned by lovers and spent the evening in a catatonic state, flicking the lights on and off with a visage of desperation?\u003c/p>\n\u003cp>Since we’re on the topic of Michael Douglas’ greatest hits, let's talk about \u003cem>Basic Instinct\u003c/em>, perhaps the finest of all erotic thrillers. It's a story of murder, seduction and mystery that'll make you want to jump into a time-traveling convertible to experience San Francisco's '90s nightlife scene. \u003cem>Basic Instinct\u003c/em> is full of so many uncomfortable and grunt-filled Michael Douglas sex scenes that, for me, it borders on horror, the saving grace being Stone’s portrayal of the arrestingly charismatic Catherine Tramell. Stone captures this character so well that, as a viewer, you begin to wonder if she is indeed the icepick murderess the police allege her to be. The next time you’re flustered during a job interview and need a burst of confidence, just try and think to yourself, “What would Catherine Tramell do?”\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/EZc7uAUa38Q'\n title='//www.youtube.com/embed/EZc7uAUa38Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And to finish off the Michael Douglas erotic thriller trifecta, there's the 1994 HR-violation-gone-awry film, \u003cem>Disclosure\u003c/em>, starring Demi Moore as the ultra-sexed CEO of a software company in Seattle. When Demi is hired as Michael Douglas’ boss, and he, again, falls victim to feminine wiles in the form of after-hours office sex, a nasty sexual harassment lawsuit ensues -- where at one point, Douglas’ character exclaims, “She harassed \u003cem>me\u003c/em>!”\u003c/p>\n\u003cp>Produced during a time in which the national dialogue around sexual harassment in the workplace was just starting, you can’t help but wonder if this film was underwritten by a group of men who cheated on their wives and subsequently used it as cinematic proof that it was indeed the female who purposefully led them astray.\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/pLMIy-5k6Fs'\n title='//www.youtube.com/embed/pLMIy-5k6Fs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In order to describe the sheer level of ridiculousness found in the next movie on this list, there will be \u003cstrong>spoiler alerts\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>Body Double\u003c/em>, released in 1984, centers around an actor, Jake Scully (who looks an awful lot like Bill Maher), who's struggling with claustrophobia. He breaks up with his girlfriend after he catches her cheating on him, and takes a friend up on his offer to stay at his place while he’s away on business. His friend’s apartment could best be described as a masturbatorium, including a circular, rotating bed, and a telescope for peeping on the wealthy neighbor as she seductively dances around with jewelry every night.\u003c/p>\n\u003cp>Jake then stalks the sexy neighbor, witnesses her vicious murder, and immediately returns to the masturbatorium to watch porn (the same night of the murder!), only to realize that the dancing-woman-across-the-way and the porn star dancing on his television is none other than Holly Body (played by a young and pert Melanie Griffith). It’s like an erotic thriller within an erotic thriller! Confused yet? Things only get seedier from there, so it's obviously a must-see.\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/IoYhA3JWD-Q'\n title='//www.youtube.com/embed/IoYhA3JWD-Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>To lend a bit more credibility to erotic thrillers as a bona-fide genre, I caught up with Ian Wolfley, a local filmmaker whose short film, \u003ca href=\"https://vimeo.com/50088899\">\u003cem>Bugchaser\u003c/em>\u003c/a>, won Best Short Film Male at the 2012 FilmOut San Diego. \u003cem>Bugchaser\u003c/em> just so happens to be an erotic thriller, albeit with a touch of grotesqueness (NSFW!). Here's what he had to say about his personal favorite film of the genre:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Color of Night\u003c/em>. The \u003cem>Plan 9 from Outer Space\u003c/em> of erotic thrillers. So contrived, campy, and over-the-top, with a who's-who of character actors in extremely problematic roles (Lesley Ann Warren, Brad Dourif, Lance Heriksen). Roger Ebert opened his review by saying, \"\u003cem>Color of Night\u003c/em> approaches badness from so many directions that one really must admire its imagination. Combining all the worst ingredients of an Agatha Christie whodunit and a sex-crazed slasher film, it ends in a frenzy of recycled thriller elements.\" It was the highest-earning video rental of that year, largely, I'm sure—it was the main reason I rented it over and over—due to the swimming pool sex scene that had Bruce Willis going full frontal. There are rumors online it wasn't actually Willis' willie because his was deemed too small.\u003c/p>\u003c/blockquote>\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/yPPuc-XYvH0'\n title='//www.youtube.com/embed/yPPuc-XYvH0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While on the subject of men going full frontal, I’ll end this list here with a film I wanted to see so badly in middle school that I had to sneak downstairs after midnight and watch it on Cinemax: \u003cem>Wild Things\u003c/em>. From Kevin Bacon’s penis to champagne being poured on Denise Richards’ breasts, there's something for everyone. Not only is the film pure erotic thriller gold, the soundtrack is hands down the most underrated of the '90s.\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/GP-FSgsWeyg'\n title='//www.youtube.com/embed/GP-FSgsWeyg'\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>Post-\u003cem>Wild Things\u003c/em>, erotic thrillers haven't really been able to live up to what's already been accomplished within the genre. For example, 2009’s \u003cem>Obsessed\u003c/em>, a send-up of \u003cem>Fatal Attraction\u003c/em> in which Beyoncé delivers such a lackluster performance that a cardboard cut-out of Kelly Rowland could have done a better job, only makes you want to watch Glenn Close boil a rabbit again instead. Perhaps that’s just a sign of getting older and finding joy in one’s nostalgia, or maybe the movies on this list are just that good.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Zelos, Purchasing a Clone is Not All it’s Cracked Up to Be",
"headTitle": "In Zelos, Purchasing a Clone is Not All it’s Cracked Up to Be | KQED",
