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"content": "\u003cp>Also, why was Evelyn Waugh such a jerk? And how petty can the office get? All will be revealed.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2016/10/Brangelina.mp3\" title=\"R.I.P. Brangelina: Why Do We Care So Much about Celebrity Breakups?\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>We try to figure out why so many of us obsess over famous couples:\u003c/p>\n\u003cp>https://ww2.kqed.org/pop/2016/09/20/the-only-way-to-process-angelina-jolie-and-brad-pitts-divorce/\u003c/p>\n\u003cp>We share the celebrity breakups that have hurt us the most:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://ww2.kqed.org/pop/2015/08/03/gwen-stefani-and-gavin-rossdale-file-for-divorce-love-is-dead/\u003c/p>\n\u003cp>And the celebrity breakups that would hurt us the most:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/michelle-obama-laughing.gif\">\u003cimg class=\"aligncenter size-full wp-image-40416\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/michelle-obama-laughing.gif\" alt=\"michelle-obama-laughing\" width=\"245\" height=\"150\">\u003c/a>\u003c/p>\n\u003cp>I dig up a rude letter written by Evelyn Waugh, which \u003cem>should have\u003c/em> resulted in a breakup:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/raw-8.gif\">\u003cimg class=\"aligncenter size-full wp-image-40417\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/raw-8.gif\" alt=\"raw (8)\" width=\"330\" height=\"246\">\u003c/a>\u003c/p>\n\u003cp>Jamedra shares some petty office notes:\u003c/p>\n\u003cp>http://www.smosh.com/smosh-pit/photos/22-hilarious-workplace-notes-0\u003c/p>\n\u003cp>We talk about how Brody was destined to be a bro because it's the first part of his name:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/brody-jenner-bro.gif\">\u003cimg class=\"aligncenter size-full wp-image-40418\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/brody-jenner-bro.gif\" alt=\"brody jenner bro\" width=\"371\" height=\"215\">\u003c/a>\u003c/p>\n\u003cp>We celebrate the return of Tweet:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/tweet-oh-my.gif\">\u003cimg class=\"aligncenter size-full wp-image-40419\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/tweet-oh-my.gif\" alt=\"tweet oh my\" width=\"245\" height=\"155\">\u003c/a>\u003c/p>\n\u003cp>And we cap things off with \"Cranes in the Sky\", a song from Solange's new album, \u003cem>A Seat at The Table\u003c/em>:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=S0qrinhNnOM\u003c/p>\n\u003cp>If you haven't already, please take our cute, little survey and let us know what you think of the show!\u003c/p>\n\u003cp>http://ww2.kqed.org/pop/2016/06/21/dear-listeners-of-the-cooler-please-take-our-cute-little-survey/\u003c/p>\n\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n",
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"title": "Final Opportunity to See Documentary on Cannabis-Selling Nuns",
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"content": "\u003cp>Lyntoria Newton was in Atlanta last year, visiting her family for the holidays, when a news story about a pair of nuns came on TV. It profiled the Merced-based \u003ca href=\"https://www.sistersofcbd.com/\" target=\"_blank\" rel=\"noopener\">Sisters of the Valley\u003c/a> — Christine “Kate” Meeusen and her apprentice Darcy Johnson — not for their religious servitude or generosity during the Christmas season, but their business: cannabis. \u003c/p>\n\u003cp>And yet the Sisters aren’t really nuns; they may wear the uniforms, and they’ve taken vows of obedience and chastity, but they are not married to God. Meeusen and Darcy came together in 2015 to launch an Etsy business, where they sell thousands of dollars worth of salves, tinctures, and something called “clary sage spray” every day. The handmade products utilize hemp extract and CBD, the non-psychoactive forms of cannabis that ease pain without getting the user high.\u003c/p>\n\u003cfigure id=\"attachment_12154905\" class=\"wp-caption aligncenter\" style=\"max-width: 793px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-793x600.jpg\" alt=\"Darcy Johnson \" width=\"793\" height=\"600\" class=\"size-medium wp-image-12154905\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-793x600.jpg 793w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-400x303.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-1180x892.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-960x726.jpg 960w\" sizes=\"(max-width: 793px) 100vw, 793px\">\u003cfigcaption class=\"wp-caption-text\">Darcy Johnson \u003ccite>(Photo: Priscilla Gonzalez Sainz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think when you see two women who wear nuns’ habits and you realize they aren’t working at the Catholic Church, you can easily write them off as kooks,” says Newton, who is one of the directors of \u003cem>Bad Habits\u003c/em>, a short documentary about the Sisters. “At the end of the day, they are doing a lot for people.” \u003c/p>\n\u003cp>But now, due to concerns from the Sisters about their portrayal in the film, \u003cem>Bad Habits\u003c/em> is seeing its final public screening this month.\u003c/p>\n\u003ch3>How religion plays a role\u003c/h3>\n\u003cp>\u003cem>Bad Habits\u003c/em> is a product of the documentary program at Stanford, where Newton is currently in her second year. When she brought the idea up at a class roundtable, it attracted the attention of fellow student Priscilla Gonzalez Sainz. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was immediately interested in what the habit meant and how religion played a role in the business that they were doing,” Gonzalez Sainz says. Being two female filmmakers, both Newton and Gonzalez Sainz embraced the opportunity to make a film about two successful women in business. \u003c/p>\n\u003cp>Meeusen and Darcy had already made national headlines, especially after the \u003ca href=\"http://www.mercedsunstar.com/news/local/article53064240.html\" target=\"_blank\" rel=\"noopener\">Merced City Council banned marijuana cultivation\u003c/a> in the city. (Newton wasn’t aware of the controversy when she saw the two women on TV.) So the directors decided to take an objective, observational approach to the production, which captured the Sisters’ professional and personal lives. \u003c/p>\n\u003cfigure id=\"attachment_12155112\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-800x403.jpg\" alt=\"'Bad Habits' directors Lyntoria Newton and Priscilla Gonzalez Sainz\" width=\"800\" height=\"403\" class=\"size-medium wp-image-12155112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-800x403.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-400x202.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-768x387.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-1180x595.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-960x484.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors.jpg 1872w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Bad Habits’ directors Lyntoria Newton and Priscilla Gonzalez Sainz \u003ccite>(Photo: Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The purpose was to let them tell their own story, to let the viewer make their own decision about how they felt about them and what they were doing,” Gonzalez Sainz says. \u003c/p>\n\u003cp>Over the course of an eight-day shoot, the Sisters let the directors into the more intimate moments of their daily routines: their moon ceremony, relaxing in front of the television, and sitting around without their habits. \u003c/p>\n\u003cp>“I definitely expected them to be a bit quirky, honestly,” Newton says, but that wasn’t the case in reality. “Sister Kate did end up telling us that she did have a Catholic upbringing, and that was a large part of the reason for her wearing the habit.” \u003c/p>\n\u003ch3>Clash of the tunics\u003c/h3>\n\u003cp>\u003cem>Bad Habits\u003c/em> was completed in March and premiered at Stanford as part of a student screening, which the Sisters attended. Afterward, they were mobbed by newfound fans and even sold a few products. Newton and Gonzalez Sainz started submitting the nine-minute short to film festivals, but when the nuns learned \u003cem>Bad Habits\u003c/em> was accepted into this year’s San Francisco DocFest, they didn’t respond well to the good news. Instead, they called in their media relations representative. \u003c/p>\n\u003cp>“They were saying that it wasn’t made clear to them that we could show that film wherever we wanted,” Gonzalez Sainz says. “They were not happy with that.”\u003c/p>\n\u003cfigure id=\"attachment_12154908\" class=\"wp-caption aligncenter\" style=\"max-width: 610px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-610x600.jpg\" alt=\"Christine “Kate” Meeusen and Darcy Johnson\" width=\"610\" height=\"600\" class=\"size-medium wp-image-12154908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-610x600.jpg 610w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-400x393.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-768x755.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-1180x1160.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-960x944.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-64x64.jpg 64w\" sizes=\"(max-width: 610px) 100vw, 610px\">\u003cfigcaption class=\"wp-caption-text\">Christine “Kate” Meeusen and Darcy Johnson \u003ccite>(Photo: Priscilla Gonzalez Sainz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And they weren’t happy with how they were portrayed either. “They didn’t really like the sequences that we showed with them without habits,” Newton says. To be fair, that was a desire the Sisters made clear during pre-production — they didn’t want to be seen on screen without them. However, as filming went on and the nuns became more comfortable with Newton and Gonzalez Sainz, the directors say the Sisters eventually relented. The same was true for the moon ceremony, which initially the sisters wanted to keep private. \u003c/p>\n\u003cp>Prior to production, the Sisters signed appearance releases that give the filmmakers the complete rights to \u003cem>Bad Habits\u003c/em>. Meeusen and Johnson now claim they signed their releases under duress, according to Newton and Gonzalez Sainz. (KQED reached out to the Sisters, who replied “No Comment.”) This resulted in a lot of back and forth between the filmmakers, the Sisters, lawyers on both sides, and even the university. Gonzalez Sainz says the Sisters threatened to pull the short from DocFest, but they were eventually able to negotiate a settlement, and the film stayed in the program. \u003c/p>\n\u003cp>The nuns’ lawyers also agreed to two screenings at the Mill Valley Film Festival, which starts this week. But they will be \u003cem>Bad Habit\u003c/em>’s last. \u003c/p>\n\u003ch3>‘We have the right to win’\u003c/h3>\n\u003cp>“Although I don’t believe they have the legal right to stop us from showing the film, we are ceding to that because we don’t want to have further problems with them,” Gonzalez Sainz says. “We’re students. We’re working on our thesis films now. We have a lot going on in our own lives that we’re not going to keep fighting with them — even if it’s a fight that we know we have the right to win.” \u003c/p>\n\u003cfigure id=\"attachment_12154906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-800x450.jpg\" alt=\"Sisters of the Valley\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12154906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sisters of the Valley \u003ccite>(Photo: Priscilla Gonzalez Sainz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first MVFF screening is part of “\u003ca href=\"http://www.mvff.com/smoke-screens/\" target=\"_blank\" rel=\"noopener\">Smoke Screens\u003c/a>,” a full day of cannabis-themed programming on Oct. 8. There will also be a showing on Oct. 13 as part of a block of short pot films. But the directors hope \u003cem>Bad Habits\u003c/em> will have a wide appeal among its final public audience.\u003c/p>\n\u003cp>“We were not aiming to make a film for the cannabis community,” Gonzalez Sainz says. “We really wanted to make a film as an observational piece, as a character study, and we wanted to focus on these two women and their business and how their business helps people.” \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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Bad Habits’ screens Oct. 8 and Oct. 13 at the Mill Valley Film Festival. \u003ca href=\"http://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=240079~b5ffc240-184b-4172-a0fd-0f56eabee2d5&epguid=c6b17b06-9289-4456-9ea8-48c16255c85d&\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The film's subjects aren't happy with how they're portrayed in the documentary 'Bad Habits,' and the Mill Valley Film Festival is the public's last chance to see it. ",
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"title": "Final Opportunity to See Documentary on Cannabis-Selling Nuns | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lyntoria Newton was in Atlanta last year, visiting her family for the holidays, when a news story about a pair of nuns came on TV. It profiled the Merced-based \u003ca href=\"https://www.sistersofcbd.com/\" target=\"_blank\" rel=\"noopener\">Sisters of the Valley\u003c/a> — Christine “Kate” Meeusen and her apprentice Darcy Johnson — not for their religious servitude or generosity during the Christmas season, but their business: cannabis. \u003c/p>\n\u003cp>And yet the Sisters aren’t really nuns; they may wear the uniforms, and they’ve taken vows of obedience and chastity, but they are not married to God. Meeusen and Darcy came together in 2015 to launch an Etsy business, where they sell thousands of dollars worth of salves, tinctures, and something called “clary sage spray” every day. The handmade products utilize hemp extract and CBD, the non-psychoactive forms of cannabis that ease pain without getting the user high.\u003c/p>\n\u003cfigure id=\"attachment_12154905\" class=\"wp-caption aligncenter\" style=\"max-width: 793px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-793x600.jpg\" alt=\"Darcy Johnson \" width=\"793\" height=\"600\" class=\"size-medium wp-image-12154905\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-793x600.jpg 793w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-400x303.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-1180x892.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-960x726.jpg 960w\" sizes=\"(max-width: 793px) 100vw, 793px\">\u003cfigcaption class=\"wp-caption-text\">Darcy Johnson \u003ccite>(Photo: Priscilla Gonzalez Sainz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think when you see two women who wear nuns’ habits and you realize they aren’t working at the Catholic Church, you can easily write them off as kooks,” says Newton, who is one of the directors of \u003cem>Bad Habits\u003c/em>, a short documentary about the Sisters. “At the end of the day, they are doing a lot for people.” \u003c/p>\n\u003cp>But now, due to concerns from the Sisters about their portrayal in the film, \u003cem>Bad Habits\u003c/em> is seeing its final public screening this month.\u003c/p>\n\u003ch3>How religion plays a role\u003c/h3>\n\u003cp>\u003cem>Bad Habits\u003c/em> is a product of the documentary program at Stanford, where Newton is currently in her second year. When she brought the idea up at a class roundtable, it attracted the attention of fellow student Priscilla Gonzalez Sainz. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was immediately interested in what the habit meant and how religion played a role in the business that they were doing,” Gonzalez Sainz says. Being two female filmmakers, both Newton and Gonzalez Sainz embraced the opportunity to make a film about two successful women in business. \u003c/p>\n\u003cp>Meeusen and Darcy had already made national headlines, especially after the \u003ca href=\"http://www.mercedsunstar.com/news/local/article53064240.html\" target=\"_blank\" rel=\"noopener\">Merced City Council banned marijuana cultivation\u003c/a> in the city. (Newton wasn’t aware of the controversy when she saw the two women on TV.) So the directors decided to take an objective, observational approach to the production, which captured the Sisters’ professional and personal lives. \u003c/p>\n\u003cfigure id=\"attachment_12155112\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-800x403.jpg\" alt=\"'Bad Habits' directors Lyntoria Newton and Priscilla Gonzalez Sainz\" width=\"800\" height=\"403\" class=\"size-medium wp-image-12155112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-800x403.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-400x202.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-768x387.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-1180x595.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-960x484.