"content": "\u003cp>If you’re a fan of shows like \u003cem>\u003ca target=\"_blank\" href=\"http://www.imdb.com/title/tt2085059/\" rel=\"noopener\">Black Mirror\u003c/a>\u003c/em> and \u003cem>\u003ca target=\"_blank\" href=\"http://www.imdb.com/title/tt0475784/?ref_=nv_sr_1\" rel=\"noopener\">Westworld\u003c/a>\u003c/em>, we’re pretty sure you’re going to love \u003cem>\u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/films/zelos/\" rel=\"noopener\">Zelos\u003c/a>\u003c/em>, the sci-fi short film by director \u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/filmmakers/thoranna-sigurdardottir/\" rel=\"noopener\">Thoranna Sigurdardottir\u003c/a>.\u003c/p>\n\u003cp>Produced at AFI’s Directing Workshop for Women, \u003cem>Zelos\u003c/em> is a glimpse into a future where cloning is possible. For Maria, \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/10/24/in-zelos-purchasing-a-clone-is-not-all-its-cracked-up-to-be/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/10/24/in-zelos-purchasing-a-clone-is-not-all-its-cracked-up-to-be/\" target=\"_blank\" title=\"In Zelos, Purchasing a Clone is Not All it’s Cracked Up to Be\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Now Playing! Scary Future of SF Rattles Nerves in ‘Company Town’",
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"content": "\u003cp>\u003ci>Close the laptop, drop that tablet, silence the smartphone and join your fellow humans in Bay Area theaters this week with recommendations from our film critic Michael Fox.\u003c/i>\u003c/p>\n\u003ch3>\u003ci>Company Town\u003c/i>\u003c/h3>\n\u003ch5>Oct. 28-Nov. 6\u003cbr>\nVarious Bay Area Theaters\u003c/h5>\n\u003cp>If you’re expecting a spooky movie recommendation for your Halloween discomfort and catharsis, you’ve come to the right place. Sort of. Unless, that is, you clear a few hundred Benjamins every year renting your second bedroom to tourists from Munich through Airbnb. Or if you can’t imagine living without Uber, despite the time-honored, non-disruptive presence of buses and taxis. \u003c/p>\n\u003cfigure id=\"attachment_12233071\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/COMPANYTOWN_snitowkaufman-Peskin_1200.jpg\" alt=\"Still from 'Company Town.'\" width=\"1200\" height=\"933\" class=\"size-full wp-image-12233071\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/COMPANYTOWN_snitowkaufman-Peskin_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/COMPANYTOWN_snitowkaufman-Peskin_1200-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/COMPANYTOWN_snitowkaufman-Peskin_1200-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/COMPANYTOWN_snitowkaufman-Peskin_1200-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/COMPANYTOWN_snitowkaufman-Peskin_1200-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/COMPANYTOWN_snitowkaufman-Peskin_1200-1180x917.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/COMPANYTOWN_snitowkaufman-Peskin_1200-960x746.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/COMPANYTOWN_snitowkaufman-Peskin_1200-240x187.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/COMPANYTOWN_snitowkaufman-Peskin_1200-375x292.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/COMPANYTOWN_snitowkaufman-Peskin_1200-520x404.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Company Town.’ \u003ccite>(Courtesy of Snitow-Kaufman Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In either of those cases, you may push back against the critique embedded in veteran East Bay filmmakers Deborah Kaufman and Alan Snitow’s latest sociopolitical documentary, \u003cem>Company Town\u003c/em>. Set against last fall’s supervisor race between incumbent Julie Christensen, who was appointed by Mayor Ed Lee, and challenger Aaron Peskin, the former supe and avowed enemy of the shell game cleverly disguised as the “sharing economy,” \u003cem>Company Town\u003c/em> was shot on the streets of Chinatown and North Beach. We all know how that election turned out, so the filmmakers downplay the intrinsic drama and avoid the sports-movie clichés to emphasize instead the big-picture dynamics and competing visions of San Francisco’s future. Scary stuff, kids! \u003c/p>\n\u003cp>Fresh from its world premiere at the Mill Valley Film Festival, \u003cem>Company Town\u003c/em> opens Friday, Oct. 28, for \u003ca href=\"http://www.roxie.com/ai1ec_event/company-town/\" target=\"_blank\" rel=\"noopener\">a week at the Roxie\u003c/a> in San Francisco and the \u003ca href=\"http://www.rialtocinemas.com/index.php?location=elmwood&film=2016_company\" target=\"_blank\" rel=\"noopener\">Elmwood in Berkeley\u003c/a>, followed by a Nov. 6 show at the \u003ca href=\"http://rafaelfilm.cafilm.org/company-town/\" target=\"_blank\" rel=\"noopener\">Smith Rafael Film Center in San Rafael\u003c/a>. For more info on the film, visit \u003ca href=\"http://www.snitow-kaufman.org/company-town/\">snitow-kaufman.org\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/EvlSxofG-gc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Close the laptop, drop that tablet, silence the smartphone and join your fellow humans in Bay Area theaters this week with recommendations from our film critic Michael Fox.\u003c/i>\u003c/p>\n\u003ch3>\u003ci>Company Town\u003c/i>\u003c/h3>\n\u003ch5>Oct. 28-Nov. 6\u003cbr>\nVarious Bay Area Theaters\u003c/h5>\n\u003cp>If you’re expecting a spooky movie recommendation for your Halloween discomfort and catharsis, you’ve come to the right place. Sort of. Unless, that is, you clear a few hundred Benjamins every year renting your second bedroom to tourists from Munich through Airbnb. Or if you can’t imagine living without Uber, despite the time-honored, non-disruptive presence of buses and taxis. \u003c/p>\n\u003cfigure id=\"attachment_12233071\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/COMPANYTOWN_snitowkaufman-Peskin_1200.jpg\" alt=\"Still from 'Company Town.'\" width=\"1200\" height=\"933\" class=\"size-full wp-image-12233071\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/COMPANYTOWN_snitowkaufman-Peskin_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/COMPANYTOWN_snitowkaufman-Peskin_1200-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/COMPANYTOWN_snitowkaufman-Peskin_1200-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/COMPANYTOWN_snitowkaufman-Peskin_1200-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/COMPANYTOWN_snitowkaufman-Peskin_1200-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/COMPANYTOWN_snitowkaufman-Peskin_1200-1180x917.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/COMPANYTOWN_snitowkaufman-Peskin_1200-960x746.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/COMPANYTOWN_snitowkaufman-Peskin_1200-240x187.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/COMPANYTOWN_snitowkaufman-Peskin_1200-375x292.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/COMPANYTOWN_snitowkaufman-Peskin_1200-520x404.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Company Town.’ \u003ccite>(Courtesy of Snitow-Kaufman Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In either of those cases, you may push back against the critique embedded in veteran East Bay filmmakers Deborah Kaufman and Alan Snitow’s latest sociopolitical documentary, \u003cem>Company Town\u003c/em>. Set against last fall’s supervisor race between incumbent Julie Christensen, who was appointed by Mayor Ed Lee, and challenger Aaron Peskin, the former supe and avowed enemy of the shell game cleverly disguised as the “sharing economy,” \u003cem>Company Town\u003c/em> was shot on the streets of Chinatown and North Beach. We all know how that election turned out, so the filmmakers downplay the intrinsic drama and avoid the sports-movie clichés to emphasize instead the big-picture dynamics and competing visions of San Francisco’s future. Scary stuff, kids! \u003c/p>\n\u003cp>Fresh from its world premiere at the Mill Valley Film Festival, \u003cem>Company Town\u003c/em> opens Friday, Oct. 28, for \u003ca href=\"http://www.roxie.com/ai1ec_event/company-town/\" target=\"_blank\" rel=\"noopener\">a week at the Roxie\u003c/a> in San Francisco and the \u003ca href=\"http://www.rialtocinemas.com/index.php?location=elmwood&film=2016_company\" target=\"_blank\" rel=\"noopener\">Elmwood in Berkeley\u003c/a>, followed by a Nov. 6 show at the \u003ca href=\"http://rafaelfilm.cafilm.org/company-town/\" target=\"_blank\" rel=\"noopener\">Smith Rafael Film Center in San Rafael\u003c/a>. For more info on the film, visit \u003ca href=\"http://www.snitow-kaufman.org/company-town/\">snitow-kaufman.org\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/EvlSxofG-gc'\n title='//www.youtube.com/embed/EvlSxofG-gc'\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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"title": "30 Years of 'Heavy Metal Parking Lot,' the Classic 'Cult Classic' Film",
"headTitle": "30 Years of ‘Heavy Metal Parking Lot,’ the Classic ‘Cult Classic’ Film | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/498827998/498954318\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Thirty years ago this week, an unknown filmmaker walked into a club in Washington, D.C., with a videotape in his hand. It was one of those nights when anyone could screen their work … but this was the first public screening of a short documentary that’s gone on to become the very definition of a cult classic.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.heavymetalparkinglot.com/\" target=\"_blank\" rel=\"noopener\">Heavy Metal Parking Lot\u003c/a> \u003c/em>was only 16 and a half minutes long, and the concept was bare-bones: just fans and staff outside the Capital Centre arena in Largo, Md., before a concert by two metal bands, Dokken and \u003ca href=\"http://www.npr.org/artists/16328304/judas-priest\" target=\"_blank\" rel=\"noopener\">Judas Priest\u003c/a>, in May of 1986. And yet it went viral before viral was a thing: One fan would make a copy of a video and give it to a friend who would do the same thing, until it spread, literally, around the world.\u003c/p>\n\u003cp>“Nobody could have imagined that it would have taken on the life that it has,” says Jeff Krulik, one of the two directors. Over the course of 30 years, he and his partner John Heyn watched their little documentary become the subject of websites, a mural, and mainstream press coverage in \u003cem>The New Yorker\u003c/em>, \u003cem>GQ\u003c/em>, \u003cem>Spin\u003c/em> and \u003cem>Premiere\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WhRCVm-1r2k\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Back in 1986, John Heyn and Jeff Krulik were aspiring filmmakers in their 20s looking for a story. “I’d heard the radio ads, so we knew it was a metal show,” Kulik says of their trip to The Cap Centre, as everyone called it. “We kind of knew what we were getting into, or hoping to get into.”\u003c/p>\n\u003cp>They paid for parking and, with gear borrowed from Krulik’s studio, started shooting. They had no plan, no list of questions. “We didn’t have a clue about how to do this the right way. But I think for what it was, it was the right way,” Krulik says.\u003c/p>\n\u003cp>Krulik and Heyn captured something: a moment in time in a particular place — suburban Maryland — and a culture, says Laura Schnitker. She’s an ethnomusicologist and an acting curator at the University of Maryland, where an \u003ca href=\"https://hornbakelibrary.wordpress.com/2016/08/02/heavy-metal-parking-lot-exhibit/\" target=\"_blank\" rel=\"noopener\">exhibition devoted to the 30th anniversary\u003c/a> of \u003cem>Heavy Metal Parking Lot\u003c/em> is on display into next year.\u003c/p>\n\u003cp>“For anyone who wants to understand what a heavy metal crowd looked like when heavy metal was at its peak popularity in the 1980s, this is a perfect document of that point in musical history,” she says. “It’s just a great snapshot of fandom.”\u003c/p>\n\u003cp>Zev Zalman Ludwick was one of those fans. Back then, Ludwick was flipping pizzas during the day and playing bass in rock bands at night. Today he builds and repairs instruments — violins, violas, and cellos. He says tailgating before concerts was half the fun.\u003c/p>\n\u003cp>“We would all get the word out to our friends: ‘Hey, meet us before the concert,’ you know? We’d go there a couple of hours beforehand,” he says. “There’s a whole feeling when you get around people for that same thing in common — all about the music, and just about having fun.”\u003c/p>\n\u003cp>But Ludwick admits the fun was sometimes fueled by drugs and alcohol. And the teens in \u003cem>Heavy Metal Parking Lot\u003c/em> are primed. Jeff Krulik rejects any suggestion the documentary is making fun of them.\u003c/p>\n\u003cfigure id=\"attachment_12248117\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_.jpg\" alt=\"Directors John Heyn (left) and Jeff Krulik.\" width=\"400\" height=\"369\" class=\"size-full wp-image-12248117\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_-240x221.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_-375x346.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Directors John Heyn (left) and Jeff Krulik. \u003ccite>(Photo: John Heyn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Neither one of us ever set out to do that,” he says. “I mean, there is manipulation involved: You’re editing it, you’re getting right to the most entertaining content. And that \u003cem>was\u003c/em> our agenda, was to make an entertaining 15-minute video.”\u003c/p>\n\u003cp>\u003cem>Heavy Metal Parking Lot \u003c/em>would eventually be shown at the American Film Institute and other venues. But Krulik says the documentary eventually seemed to run its course.\u003c/p>\n\u003cp>“We kind of had stopped screening it in 1990 for a variety of reasons,” he says. “We couldn’t force our friends to sit through another public screening of it.”