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors.jpg 1872w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Bad Habits’ directors Lyntoria Newton and Priscilla Gonzalez Sainz \u003ccite>(Photo: Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The purpose was to let them tell their own story, to let the viewer make their own decision about how they felt about them and what they were doing,” Gonzalez Sainz says. \u003c/p>\n\u003cp>Over the course of an eight-day shoot, the Sisters let the directors into the more intimate moments of their daily routines: their moon ceremony, relaxing in front of the television, and sitting around without their habits. \u003c/p>\n\u003cp>“I definitely expected them to be a bit quirky, honestly,” Newton says, but that wasn’t the case in reality. “Sister Kate did end up telling us that she did have a Catholic upbringing, and that was a large part of the reason for her wearing the habit.” \u003c/p>\n\u003ch3>Clash of the tunics\u003c/h3>\n\u003cp>\u003cem>Bad Habits\u003c/em> was completed in March and premiered at Stanford as part of a student screening, which the Sisters attended. Afterward, they were mobbed by newfound fans and even sold a few products. Newton and Gonzalez Sainz started submitting the nine-minute short to film festivals, but when the nuns learned \u003cem>Bad Habits\u003c/em> was accepted into this year’s San Francisco DocFest, they didn’t respond well to the good news. Instead, they called in their media relations representative. \u003c/p>\n\u003cp>“They were saying that it wasn’t made clear to them that we could show that film wherever we wanted,” Gonzalez Sainz says. “They were not happy with that.”\u003c/p>\n\u003cfigure id=\"attachment_12154908\" class=\"wp-caption aligncenter\" style=\"max-width: 610px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-610x600.jpg\" alt=\"Christine “Kate” Meeusen and Darcy Johnson\" width=\"610\" height=\"600\" class=\"size-medium wp-image-12154908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-610x600.jpg 610w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-400x393.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-768x755.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-1180x1160.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-960x944.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-64x64.jpg 64w\" sizes=\"(max-width: 610px) 100vw, 610px\">\u003cfigcaption class=\"wp-caption-text\">Christine “Kate” Meeusen and Darcy Johnson \u003ccite>(Photo: Priscilla Gonzalez Sainz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And they weren’t happy with how they were portrayed either. “They didn’t really like the sequences that we showed with them without habits,” Newton says. To be fair, that was a desire the Sisters made clear during pre-production — they didn’t want to be seen on screen without them. However, as filming went on and the nuns became more comfortable with Newton and Gonzalez Sainz, the directors say the Sisters eventually relented. The same was true for the moon ceremony, which initially the sisters wanted to keep private. \u003c/p>\n\u003cp>Prior to production, the Sisters signed appearance releases that give the filmmakers the complete rights to \u003cem>Bad Habits\u003c/em>. Meeusen and Johnson now claim they signed their releases under duress, according to Newton and Gonzalez Sainz. (KQED reached out to the Sisters, who replied “No Comment.”) This resulted in a lot of back and forth between the filmmakers, the Sisters, lawyers on both sides, and even the university. Gonzalez Sainz says the Sisters threatened to pull the short from DocFest, but they were eventually able to negotiate a settlement, and the film stayed in the program. \u003c/p>\n\u003cp>The nuns’ lawyers also agreed to two screenings at the Mill Valley Film Festival, which starts this week. But they will be \u003cem>Bad Habit\u003c/em>’s last. \u003c/p>\n\u003ch3>‘We have the right to win’\u003c/h3>\n\u003cp>“Although I don’t believe they have the legal right to stop us from showing the film, we are ceding to that because we don’t want to have further problems with them,” Gonzalez Sainz says. “We’re students. We’re working on our thesis films now. We have a lot going on in our own lives that we’re not going to keep fighting with them — even if it’s a fight that we know we have the right to win.” \u003c/p>\n\u003cfigure id=\"attachment_12154906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-800x450.jpg\" alt=\"Sisters of the Valley\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12154906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sisters of the Valley \u003ccite>(Photo: Priscilla Gonzalez Sainz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first MVFF screening is part of “\u003ca href=\"http://www.mvff.com/smoke-screens/\" target=\"_blank\" rel=\"noopener\">Smoke Screens\u003c/a>,” a full day of cannabis-themed programming on Oct. 8. There will also be a showing on Oct. 13 as part of a block of short pot films. But the directors hope \u003cem>Bad Habits\u003c/em> will have a wide appeal among its final public audience.\u003c/p>\n\u003cp>“We were not aiming to make a film for the cannabis community,” Gonzalez Sainz says. “We really wanted to make a film as an observational piece, as a character study, and we wanted to focus on these two women and their business and how their business helps people.” \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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Bad Habits’ screens Oct. 8 and Oct. 13 at the Mill Valley Film Festival. \u003ca href=\"http://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=240079~b5ffc240-184b-4172-a0fd-0f56eabee2d5&epguid=c6b17b06-9289-4456-9ea8-48c16255c85d&\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "27 Better Titles For Ben Affleck's Solo Batman Film Than 'The Batman'",
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"content": "\u003cp>Recently, actor Ben Affleck spoke with The Associated Press and revealed the title of the solo Batman film he's slated to direct.\u003c/p>\n\u003cp>Ready?\u003c/p>\n\u003cp>\u003cem>The Batman\u003c/em>, he said.\u003c/p>\n\u003cp>Perhaps sensing that this announcement would be greeted with the collective cricket-chirping shrug it has been, he immediately built himself a verbal escape clause: \"At least, that's what we're going with now.\"\u003c/p>\n\u003cp>There's plenty of time to change it; there's still not a finished script. And Warner Bros. suits will likely quibble with Affleck's choice of title, worried that simply slapping a definite article before the hero's name might not be enough to distinguish it from Tim Burton's 1989 \u003cem>Batman\u003c/em>. (Or, for that matter, 1966's \u003cem>Batman: The Movie\u003c/em>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Generally, studios like to insert active verbs (\u003ca href=\"http://www.imdb.com/title/tt0103776/\">Returns\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt0372784/?ref_=nv_sr_2\">Begins\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt1345836/?ref_=fn_al_tt_2\">Rises\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt2975590/\">Pouts\u003c/a>) or adjectives (\u003ca href=\"http://www.imdb.com/title/tt0800080/?ref_=nv_sr_1\">Incredible\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt0800080/?ref_=nv_sr_1\">Amazing\u003c/a>) to their superhero franchises to keep things clear.\u003c/p>\n\u003cp>Plus, there's the simple fact that it's \u003cem>hella boring\u003c/em>, and that it doesn't truly reflect the feel of the the DC/Warner Bros. cinematic universe established to date.\u003c/p>\n\u003cp>Which is why we're only too happy to help. Here are 27 carefully considered, thoughtfully curated title suggestions that advance the existing Bat-franchise while maintaining brand identity:\u003c/p>\n\u003chr>\n\u003cp>1. \u003cem>Batman: 2 Furious 2 Furious He Should Really Do Something About How Furious He Is\u003c/em>\u003c/p>\n\u003cp>2. \u003cem>Batman: Electric Boo-Hoo-Hoo\u003c/em>\u003c/p>\n\u003cp>3. \u003cem>Batman: Je Suis Désolé\u003c/em>\u003c/p>\n\u003cp>4. \u003cem>Batman: Yep Parents Still Dead FYI\u003c/em>\u003c/p>\n\u003cp>5. \u003cem>Batman: Sulky City\u003c/em>\u003c/p>\n\u003cp>6: \u003cem>Batman: Puttin' the Goth in Gotham\u003c/em>\u003c/p>\n\u003cp>7. \u003cem>Batman: This City Needs Him. Because Crime. And Justice. Also Hope.\u003c/em>\u003c/p>\n\u003cp>8: \u003cem>Batman: This Time He Kills Guys! Badass!\u003c/em>\u003c/p>\n\u003cp>9. \u003cem>Batman: Shut Up, And Leave Me Alone\u003c/em>\u003c/p>\n\u003cp>10. \u003cem>Batman: Hatful of Hollow\u003c/em>\u003c/p>\n\u003cp>11. \u003cem>Batman: Kill Uncle\u003c/em>\u003c/p>\n\u003cp>12. \u003cem>Batman: Gotham Just Don't Understand\u003c/em>\u003c/p>\n\u003cp>13. \u003cem>Batman: Back to the Man Cave\u003c/em>\u003c/p>\n\u003cp>14. \u003cem>Batman: The Dark Knight Grouses\u003c/em>\u003c/p>\n\u003cp>15. \u003cem>Batman: Biff! Bam! Pow! Serotonin Reuptake!