\u003c/p>\n\u003cp>Two years later, a friend was moving to California and asked for some copies to take with him. One eventually made its way to a Los Angeles store called Mondo Video A-Go-Go.\u003c/p>\n\u003cp>“When I saw it I was busting up, because what a great idea that they took a camera into a parking lot!” says the store’s then-proprietor, “Colonel” Rob Schnaffer (the title was bestowed by his mentor, filmmaker Russ Meyer). “And I started making copies of this thing, and it just started spreading on the underground like a plague.”\u003c/p>\n\u003cp>\u003cem>Heavy Metal Parking Lot\u003c/em> wound up on Nirvana’s tour bus. And Krulik says the organic way it spread, from fan to fan on physical videotapes, had a lot to do with its enduring appeal.\u003c/p>\n\u003cp>The same can’t be said of the parking lot the film immortalized. The Cap Centre was demolished in 2002 to make way for a shopping center with its own parking lots. Standing in one of them, Krulik points out a car that wouldn’t have been out of place here in 1986.\u003c/p>\n\u003cp>“That’s the last muscle car in the parking lot at the Cap Centre,” he says. “It’s the ghost of \u003cem>Heavy Metal Parking Lot\u003c/em>.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Those ghosts still walk the earth. And John Heyn and Jeff Krulik are eager to conjure them whenever they can. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=30+Years+Of+%27Heavy+Metal+Parking+Lot%2C%27+The+Classic+%27Cult+Classic%27+Film&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/498827998/498954318\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Thirty years ago this week, an unknown filmmaker walked into a club in Washington, D.C., with a videotape in his hand. It was one of those nights when anyone could screen their work … but this was the first public screening of a short documentary that’s gone on to become the very definition of a cult classic.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.heavymetalparkinglot.com/\" target=\"_blank\" rel=\"noopener\">Heavy Metal Parking Lot\u003c/a> \u003c/em>was only 16 and a half minutes long, and the concept was bare-bones: just fans and staff outside the Capital Centre arena in Largo, Md., before a concert by two metal bands, Dokken and \u003ca href=\"http://www.npr.org/artists/16328304/judas-priest\" target=\"_blank\" rel=\"noopener\">Judas Priest\u003c/a>, in May of 1986. And yet it went viral before viral was a thing: One fan would make a copy of a video and give it to a friend who would do the same thing, until it spread, literally, around the world.\u003c/p>\n\u003cp>“Nobody could have imagined that it would have taken on the life that it has,” says Jeff Krulik, one of the two directors. Over the course of 30 years, he and his partner John Heyn watched their little documentary become the subject of websites, a mural, and mainstream press coverage in \u003cem>The New Yorker\u003c/em>, \u003cem>GQ\u003c/em>, \u003cem>Spin\u003c/em> and \u003cem>Premiere\u003c/em>.\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/WhRCVm-1r2k'\n title='//www.youtube.com/embed/WhRCVm-1r2k'\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>Back in 1986, John Heyn and Jeff Krulik were aspiring filmmakers in their 20s looking for a story. “I’d heard the radio ads, so we knew it was a metal show,” Kulik says of their trip to The Cap Centre, as everyone called it. “We kind of knew what we were getting into, or hoping to get into.”\u003c/p>\n\u003cp>They paid for parking and, with gear borrowed from Krulik’s studio, started shooting. They had no plan, no list of questions. “We didn’t have a clue about how to do this the right way. But I think for what it was, it was the right way,” Krulik says.\u003c/p>\n\u003cp>Krulik and Heyn captured something: a moment in time in a particular place — suburban Maryland — and a culture, says Laura Schnitker. She’s an ethnomusicologist and an acting curator at the University of Maryland, where an \u003ca href=\"https://hornbakelibrary.wordpress.com/2016/08/02/heavy-metal-parking-lot-exhibit/\" target=\"_blank\" rel=\"noopener\">exhibition devoted to the 30th anniversary\u003c/a> of \u003cem>Heavy Metal Parking Lot\u003c/em> is on display into next year.\u003c/p>\n\u003cp>“For anyone who wants to understand what a heavy metal crowd looked like when heavy metal was at its peak popularity in the 1980s, this is a perfect document of that point in musical history,” she says. “It’s just a great snapshot of fandom.”\u003c/p>\n\u003cp>Zev Zalman Ludwick was one of those fans. Back then, Ludwick was flipping pizzas during the day and playing bass in rock bands at night. Today he builds and repairs instruments — violins, violas, and cellos. He says tailgating before concerts was half the fun.\u003c/p>\n\u003cp>“We would all get the word out to our friends: ‘Hey, meet us before the concert,’ you know? We’d go there a couple of hours beforehand,” he says. “There’s a whole feeling when you get around people for that same thing in common — all about the music, and just about having fun.”\u003c/p>\n\u003cp>But Ludwick admits the fun was sometimes fueled by drugs and alcohol. And the teens in \u003cem>Heavy Metal Parking Lot\u003c/em> are primed. Jeff Krulik rejects any suggestion the documentary is making fun of them.\u003c/p>\n\u003cfigure id=\"attachment_12248117\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_.jpg\" alt=\"Directors John Heyn (left) and Jeff Krulik.\" width=\"400\" height=\"369\" class=\"size-full wp-image-12248117\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_-240x221.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_-375x346.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Directors John Heyn (left) and Jeff Krulik. \u003ccite>(Photo: John Heyn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Neither one of us ever set out to do that,” he says. “I mean, there is manipulation involved: You’re editing it, you’re getting right to the most entertaining content. And that \u003cem>was\u003c/em> our agenda, was to make an entertaining 15-minute video.”\u003c/p>\n\u003cp>\u003cem>Heavy Metal Parking Lot \u003c/em>would eventually be shown at the American Film Institute and other venues. But Krulik says the documentary eventually seemed to run its course.\u003c/p>\n\u003cp>“We kind of had stopped screening it in 1990 for a variety of reasons,” he says. “We couldn’t force our friends to sit through another public screening of it.”\u003c/p>\n\u003cp>Two years later, a friend was moving to California and asked for some copies to take with him. One eventually made its way to a Los Angeles store called Mondo Video A-Go-Go.\u003c/p>\n\u003cp>“When I saw it I was busting up, because what a great idea that they took a camera into a parking lot!” says the store’s then-proprietor, “Colonel” Rob Schnaffer (the title was bestowed by his mentor, filmmaker Russ Meyer). “And I started making copies of this thing, and it just started spreading on the underground like a plague.”\u003c/p>\n\u003cp>\u003cem>Heavy Metal Parking Lot\u003c/em> wound up on Nirvana’s tour bus. And Krulik says the organic way it spread, from fan to fan on physical videotapes, had a lot to do with its enduring appeal.\u003c/p>\n\u003cp>The same can’t be said of the parking lot the film immortalized. The Cap Centre was demolished in 2002 to make way for a shopping center with its own parking lots. Standing in one of them, Krulik points out a car that wouldn’t have been out of place here in 1986.\u003c/p>\n\u003cp>“That’s the last muscle car in the parking lot at the Cap Centre,” he says. “It’s the ghost of \u003cem>Heavy Metal Parking Lot\u003c/em>.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Those ghosts still walk the earth. And John Heyn and Jeff Krulik are eager to conjure them whenever they can. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=30+Years+Of+%27Heavy+Metal+Parking+Lot%2C%27+The+Classic+%27Cult+Classic%27+Film&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On July 15, 1974, Christine Chubbuck, a field reporter for a small news station in Sarasota, Fla., requested and received a rare on-camera appearance during a live broadcast. She read a couple of stories, including a report about a shooting the previous day at a local restaurant, but the footage queued up for segment jammed, leaving Chubbuck to move on to the next page in the stack. “In keeping with Channel 40’s policy of bringing you the latest in ‘blood and guts,'” she said, “and in living color, you are going to see another first — attempted suicide.” She then raised a pistol to her head and shot herself on air.\u003c/p>\n\u003cp>The question of why haunts Antonio Campos’ scrupulous biopic, \u003cem>Christine,\u003c/em> but as a symbolic gesture, Chubbuck’s words and actions continue to reverberate through the media — so much so that two thoughtful but very different films about her, \u003cem>Christine\u003c/em> and Robert Greene’s documentary \u003cem>Kate Plays Christine,\u003c/em> premiered at the Sundance Film Festival earlier this year. Her on-screen death both presaged and embodied the media carnival satirized two years later in \u003cem>Network\u003c/em> and stands as a lonely bulwark against the sensationalistic, “if it bleeds, it leads” credo of the modern newsroom. Chubbuck’s frustrated ambitions as a broadcast journalist are only one aspect of a much more complicated story, but the fact that she chose to end her life in this gruesome public display represents a chilling act of protest.\u003c/p>\n\u003cp>https://youtu.be/grpEVD0TU8U\u003c/p>\n\u003cp>Though it has the cold, formalist rigor of his previous films, \u003cem>Afterschool\u003c/em> and \u003cem>Simon Killer\u003c/em> — the Austrian director Michael Haneke, of \u003cem>Funny Games,\u003c/em> \u003cem>Caché\u003c/em> and \u003cem>Amour\u003c/em> fame, is a major influence — in \u003cem>Christine, \u003c/em>Campos offers a broader, more approachable look at mid-’70s culture, in and out of the newsroom. Rebecca Hall plays Chubbuck as acutely uncomfortable in her own skin, a serious and detail-obsessed reporter who struggles to connect with her colleagues and the citizens and officials in front of her camera. When she approaches a happy couple over lunch to pitch them on a lighter-side-of-the-news story, she looks like an anthropologist discovering a new species.\u003c/p>\n\u003cp>At Channel 40, Chubbuck hosts a segment called “Suncoast Digest,” where she ruminates on topics ranging from zoning disputes to the annual strawberry harvest. Her station manager (Tracy Letts) hounds her to pursue juicier scoops, and the pressure increases when the owner sweeps through with the thought of plucking one or two of the best broadcasters for a new station in Baltimore. She nurses a crush on the anchor, George (Michael C. Hall), but her moodiness and social anxiety undercut her at every turn. Chubbuck tries to hide the depths of her inner turmoil at work, but her bouts of severe depression and abdominal pain flare up at the home she and her mother (J. Smith-Cameron) share.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With \u003cem>Afterschool\u003c/em>, Campos plugged into the isolation and madness of a Columbine-like killer, but while Chubbuck is a threat only to herself, the film has the same commitment to defining the suffocating limits of her world — physical, professional, and psychological. Campos respects the integrity of her point of view while understanding how the broader culture might reject it: When Chubbuck interviews a burn victim in close-up while neglecting to include a shot of his mobile home on fire, it’s the type of decision that would get an indie filmmaker like Campos kicked off the studio lot. Her vision and her standards make her a misfit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With a ’70s album-oriented rock soundtrack setting a yearning tone, \u003cem>Christine\u003c/em> also works hard to evoke the period, particularly a small-time, understaffed newsroom that labors to give the viewers what they want. Campos obsesses over the process of cutting together stories on film and reeling them up for broadcast, and that tedium feeds into the slow progress the station is taking toward modernity. As much as it signals the dawn of a more exploitative brand of journalism, the film also sees Chubbuck as the victim of a sexist newsroom culture that punished women of substance. She fights against it, and herself, until arriving at the one shocking moment when she knows that her voice will be heard.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On July 15, 1974, Christine Chubbuck, a field reporter for a small news station in Sarasota, Fla., requested and received a rare on-camera appearance during a live broadcast. She read a couple of stories, including a report about a shooting the previous day at a local restaurant, but the footage queued up for segment jammed, leaving Chubbuck to move on to the next page in the stack. “In keeping with Channel 40’s policy of bringing you the latest in ‘blood and guts,'” she said, “and in living color, you are going to see another first — attempted suicide.” She then raised a pistol to her head and shot herself on air.