\u003c/em>\u003c/p>\n\u003cp>16. \u003cem>Batman: The Squeakquel\u003c/em>\u003c/p>\n\u003cp>17. \u003cem>Batman: Live Free Or Cry Hard\u003c/em>\u003c/p>\n\u003cp>18. \u003cem>Batman: Prig in the City\u003c/em>\u003c/p>\n\u003cp>19. \u003cem>Batman: Back 2 tha Hood, Where The Hood In Question Is Crime Alley, Where His Parents Were Killed\u003c/em>\u003c/p>\n\u003cp>20. \u003cem>Batman: First Blood, Followed By Painful Bruising\u003c/em>\u003c/p>\n\u003cp>21. \u003cem>Batman: The Killing, But Not Remotely Funny Because This Is Serious Here Guys Quit Laughing You Guys Quit It, Joke\u003c/em>\u003c/p>\n\u003cp>22. \u003cem>Batman: Again, Please Take This Seriously\u003c/em>\u003c/p>\n\u003cp>23. \u003cem>Batman: Brood Awakening\u003c/em>\u003c/p>\n\u003cp>24. \u003cem>Batman: I Just Checked Again and Yeah Parents Still Dead\u003c/em>\u003c/p>\n\u003cp>25. \u003cem>Batman: Gotham Guardian: The Owls of Ga'Hoole\u003c/em>\u003c/p>\n\u003cp>26. \u003cem>Batman: His Finest Glower\u003c/em>\u003c/p>\n\u003cp>27. \u003cem>Batman: The Caped Crusader But Only You Know Not Gay Or Nothin\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"fullattribution\">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=27+Better+Titles+For+Ben+Affleck%27s+Solo+Batman+Film+Than+%27The+Batman%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Oh, sure, it's bluntly descriptive. But the title Affleck has announced for his upcoming Batmovie has got no oomph, no zazz, no moxie. We offer some humble, better suggestions.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Generally, studios like to insert active verbs (\u003ca href=\"http://www.imdb.com/title/tt0103776/\">Returns\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt0372784/?ref_=nv_sr_2\">Begins\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt1345836/?ref_=fn_al_tt_2\">Rises\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt2975590/\">Pouts\u003c/a>) or adjectives (\u003ca href=\"http://www.imdb.com/title/tt0800080/?ref_=nv_sr_1\">Incredible\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt0800080/?ref_=nv_sr_1\">Amazing\u003c/a>) to their superhero franchises to keep things clear.\u003c/p>\n\u003cp>Plus, there's the simple fact that it's \u003cem>hella boring\u003c/em>, and that it doesn't truly reflect the feel of the the DC/Warner Bros. cinematic universe established to date.\u003c/p>\n\u003cp>Which is why we're only too happy to help. Here are 27 carefully considered, thoughtfully curated title suggestions that advance the existing Bat-franchise while maintaining brand identity:\u003c/p>\n\u003chr>\n\u003cp>1. \u003cem>Batman: 2 Furious 2 Furious He Should Really Do Something About How Furious He Is\u003c/em>\u003c/p>\n\u003cp>2. \u003cem>Batman: Electric Boo-Hoo-Hoo\u003c/em>\u003c/p>\n\u003cp>3. \u003cem>Batman: Je Suis Désolé\u003c/em>\u003c/p>\n\u003cp>4. \u003cem>Batman: Yep Parents Still Dead FYI\u003c/em>\u003c/p>\n\u003cp>5. \u003cem>Batman: Sulky City\u003c/em>\u003c/p>\n\u003cp>6: \u003cem>Batman: Puttin' the Goth in Gotham\u003c/em>\u003c/p>\n\u003cp>7. \u003cem>Batman: This City Needs Him. Because Crime. And Justice. Also Hope.\u003c/em>\u003c/p>\n\u003cp>8: \u003cem>Batman: This Time He Kills Guys! Badass!\u003c/em>\u003c/p>\n\u003cp>9. \u003cem>Batman: Shut Up, And Leave Me Alone\u003c/em>\u003c/p>\n\u003cp>10. \u003cem>Batman: Hatful of Hollow\u003c/em>\u003c/p>\n\u003cp>11. \u003cem>Batman: Kill Uncle\u003c/em>\u003c/p>\n\u003cp>12. \u003cem>Batman: Gotham Just Don't Understand\u003c/em>\u003c/p>\n\u003cp>13. \u003cem>Batman: Back to the Man Cave\u003c/em>\u003c/p>\n\u003cp>14. \u003cem>Batman: The Dark Knight Grouses\u003c/em>\u003c/p>\n\u003cp>15. \u003cem>Batman: Biff! Bam! Pow! Serotonin Reuptake!\u003c/em>\u003c/p>\n\u003cp>16. \u003cem>Batman: The Squeakquel\u003c/em>\u003c/p>\n\u003cp>17. \u003cem>Batman: Live Free Or Cry Hard\u003c/em>\u003c/p>\n\u003cp>18. \u003cem>Batman: Prig in the City\u003c/em>\u003c/p>\n\u003cp>19. \u003cem>Batman: Back 2 tha Hood, Where The Hood In Question Is Crime Alley, Where His Parents Were Killed\u003c/em>\u003c/p>\n\u003cp>20. \u003cem>Batman: First Blood, Followed By Painful Bruising\u003c/em>\u003c/p>\n\u003cp>21. \u003cem>Batman: The Killing, But Not Remotely Funny Because This Is Serious Here Guys Quit Laughing You Guys Quit It, Joke\u003c/em>\u003c/p>\n\u003cp>22. \u003cem>Batman: Again, Please Take This Seriously\u003c/em>\u003c/p>\n\u003cp>23. \u003cem>Batman: Brood Awakening\u003c/em>\u003c/p>\n\u003cp>24. \u003cem>Batman: I Just Checked Again and Yeah Parents Still Dead\u003c/em>\u003c/p>\n\u003cp>25. \u003cem>Batman: Gotham Guardian: The Owls of Ga'Hoole\u003c/em>\u003c/p>\n\u003cp>26. \u003cem>Batman: His Finest Glower\u003c/em>\u003c/p>\n\u003cp>27. \u003cem>Batman: The Caped Crusader But Only You Know Not Gay Or Nothin\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"fullattribution\">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=27+Better+Titles+For+Ben+Affleck%27s+Solo+Batman+Film+Than+%27The+Batman%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"http://www.mvff.com/\" target=\"_blank\">Mill Valley Film Festival\u003c/a> inhabits a rare “goldilocks” zone within the cinematic universe, with the smart good fortune of arriving as summer turns to fall and Hollywood gears up for Oscar gold. The festival manages to snag more than its fair share of prestigious premieres weeks or months before they become available to the rest of us, attracting the attention of A-list stars willing to spend a couple of days being feted in tony, upscale Marin. (Twenty-sixteen is no different; the festival guest list includes Amy Adams, Nicole Kidman, Gael Garcia Bernal, Aaron Eckhart, Julie Dash and Ewan McGregor among dozens of glittering others.) Most likely, part of the fest's draw is the food and wine on tap in a region famous for -- well -- food and wine.\u003c/p>\n\u003cp>In a fitting pairing, this year’s festival features a small selection of films detailing the exploits of international celebrity chefs and restaurateurs. Anyone who has viewed even a small number of food documentaries knows that the genre has developed a very strong sensual style of its own. One doesn’t just take a camera into a kitchen and uncover magic in the making. Food preparation doesn’t often look that appetizing. There is an art to the lighting and presentation of the process that has been refined since the mid-1960s. Now we find ourselves in an age where the glories of food are regularly celebrated in dazzling cinematic style. All three of the films featured in Mill Valley’s culinary sidebar present their subjects in sumptuous detail. They are gorgeous and absorbing, illuminating activities and slices of history, while expanding ideas about what constitutes nourishment. \u003c/p>\n\u003cp>In Lydia Tenaglia’s \u003ca href=\"https://vimeo.com/181403743\" target=\"_blank\">\u003cem>Jeremiah Tower: The Last Magnificent\u003c/em>\u003c/a>, the very personal struggles of a legendary celebrity chef are delicately exposed. The film is almost like a therapy session, a journey into the subconscious motivations of a complicated man, beginning with lush reenactments of childhood trauma. Tower, the son of wealthy Brits, spent much of his life traveling the world first class -- with his family and without them. Apparently, the boy was left to his own devices in luxury liner cabins and four star hotel rooms from a very early age. He even lived for a time alone in a hotel suite until his parents realized that neither had enrolled him in school. While these adventures included (often inappropriate) sexual encounters, they also locate Tower’s love of food inside the kitchens of the world's most exclusive establishments. The young Tower seems to have eaten his feelings and later on would express his affection for friends through a kind of regurgitation (that sounds awful, I know) in the kitchen. He recreated from memory the dishes of his childhood in an attempt to conjure those early feelings of comfort for himself and his guests. \u003c/p>\n\u003cfigure id=\"attachment_112512\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/10/JT.jpg\" alt=\"Jeremiah Tower: The Last Magnificent.\" width=\"1400\" height=\"788\" class=\"size-full wp-image-112512\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/10/JT.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/JT-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/JT-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/JT-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/JT-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/JT-960x540.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Jeremiah Tower: The Last Magnificent. \u003ccite>(Morgan Fallon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tower is, and apparently always has been, a capital-R Romantic; an overwhelming sense of melancholy hangs over the film. He seems to have been born out of time, carrying deep inside a longing for a lost aesthetic age. Most BAB readers will know the outline of the chef’s history. Having graduated from Harvard (his interest was in underwater architecture), Tower’s family promptly cut him loose financially. In search of a job, he ended up at Berkeley's Chez Panisse in 1972. At the time, it was a struggling hangout for Alice Waters and her crew, described by one character in the film as a “hippie, drug-ridden explosion in a playpen.” Gorgeous old film footage captures a sense of wild abandon and innocence at the famed restaurant.