\u003c/p>\n\u003cp>The question of why haunts Antonio Campos’ scrupulous biopic, \u003cem>Christine,\u003c/em> but as a symbolic gesture, Chubbuck’s words and actions continue to reverberate through the media — so much so that two thoughtful but very different films about her, \u003cem>Christine\u003c/em> and Robert Greene’s documentary \u003cem>Kate Plays Christine,\u003c/em> premiered at the Sundance Film Festival earlier this year. Her on-screen death both presaged and embodied the media carnival satirized two years later in \u003cem>Network\u003c/em> and stands as a lonely bulwark against the sensationalistic, “if it bleeds, it leads” credo of the modern newsroom. Chubbuck’s frustrated ambitions as a broadcast journalist are only one aspect of a much more complicated story, but the fact that she chose to end her life in this gruesome public display represents a chilling act of protest.\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/grpEVD0TU8U'\n title='//www.youtube.com/embed/grpEVD0TU8U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though it has the cold, formalist rigor of his previous films, \u003cem>Afterschool\u003c/em> and \u003cem>Simon Killer\u003c/em> — the Austrian director Michael Haneke, of \u003cem>Funny Games,\u003c/em> \u003cem>Caché\u003c/em> and \u003cem>Amour\u003c/em> fame, is a major influence — in \u003cem>Christine, \u003c/em>Campos offers a broader, more approachable look at mid-’70s culture, in and out of the newsroom. Rebecca Hall plays Chubbuck as acutely uncomfortable in her own skin, a serious and detail-obsessed reporter who struggles to connect with her colleagues and the citizens and officials in front of her camera. When she approaches a happy couple over lunch to pitch them on a lighter-side-of-the-news story, she looks like an anthropologist discovering a new species.\u003c/p>\n\u003cp>At Channel 40, Chubbuck hosts a segment called “Suncoast Digest,” where she ruminates on topics ranging from zoning disputes to the annual strawberry harvest. Her station manager (Tracy Letts) hounds her to pursue juicier scoops, and the pressure increases when the owner sweeps through with the thought of plucking one or two of the best broadcasters for a new station in Baltimore. She nurses a crush on the anchor, George (Michael C. Hall), but her moodiness and social anxiety undercut her at every turn. Chubbuck tries to hide the depths of her inner turmoil at work, but her bouts of severe depression and abdominal pain flare up at the home she and her mother (J. Smith-Cameron) share.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Save The Ruby Slippers: Smithsonian Seeks Funds To Preserve Dorothy's Shoes",
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"content": "\u003cp>Dorothy's ruby slippers could use a little more magic these days — or at least some preservationist TLC.\u003c/p>\n\u003cp>The famous shoes from \u003cem>The Wizard of Oz\u003c/em> are among the most popular items on display at the Smithsonian's National Museum of American History. But they're showing their age, and the museum is asking the public to pitch in to help keep the shoes intact for decades to come.\u003c/p>\n\u003cp>The Smithsonian launched a \u003ca href=\"https://www.kickstarter.com/projects/smithsonian/conserve-dorothys-ruby-slippers?ref=f459b5\">Kickstarter campaign\u003c/a> seeking $300,000 in donations to fund preservation work, research and a new display case. Three days in, the museum had received nearly $200,000 in pledges.\u003c/p>\n\u003cfigure id=\"attachment_43091\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/jn2016-00254-2_custom-367499f6804bd7263a5a82535e71952dc356788b.jpg\">\u003cimg class=\"size-full wp-image-43091\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/jn2016-00254-2_custom-367499f6804bd7263a5a82535e71952dc356788b.jpg\" alt=\"The museum wants to prevent any more deterioration of the shoes, which show clear signs of aging.\" width=\"200\" height=\"200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00254-2_custom-367499f6804bd7263a5a82535e71952dc356788b.jpg 200w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00254-2_custom-367499f6804bd7263a5a82535e71952dc356788b-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00254-2_custom-367499f6804bd7263a5a82535e71952dc356788b-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00254-2_custom-367499f6804bd7263a5a82535e71952dc356788b-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00254-2_custom-367499f6804bd7263a5a82535e71952dc356788b-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00254-2_custom-367499f6804bd7263a5a82535e71952dc356788b-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00254-2_custom-367499f6804bd7263a5a82535e71952dc356788b-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00254-2_custom-367499f6804bd7263a5a82535e71952dc356788b-150x150.jpg 150w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The museum wants to prevent any more deterioration of the shoes, which show clear signs of aging. \u003ccite>(Photo: Jaclyn Nash/National Museum of American History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The size-5 shoes in question are one of the few known surviving pairs that Judy Garland wore in the classic 1939 film. They were made a vivid red (unlike the silver shoes in the book version) to take advantage of Technicolor, and they are covered in sequins.\u003c/p>\n\u003cp>This particular pair of shoes has been on display at the Smithsonian for decades, since being donated anonymously in 1979. But these days the ruby slippers are less spectacularly red than they used to be — and showing their age in other ways.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Kickstarter campaign lays out the situation:\u003c/p>\n\u003cblockquote>\u003cp>\"Movie costumes and props are made quickly and cheaply, to last only for the brief duration of the shoot, not forever. Now in their eighth decade, the shoes are fragile and actively deteriorating. Even to the naked eye the damage is quite obvious: the color has faded and the slippers appear dull and washed-out. The coating on the sequins that give the shoes their hallmark ruby color is flaking off its gelatin base. Some threads that hold sequins in place have broken.\"\u003c/p>\u003c/blockquote>\n\u003cp>The goal is not to restore the slippers to an earlier, more pristine state. Instead, the museum wants to fund research and work to determine how to \"stabilize\" the shoes and stop any \u003cem>more\u003c/em> damage.\u003c/p>\n\u003cp>That means figuring out the right temperature, light and humidity conditions for the shoes and building a new case to maintain that environment. The museum's head of conservation told The Associated Press the case would probably need to contain a gas other than oxygen and have controls for barometric pressure.