\u003c/p>\n\u003cp>Tower brought his ideas about food from a lifetime of travel to Chez Panisse and within a few years helped put it on the map. This being Berkeley in the 1970s, the endeavor is described as something of an orgy — sex, drugs, love, food, creation, companionship, drama and more sex. The relationship between Waters and Tower included enough heat to create a legend, spark a food movement, and unfortunately ended in a very public feud. (Saint Alice is silent -- at least within the confines of this film -- on the subject.) Tower continued his rise and became the celebrity chef of San Francisco in the 1980s, opening the world-class Stars as a hangout for famous characters high and low. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But at some point, Tower dropped out of sight and went into seclusion. Once ubiquitous, synonymous with the California cuisine he helped to create, the enigmatic chef moved on. \u003cem>The Last Magnificent\u003c/em> attempts to solve the man’s mystery, but only generates more. Tower is more than once described as having a “locked room inside.” The film cracks open that door just a little, but every explanation seems too simplistic. How can we really know the unknown forces that drive those who change the world? \u003c/p>\n\u003cfigure id=\"attachment_112513\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/10/ella.jpg\" alt=\"Ella Brennan: Commanding the Table\" width=\"1400\" height=\"1120\" class=\"size-full wp-image-112513\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/10/ella.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/ella-400x320.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/ella-800x640.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/ella-768x614.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/ella-1180x944.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/ella-960x768.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Ella Brennan: Commanding the Table \u003ccite>(Jack Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Equally sumptuous is Leslie Iwerks' \u003cem>Ella Brennan: Commanding the Table\u003c/em>, a loving portrait of the doyenne of New Orleans cooking. It is interesting to view this film next to the one about Jeremiah Tower because it illuminates the importance of healthy collaboration between a smart, creative restaurateur and the chefs who create the menu. Where the partnership between Waters and Tower became complicated by unknown and still unexplained tensions, Ella Brennan’s success is based on her ability to unlock culinary creativity within the magnetic personalities she has ushered into the spotlight. \u003c/p>\n\u003cp>Brennan was pushed into the career she would spend the rest of her life pursuing by her eldest brother. One of six siblings in a very tight clan, Ella became involved in what became the family business in her teens, when the Brennans decided to take over a famous New Orleans nightspot. The Irish clan soon found themselves in direct competition with the city’s famous French restaurants and struggled to define themselves. They decided to put their signature on breakfast, added alcohol and ushered in a new era of creativity for a previously ignored meal. \u003c/p>\n\u003cp>The film gorgeously moves through the family’s early years in the business, opening and establishing one amazing restaurant after another in New Orleans. Ella’s philosophy is summed up in her younger sister’s statement, “[Running a restaurant] is like show business. You do two shows a day. At five o’clock you brush your teeth, put your lipstick on, have a scotch and do the whole thing again.” Ella Brennan lead her family through multiple incarnations and eventually ended up reviving Commander’s Palace, where she would introduce chefs Paul Prudhomme, Emeril Lagasse and Jamie Shannon to the world. \u003c/p>\n\u003cp>https://vimeo.com/181401441\u003c/p>\n\u003cp>Similar to Jeremiah Tower, no detail of the food experience takes precedence for Brennan. Both characters are driven and exacting. Brennan’s success can be attributed to her personable application of hospitality, which she developed early, and to her ability to spot talented chefs, encouraging each to express his own unique vision in the kitchen. Food is entertainment to be sure, but for Brennan sharing a table, even with hundreds of people a night, is powerfully connected to home and family. \u003c/p>\n\u003cfigure id=\"attachment_112514\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/10/massimo.jpg\" alt=\"Massimo Bottura, Theater of Life\" width=\"1400\" height=\"788\" class=\"size-full wp-image-112514\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/10/massimo.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/massimo-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/massimo-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/massimo-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/massimo-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/massimo-960x540.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Massimo Bottura, Theater of Life\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, the third film in the Mill Valley Film Festival's food trilogy is Peter Svatek's \u003cem>Theater of Life\u003c/em>, which documents chef Massimo Bottura's innovative program to eliminate food waste at Expo Milano 2015, a world's fair held in Milan, Italy. Inspired by the expo's theme, \"Feeding the Planet, Energy for Life,\" Bottura, whose Osteria Francescana was named world’s best restaurant in 2016, converted an abandoned theater into a soup kitchen. \u003c/p>\n\u003cp>Renowned chefs from around the world turned each day’s spoils — food headed for the trash bin (most particularly day-old bread) — into gourmet meals for the homeless. Through the effort we come to know the issues faced by the beneficiaries of these amazing dishes. The cast of characters is large, including international food stars, a parish priest, poor and disabled Italians and African refugees, who all meet at the tables of Bottura's Reffetorio. \u003c/p>\n\u003cp>https://vimeo.com/174869482\u003c/p>\n\u003cp>The first two documentaries in this series present lovingly crafted histories of characters who have had a tremendous impact on how we eat and — most importantly — how we think about food. \u003cem>Theater of Life\u003c/em> provides an important way forward with a philosophy for managing our precious resources and channeling thought and talent into the feeding of a greater portion of the population. Why should fine dining be limited to the elites when so much food is going to waste? Why is healthy food a luxury? Why are the lessons Tower, Brennan and countless others have taught us about the nature of food still only understood by a precious few? \u003cem>Theater of Life\u003c/em> shows how the consumption of good food actually does more than feed the body; it opens the mind and nourishes the soul.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The Mill Valley Film Festival runs October 6-16, 2016 at various Marin County locations. For tickets and information visit \u003ca href=\"http://www.mvff.com/\" target=\"_blank\">mvff.com\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.mvff.com/\" target=\"_blank\">Mill Valley Film Festival\u003c/a> inhabits a rare “goldilocks” zone within the cinematic universe, with the smart good fortune of arriving as summer turns to fall and Hollywood gears up for Oscar gold. The festival manages to snag more than its fair share of prestigious premieres weeks or months before they become available to the rest of us, attracting the attention of A-list stars willing to spend a couple of days being feted in tony, upscale Marin. (Twenty-sixteen is no different; the festival guest list includes Amy Adams, Nicole Kidman, Gael Garcia Bernal, Aaron Eckhart, Julie Dash and Ewan McGregor among dozens of glittering others.) Most likely, part of the fest's draw is the food and wine on tap in a region famous for -- well -- food and wine.\u003c/p>\n\u003cp>In a fitting pairing, this year’s festival features a small selection of films detailing the exploits of international celebrity chefs and restaurateurs. Anyone who has viewed even a small number of food documentaries knows that the genre has developed a very strong sensual style of its own. One doesn’t just take a camera into a kitchen and uncover magic in the making. Food preparation doesn’t often look that appetizing. There is an art to the lighting and presentation of the process that has been refined since the mid-1960s. Now we find ourselves in an age where the glories of food are regularly celebrated in dazzling cinematic style. All three of the films featured in Mill Valley’s culinary sidebar present their subjects in sumptuous detail. They are gorgeous and absorbing, illuminating activities and slices of history, while expanding ideas about what constitutes nourishment. \u003c/p>\n\u003cp>In Lydia Tenaglia’s \u003ca href=\"https://vimeo.com/181403743\" target=\"_blank\">\u003cem>Jeremiah Tower: The Last Magnificent\u003c/em>\u003c/a>, the very personal struggles of a legendary celebrity chef are delicately exposed. The film is almost like a therapy session, a journey into the subconscious motivations of a complicated man, beginning with lush reenactments of childhood trauma. Tower, the son of wealthy Brits, spent much of his life traveling the world first class -- with his family and without them. Apparently, the boy was left to his own devices in luxury liner cabins and four star hotel rooms from a very early age. He even lived for a time alone in a hotel suite until his parents realized that neither had enrolled him in school. While these adventures included (often inappropriate) sexual encounters, they also locate Tower’s love of food inside the kitchens of the world's most exclusive establishments. The young Tower seems to have eaten his feelings and later on would express his affection for friends through a kind of regurgitation (that sounds awful, I know) in the kitchen. He recreated from memory the dishes of his childhood in an attempt to conjure those early feelings of comfort for himself and his guests. \u003c/p>\n\u003cfigure id=\"attachment_112512\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/10/JT.jpg\" alt=\"Jeremiah Tower: The Last Magnificent.\" width=\"1400\" height=\"788\" class=\"size-full wp-image-112512\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/10/JT.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/JT-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/JT-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/JT-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/JT-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/JT-960x540.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Jeremiah Tower: The Last Magnificent. \u003ccite>(Morgan Fallon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tower is, and apparently always has been, a capital-R Romantic; an overwhelming sense of melancholy hangs over the film. He seems to have been born out of time, carrying deep inside a longing for a lost aesthetic age. Most BAB readers will know the outline of the chef’s history. Having graduated from Harvard (his interest was in underwater architecture), Tower’s family promptly cut him loose financially. In search of a job, he ended up at Berkeley's Chez Panisse in 1972. At the time, it was a struggling hangout for Alice Waters and her crew, described by one character in the film as a “hippie, drug-ridden explosion in a playpen.” Gorgeous old film footage captures a sense of wild abandon and innocence at the famed restaurant.\u003c/p>\n\u003cp>Tower brought his ideas about food from a lifetime of travel to Chez Panisse and within a few years helped put it on the map. This being Berkeley in the 1970s, the endeavor is described as something of an orgy — sex, drugs, love, food, creation, companionship, drama and more sex. The relationship between Waters and Tower included enough heat to create a legend, spark a food movement, and unfortunately ended in a very public feud. (Saint Alice is silent -- at least within the confines of this film -- on the subject.) Tower continued his rise and became the celebrity chef of San Francisco in the 1980s, opening the world-class Stars as a hangout for famous characters high and low. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But at some point, Tower dropped out of sight and went into seclusion. Once ubiquitous, synonymous with the California cuisine he helped to create, the enigmatic chef moved on. \u003cem>The Last Magnificent\u003c/em> attempts to solve the man’s mystery, but only generates more. Tower is more than once described as having a “locked room inside.” The film cracks open that door just a little, but every explanation seems too simplistic. How can we really know the unknown forces that drive those who change the world? \u003c/p>\n\u003cfigure id=\"attachment_112513\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/10/ella.jpg\" alt=\"Ella Brennan: Commanding the Table\" width=\"1400\" height=\"1120\" class=\"size-full wp-image-112513\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/10/ella.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/ella-400x320.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/ella-800x640.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/ella-768x614.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/ella-1180x944.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/ella-960x768.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Ella Brennan: Commanding the Table \u003ccite>(Jack Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Equally sumptuous is Leslie Iwerks' \u003cem>Ella Brennan: Commanding the Table\u003c/em>, a loving portrait of the doyenne of New Orleans cooking. It is interesting to view this film next to the one about Jeremiah Tower because it illuminates the importance of healthy collaboration between a smart, creative restaurateur and the chefs who create the menu. Where the partnership between Waters and Tower became complicated by unknown and still unexplained tensions, Ella Brennan’s success is based on her ability to unlock culinary creativity within the magnetic personalities she has ushered into the spotlight. \u003c/p>\n\u003cp>Brennan was pushed into the career she would spend the rest of her life pursuing by her eldest brother. One of six siblings in a very tight clan, Ella became involved in what became the family business in her teens, when the Brennans decided to take over a famous New Orleans nightspot. The Irish clan soon found themselves in direct competition with the city’s famous French restaurants and struggled to define themselves. They decided to put their signature on breakfast, added alcohol and ushered in a new era of creativity for a previously ignored meal. \u003c/p>\n\u003cp>The film gorgeously moves through the family’s early years in the business, opening and establishing one amazing restaurant after another in New Orleans. Ella’s philosophy is summed up in her younger sister’s statement, “[Running a restaurant] is like show business. You do two shows a day. At five o’clock you brush your teeth, put your lipstick on, have a scotch and do the whole thing again.” Ella Brennan lead her family through multiple incarnations and eventually ended up reviving Commander’s Palace, where she would introduce chefs Paul Prudhomme, Emeril Lagasse and Jamie Shannon to the world. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Similar to Jeremiah Tower, no detail of the food experience takes precedence for Brennan. Both characters are driven and exacting. Brennan’s success can be attributed to her personable application of hospitality, which she developed early, and to her ability to spot talented chefs, encouraging each to express his own unique vision in the kitchen. Food is entertainment to be sure, but for Brennan sharing a table, even with hundreds of people a night, is powerfully connected to home and family. \u003c/p>\n\u003cfigure id=\"attachment_112514\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/10/massimo.jpg\" alt=\"Massimo Bottura, Theater of Life\" width=\"1400\" height=\"788\" class=\"size-full wp-image-112514\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/10/massimo.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/massimo-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/massimo-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/massimo-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/massimo-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/10/massimo-960x540.