\u003c/p>\n\u003cfigure id=\"attachment_43092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/jn2016-00260_custom-1db8abe4b8c3f8a9a8f0adef0378315b8dcbfc56.jpg\">\u003cimg class=\"size-medium wp-image-43092\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/jn2016-00260_custom-1db8abe4b8c3f8a9a8f0adef0378315b8dcbfc56-800x534.jpg\" alt=\"The slippers are delicate and made of multiple materials; curators say research is needed to determine the best way to store them.\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00260_custom-1db8abe4b8c3f8a9a8f0adef0378315b8dcbfc56-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00260_custom-1db8abe4b8c3f8a9a8f0adef0378315b8dcbfc56-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00260_custom-1db8abe4b8c3f8a9a8f0adef0378315b8dcbfc56-768x513.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00260_custom-1db8abe4b8c3f8a9a8f0adef0378315b8dcbfc56-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00260_custom-1db8abe4b8c3f8a9a8f0adef0378315b8dcbfc56-1920x1282.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00260_custom-1db8abe4b8c3f8a9a8f0adef0378315b8dcbfc56-1180x788.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00260_custom-1db8abe4b8c3f8a9a8f0adef0378315b8dcbfc56-960x641.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00260_custom-1db8abe4b8c3f8a9a8f0adef0378315b8dcbfc56-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00260_custom-1db8abe4b8c3f8a9a8f0adef0378315b8dcbfc56-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00260_custom-1db8abe4b8c3f8a9a8f0adef0378315b8dcbfc56-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The slippers are delicate and made of multiple materials; curators say research is needed to determine the best way to store them. \u003ccite>(Photo: Jaclyn Nash/National Museum of American History, Smithsonian Institution)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Preservationists will also treat the shoes to stop further loss of paint or sequins.\u003c/p>\n\u003cp>\"While the slippers undergo treatment their appearance will not change drastically, and we don't want them to,\" the Kickstarter summary says.\u003c/p>\n\u003cp>The idea is they'd remain as they are now for \"another 80 years and longer.\"\u003c/p>\n\u003cp>And why does the public need to chip in, since the museum is federally supported? A press release from the Smithsonian says federal funds support the museum's core functions, like building operations and staffing, but that the Smithsonian \"also relies on private donations to support many of its priorities, including the conservation and exhibition of precious objects such as the Ruby Slippers.\"\u003c/p>\n\u003cp>Donors to the Kickstarter campaign can get posters, tote bags and T-shirts — or, for donations of $7,000 or more, their own replica ruby slippers.\u003c/p>\n\u003cp>This is the second major Kickstarter campaign from the Smithsonian museum. Last year, it crowd-sourced \u003ca href=\"https://www.kickstarter.com/projects/smithsonian/reboot-the-suit-bring-back-neil-armstrongs-spacesu\">well more than half a million dollars\u003c/a> partly to preserve and display Neil Armstrong's Apollo 11 spacesuit.\u003c/p>\n\u003cp>The ruby slippers at the Smithsonian are among five known surviving pairs of red shoes from the film production (including the \"Arabian Test Pair,\" in a more ornate style, which was made for the movie but never actually used in the film).\u003c/p>\n\u003cp>One pair was stolen from a museum in Minnesota in 2005 and \u003ca href=\"http://www.startribune.com/what-a-world-what-a-world-stolen-ruby-slippers-still-missing-from-minnesota-s-judy-garland-museum/397525721/\">has never been found\u003c/a>. Another was \u003ca href=\"http://www.ew.com/article/2012/02/22/ruby-slippers-leonardo-dicaprio\">purchased in 2012\u003c/a> for a planned movie museum from the Academy of Motion Picture Arts and Science that is \u003ca href=\"http://deadline.com/2016/08/academy-movie-museum-progress-wilshire-los-angeles-1201806326/\">slated to open\u003c/a> in 2018.\u003c/p>\n\u003cp>Another pair of on-screen slippers is owned by a group of private collectors who reportedly \u003ca href=\"http://www.newsweek.com/2015/09/18/ruby-red-handed-dorothys-stolen-slippers-remain-large-365574.html\">keep it in a bank vault\u003c/a>, and the Arabian Test Pair is also believed to be in the hands of a private collector.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Save+The+Ruby+Slippers%3A+Smithsonian+Seeks+Funds+To+Preserve+Dorothy%27s+Shoes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The National Museum of American History says it will cost $300,000 to protect the aging shoes from 'The Wizard of Oz'. A Kickstarter campaign launched three days ago has already raised nearly $200,000.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dorothy's ruby slippers could use a little more magic these days — or at least some preservationist TLC.\u003c/p>\n\u003cp>The famous shoes from \u003cem>The Wizard of Oz\u003c/em> are among the most popular items on display at the Smithsonian's National Museum of American History. But they're showing their age, and the museum is asking the public to pitch in to help keep the shoes intact for decades to come.\u003c/p>\n\u003cp>The Smithsonian launched a \u003ca href=\"https://www.kickstarter.com/projects/smithsonian/conserve-dorothys-ruby-slippers?ref=f459b5\">Kickstarter campaign\u003c/a> seeking $300,000 in donations to fund preservation work, research and a new display case. Three days in, the museum had received nearly $200,000 in pledges.\u003c/p>\n\u003cfigure id=\"attachment_43091\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/jn2016-00254-2_custom-367499f6804bd7263a5a82535e71952dc356788b.jpg\">\u003cimg class=\"size-full wp-image-43091\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/jn2016-00254-2_custom-367499f6804bd7263a5a82535e71952dc356788b.jpg\" alt=\"The museum wants to prevent any more deterioration of the shoes, which show clear signs of aging.\" width=\"200\" height=\"200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00254-2_custom-367499f6804bd7263a5a82535e71952dc356788b.jpg 200w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00254-2_custom-367499f6804bd7263a5a82535e71952dc356788b-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00254-2_custom-367499f6804bd7263a5a82535e71952dc356788b-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00254-2_custom-367499f6804bd7263a5a82535e71952dc356788b-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00254-2_custom-367499f6804bd7263a5a82535e71952dc356788b-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00254-2_custom-367499f6804bd7263a5a82535e71952dc356788b-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00254-2_custom-367499f6804bd7263a5a82535e71952dc356788b-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00254-2_custom-367499f6804bd7263a5a82535e71952dc356788b-150x150.jpg 150w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The museum wants to prevent any more deterioration of the shoes, which show clear signs of aging. \u003ccite>(Photo: Jaclyn Nash/National Museum of American History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The size-5 shoes in question are one of the few known surviving pairs that Judy Garland wore in the classic 1939 film. They were made a vivid red (unlike the silver shoes in the book version) to take advantage of Technicolor, and they are covered in sequins.