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Massimo Bottura, Theater of Life\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, the third film in the Mill Valley Film Festival's food trilogy is Peter Svatek's \u003cem>Theater of Life\u003c/em>, which documents chef Massimo Bottura's innovative program to eliminate food waste at Expo Milano 2015, a world's fair held in Milan, Italy. Inspired by the expo's theme, \"Feeding the Planet, Energy for Life,\" Bottura, whose Osteria Francescana was named world’s best restaurant in 2016, converted an abandoned theater into a soup kitchen. \u003c/p>\n\u003cp>Renowned chefs from around the world turned each day’s spoils — food headed for the trash bin (most particularly day-old bread) — into gourmet meals for the homeless. Through the effort we come to know the issues faced by the beneficiaries of these amazing dishes. The cast of characters is large, including international food stars, a parish priest, poor and disabled Italians and African refugees, who all meet at the tables of Bottura's Reffetorio. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first two documentaries in this series present lovingly crafted histories of characters who have had a tremendous impact on how we eat and — most importantly — how we think about food. \u003cem>Theater of Life\u003c/em> provides an important way forward with a philosophy for managing our precious resources and channeling thought and talent into the feeding of a greater portion of the population. Why should fine dining be limited to the elites when so much food is going to waste? Why is healthy food a luxury? Why are the lessons Tower, Brennan and countless others have taught us about the nature of food still only understood by a precious few? \u003cem>Theater of Life\u003c/em> shows how the consumption of good food actually does more than feed the body; it opens the mind and nourishes the soul.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Mill Valley Film Festival runs October 6-16, 2016 at various Marin County locations. For tickets and information visit \u003ca href=\"http://www.mvff.com/\" target=\"_blank\">mvff.com\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Close the laptop, drop that tablet, pause 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>\u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-criterion-collection/\" target=\"_blank\" rel=\"noopener\">Modern Cinema\u003c/a>\u003c/h3>\n\u003ch5>Oct. 7-23\u003cbr>\nPhyllis Wattis Theater, SFMOMA, San Francisco\u003cbr>\nTickets: $12\u003c/h5>\n\u003cp>Going back to the 1930s, the San Francisco Museum of Modern Art has showed films — the newest and (often but not always) most modern of the arts — as part of its constellation of exhibits and events. The newly reopened SFMOMA inaugurates its renovated Phyllis Wattis Theater this Friday, Oct. 7 with a three-weekend nod to the past by way of an open-ended collaboration with the S.F. Film Society. \u003c/p>\n\u003cfigure id=\"attachment_12146942\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/claudia_on_island_1200.jpg\" alt=\"Still from 'L'Avventura'\" width=\"1200\" height=\"835\" class=\"size-full wp-image-12146942\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/claudia_on_island_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/claudia_on_island_1200-400x278.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/claudia_on_island_1200-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/claudia_on_island_1200-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/claudia_on_island_1200-1180x821.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/claudia_on_island_1200-960x668.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘L’Avventura’ \u003ccite>(Courtesy of SFFS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-criterion-collection/\" target=\"_blank\" rel=\"noopener\">Modern Cinema\u003c/a>, as the thrice-annual—October, February and July—blowout is dubbed, makes its debut with a lush selection of postwar works from Europe and beyond. These films bear the high-toned imprimatur of Janus Films and laid the foundation for art houses. Bergman, Kurosawa and Antonioni are in the mix, along with Marker, Fassbinder, Akerman and Senegal’s late, great patriarch, Ousmane Sembène, represented by his debut short film, \u003cem>Borom Sarret\u003c/em> (1963) and his breakthrough hour-long feature, \u003cem>Black Girl\u003c/em> (1966). Highly recommended for film buffs and novices alike.\u003c/p>\n\u003ch3>Also…\u003c/h3>\n\u003cp>The \u003ca href=\"http://fest.arabfilmfestival.org/2016/\" target=\"_blank\" rel=\"noopener\">Arab Film Festival\u003c/a>, now in its 20th year, is more concerned with serving an audience of expatriates and everyone else with an interest in the extended Middle East (and its culture) than pushing back against the inflammatory rhetoric and acute paranoia that infects most American media where Arabs and Arab-Americans are concerned. \u003c/p>\n\u003cfigure id=\"attachment_12146746\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Clash-AFF2016.jpg\" alt=\"Still from 'Clash'\" width=\"1000\" height=\"563\" class=\"size-full wp-image-12146746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clash-AFF2016.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clash-AFF2016-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clash-AFF2016-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clash-AFF2016-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clash-AFF2016-960x540.jpg 960w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Clash’ \u003ccite>(Courtesy of Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But because movies allow us to see each other, or rather to see “the other,” they can counter misinformation, stereotypes and prejudice. The festival, taking place Oct. 7-10, opens at the Castro with Mohamed Diab’s \u003cem>Clash\u003c/em>, a parable of the 2013 political upheaval set inside a padded wagon that is Egypt’s official submission for Best Foreign Language Film. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Another title with a strong political undercurrent is \u003cem>Junction 48\u003c/em>, radical Israeli filmmaker Udi Aloni’s mean-streets tale of a going-nowhere Palestinian guy who, with his girlfriend, turns to writing and performing rap songs. \u003cem>Junction 48\u003c/em> won the Panorama Audience Award at Berlin and was named Best International Narrative Feature at Tribeca, and the buzz is only going to build leading up to its 2017 theatrical release.\u003c/p>\n\u003cfigure id=\"attachment_12146939\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/JUNCTION48_1200.jpg\" alt=\"Still from 'Junction 48'\" width=\"1200\" height=\"629\" class=\"size-full wp-image-12146939\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/JUNCTION48_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/JUNCTION48_1200-400x210.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/JUNCTION48_1200-800x419.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/JUNCTION48_1200-768x403.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/JUNCTION48_1200-1180x619.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/JUNCTION48_1200-960x503.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Junction 48’ \u003ccite>(Courtesy of Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Close the laptop, drop that tablet, pause 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>\u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-criterion-collection/\" target=\"_blank\" rel=\"noopener\">Modern Cinema\u003c/a>\u003c/h3>\n\u003ch5>Oct. 7-23\u003cbr>\nPhyllis Wattis Theater, SFMOMA, San Francisco\u003cbr>\nTickets: $12\u003c/h5>\n\u003cp>Going back to the 1930s, the San Francisco Museum of Modern Art has showed films — the newest and (often but not always) most modern of the arts — as part of its constellation of exhibits and events. The newly reopened SFMOMA inaugurates its renovated Phyllis Wattis Theater this Friday, Oct. 7 with a three-weekend nod to the past by way of an open-ended collaboration with the S.F. Film Society. \u003c/p>\n\u003cfigure id=\"attachment_12146942\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/claudia_on_island_1200.jpg\" alt=\"Still from 'L'Avventura'\" width=\"1200\" height=\"835\" class=\"size-full wp-image-12146942\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/claudia_on_island_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/claudia_on_island_1200-400x278.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/claudia_on_island_1200-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/claudia_on_island_1200-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/claudia_on_island_1200-1180x821.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/claudia_on_island_1200-960x668.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘L’Avventura’ \u003ccite>(Courtesy of SFFS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-criterion-collection/\" target=\"_blank\" rel=\"noopener\">Modern Cinema\u003c/a>, as the thrice-annual—October, February and July—blowout is dubbed, makes its debut with a lush selection of postwar works from Europe and beyond. These films bear the high-toned imprimatur of Janus Films and laid the foundation for art houses. Bergman, Kurosawa and Antonioni are in the mix, along with Marker, Fassbinder, Akerman and Senegal’s late, great patriarch, Ousmane Sembène, represented by his debut short film, \u003cem>Borom Sarret\u003c/em> (1963) and his breakthrough hour-long feature, \u003cem>Black Girl\u003c/em> (1966). Highly recommended for film buffs and novices alike.