\u003c/p>\n\u003cp>This particular pair of shoes has been on display at the Smithsonian for decades, since being donated anonymously in 1979. But these days the ruby slippers are less spectacularly red than they used to be — and showing their age in other ways.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Kickstarter campaign lays out the situation:\u003c/p>\n\u003cblockquote>\u003cp>\"Movie costumes and props are made quickly and cheaply, to last only for the brief duration of the shoot, not forever. Now in their eighth decade, the shoes are fragile and actively deteriorating. Even to the naked eye the damage is quite obvious: the color has faded and the slippers appear dull and washed-out. The coating on the sequins that give the shoes their hallmark ruby color is flaking off its gelatin base. Some threads that hold sequins in place have broken.\"\u003c/p>\u003c/blockquote>\n\u003cp>The goal is not to restore the slippers to an earlier, more pristine state. Instead, the museum wants to fund research and work to determine how to \"stabilize\" the shoes and stop any \u003cem>more\u003c/em> damage.\u003c/p>\n\u003cp>That means figuring out the right temperature, light and humidity conditions for the shoes and building a new case to maintain that environment. The museum's head of conservation told The Associated Press the case would probably need to contain a gas other than oxygen and have controls for barometric pressure.\u003c/p>\n\u003cfigure id=\"attachment_43092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/jn2016-00260_custom-1db8abe4b8c3f8a9a8f0adef0378315b8dcbfc56.jpg\">\u003cimg class=\"size-medium wp-image-43092\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/jn2016-00260_custom-1db8abe4b8c3f8a9a8f0adef0378315b8dcbfc56-800x534.jpg\" alt=\"The slippers are delicate and made of multiple materials; curators say research is needed to determine the best way to store them.\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00260_custom-1db8abe4b8c3f8a9a8f0adef0378315b8dcbfc56-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00260_custom-1db8abe4b8c3f8a9a8f0adef0378315b8dcbfc56-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00260_custom-1db8abe4b8c3f8a9a8f0adef0378315b8dcbfc56-768x513.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00260_custom-1db8abe4b8c3f8a9a8f0adef0378315b8dcbfc56-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00260_custom-1db8abe4b8c3f8a9a8f0adef0378315b8dcbfc56-1920x1282.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00260_custom-1db8abe4b8c3f8a9a8f0adef0378315b8dcbfc56-1180x788.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00260_custom-1db8abe4b8c3f8a9a8f0adef0378315b8dcbfc56-960x641.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00260_custom-1db8abe4b8c3f8a9a8f0adef0378315b8dcbfc56-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00260_custom-1db8abe4b8c3f8a9a8f0adef0378315b8dcbfc56-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/jn2016-00260_custom-1db8abe4b8c3f8a9a8f0adef0378315b8dcbfc56-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The slippers are delicate and made of multiple materials; curators say research is needed to determine the best way to store them. \u003ccite>(Photo: Jaclyn Nash/National Museum of American History, Smithsonian Institution)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Preservationists will also treat the shoes to stop further loss of paint or sequins.\u003c/p>\n\u003cp>\"While the slippers undergo treatment their appearance will not change drastically, and we don't want them to,\" the Kickstarter summary says.\u003c/p>\n\u003cp>The idea is they'd remain as they are now for \"another 80 years and longer.\"\u003c/p>\n\u003cp>And why does the public need to chip in, since the museum is federally supported? A press release from the Smithsonian says federal funds support the museum's core functions, like building operations and staffing, but that the Smithsonian \"also relies on private donations to support many of its priorities, including the conservation and exhibition of precious objects such as the Ruby Slippers.\"\u003c/p>\n\u003cp>Donors to the Kickstarter campaign can get posters, tote bags and T-shirts — or, for donations of $7,000 or more, their own replica ruby slippers.\u003c/p>\n\u003cp>This is the second major Kickstarter campaign from the Smithsonian museum. Last year, it crowd-sourced \u003ca href=\"https://www.kickstarter.com/projects/smithsonian/reboot-the-suit-bring-back-neil-armstrongs-spacesu\">well more than half a million dollars\u003c/a> partly to preserve and display Neil Armstrong's Apollo 11 spacesuit.\u003c/p>\n\u003cp>The ruby slippers at the Smithsonian are among five known surviving pairs of red shoes from the film production (including the \"Arabian Test Pair,\" in a more ornate style, which was made for the movie but never actually used in the film).\u003c/p>\n\u003cp>One pair was stolen from a museum in Minnesota in 2005 and \u003ca href=\"http://www.startribune.com/what-a-world-what-a-world-stolen-ruby-slippers-still-missing-from-minnesota-s-judy-garland-museum/397525721/\">has never been found\u003c/a>. Another was \u003ca href=\"http://www.ew.com/article/2012/02/22/ruby-slippers-leonardo-dicaprio\">purchased in 2012\u003c/a> for a planned movie museum from the Academy of Motion Picture Arts and Science that is \u003ca href=\"http://deadline.com/2016/08/academy-movie-museum-progress-wilshire-los-angeles-1201806326/\">slated to open\u003c/a> in 2018.\u003c/p>\n\u003cp>Another pair of on-screen slippers is owned by a group of private collectors who reportedly \u003ca href=\"http://www.newsweek.com/2015/09/18/ruby-red-handed-dorothys-stolen-slippers-remain-large-365574.html\">keep it in a bank vault\u003c/a>, and the Arabian Test Pair is also believed to be in the hands of a private collector.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Save+The+Ruby+Slippers%3A+Smithsonian+Seeks+Funds+To+Preserve+Dorothy%27s+Shoes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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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": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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