\u003c/p>\n\u003ch3>Also…\u003c/h3>\n\u003cp>The \u003ca href=\"http://fest.arabfilmfestival.org/2016/\" target=\"_blank\" rel=\"noopener\">Arab Film Festival\u003c/a>, now in its 20th year, is more concerned with serving an audience of expatriates and everyone else with an interest in the extended Middle East (and its culture) than pushing back against the inflammatory rhetoric and acute paranoia that infects most American media where Arabs and Arab-Americans are concerned. \u003c/p>\n\u003cfigure id=\"attachment_12146746\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Clash-AFF2016.jpg\" alt=\"Still from 'Clash'\" width=\"1000\" height=\"563\" class=\"size-full wp-image-12146746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clash-AFF2016.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clash-AFF2016-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clash-AFF2016-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clash-AFF2016-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clash-AFF2016-960x540.jpg 960w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Clash’ \u003ccite>(Courtesy of Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But because movies allow us to see each other, or rather to see “the other,” they can counter misinformation, stereotypes and prejudice. The festival, taking place Oct. 7-10, opens at the Castro with Mohamed Diab’s \u003cem>Clash\u003c/em>, a parable of the 2013 political upheaval set inside a padded wagon that is Egypt’s official submission for Best Foreign Language Film. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Legend Of Creepy Hollows: 'Miss Peregrine's Home For Peculiar Children'",
"headTitle": "A Legend Of Creepy Hollows: ‘Miss Peregrine’s Home For Peculiar Children’ | KQED",
"content": "\u003cp>When did our expectations for Tim Burton movies sink so precipitously? We ought to be able to forgive the guy who made \u003cem>Ed Wood \u003c/em>and \u003cem>Sleepy Hollow \u003c/em>a \u003cem>Planet of the Apes \u003c/em>now and then. Or even an \u003cem>Alice in Wonderland, \u003c/em>so long as he keeps balancing mega-grossing mediocrities like that with heartfelt stuff like \u003cem>Frankenweenie,\u003c/em> his delightful stop-motion ode to his dog. Any director who averages a studio feature every other year for three decades will have a stinker or two on his resume.\u003c/p>\n\u003cp>And yet somehow Burton’s stock feels low enough to make the spooky, visually ingenious, oft-incoherent-but-in-a-dreamlike-way \u003cem>Miss Peregrine’s Home for Peculiar Children\u003c/em> feel like a win just because it isn’t dreadful. Burton stages two or three striking set pieces, and otherwise builds as much of the movie as he possibly can around Eva Green’s severe-but-solicitous performance as mysterious headmistress Miss Peregrine, a sort of hard-eyed Mary Poppins. Surely that’s fair freight for your $12.\u003c/p>\n\u003cp>https://youtu.be/tV_IhWE4LP0\u003c/p>\n\u003cp>Everything that predates Ms. Green’s arrival — even scenes featuring the great Terence Stamp, and, well, \u003cem>one\u003c/em> scene with the great Allison Janney — is kind of a slog. The movie takes at least 15 minutes to get going, and its final third is as narratively opaque as any table-setting Marvel or DC flick.\u003c/p>\n\u003cp>But by then I didn’t care that I couldn’t tell you the stakes: Even before Burton dispatches a platoon of skeletons to fight a horde of eyeless, tentacle-tongued “hollowgasts” on a London pier — a clear homage to one of his heroes, pioneering stop-motion animator Ray Harryhausen — I’d surrendered once again to his gifts as peddler of surreal imagery. Burton uses archaic stop-motion techniques in addition to untold petabyes (or exabytes) of CGI, and the movie is never more entrancing than when a creepy babydoll armed with a chef’s knife is fighting a crab. (To be fair, its two young human leads, Asa Butterfield and Ella Purnell, are quite animated and capable, too.) If you were to strip Guillermo del Toro’s decade-old masterpiece\u003cem> Pan’s Labyrinth\u003c/em> of all its allegorical and emotional heft, \u003cem>Miss Peregrine\u003c/em>‘s is more or less what you’d have left. Easy to watch, after that distended Floridian prologue, and easy to forget.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The movie is a liberal adaptation of a bestselling 2011 young-adult novel by Ransom Riggs, whose muse was a stack of “vernacular” (read: found) photos he’d collected at the monthly Rose Bowl flea market in Pasadena. Truly, the medium is the message: Jake, the 16-year-old hero of Riggs’ story (Butterfield in the movie), is likewise dispatched on a quest by collection of faded photos—portraits of, um, peculiar-looking children. These belonged to his grandfather (Stamp), who has been telling Jake stories about their odd subjects since Jake was a child. He’d once lived with these kids at an orphanage in Wales, he said. One was lighter than air and had to wear lead shoes to prevent herself from floating away like a balloon. One had a hive of bees inside his chest, which would escape when he opened his mouth to speak or eat. One could briefly reanimate the dead using animal hearts.\u003c/p>\n\u003cp>Naturally, Jake has become more skeptical of the old man’s fantastic claims as he has grown into adolescence. When he finds grandpa dead with his eyeballs missing, then catches a glimpse of a monster in the woods behind his house, his parents (Chris O’Dowd and the mighty Kim Dickens, who’s in the movie even less than Janney is) take him to licensed-and-bonded mental health professional C.J. Cregg — that is, Dr. Golan. The doc persuades Jake’s folks that a trip to Wales to try to find the old orphanage might help the boy to process his grief. O’Dowd, by the way, is 100 percent believable as the sort of impotent dad who would agree to this plan. He figures he’ll come along and get some birdwatching done while his son is busy moping. I don’t know enough about Wales or birds to know whether or not this is a joke, but I know Dickens, in her approximately 15 seconds onscreen, looks relieved to be rid of them both.\u003c/p>\n\u003cp>It’s when the scene shifts from flat, sunny Florida to cloudy, oppressive Wales that the movie brightens up. That’s Burton for you. Jake and his dad check into the one inn in town (it’s called The Priest Hole), and after some predictable complication Jake finds his way to the old manor among its occupants — as it, and they, existed in 1943. The place is basically Brigadoon crossed with Xavier’s School for Gifted Youngsters of X-Men lore, only the gifted not-so-youngsters in Miss Peregrine’s charge shall never grow up if she has anything to say about it. Her supernatural talent is the ability to create cul-de-sacs in time where she can keep her “peculiars” hidden from the vile Mr. Barron (Samuel L. Jackson in milk-colored contact lenses), a kinda-sorta vampire who seeks immortality by… eating their eyes.\u003c/p>\n\u003cp>That’s not, I don’t believe, a spoiler, though I couldn’t swear I grokked the plot clearly enough to know which elements ought to be classified. Screenwriter Jane Goldman has plenty of experience translating dense mythologies born in prose and comics to the movies, having worked on the scrips for \u003cem>Stardust, Kick-Ass, Kingsman: The Secret Service, \u003c/em>and a pair of the stronger \u003cem>X-Men \u003c/em>movies, among others. The adaptation she’s delivered here borrows material from Riggs’ sequel novel \u003cem>Hollow City \u003c/em>to permit an action-packed finale\u003cem>, \u003c/em>but still manages to leave plenty of threads dangling after 122 increasingly chaotic minutes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The result feels less like a thoughtfully-conceived franchise-starter than a picture that was rushed out of the editing suite prematurely. That makes it at once a minor disappointment and Burton’s most satisfying (mostly) live-action fantasy film in years. Too bad it probably won’t last ’til Halloween.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When did our expectations for Tim Burton movies sink so precipitously? We ought to be able to forgive the guy who made \u003cem>Ed Wood \u003c/em>and \u003cem>Sleepy Hollow \u003c/em>a \u003cem>Planet of the Apes \u003c/em>now and then. Or even an \u003cem>Alice in Wonderland, \u003c/em>so long as he keeps balancing mega-grossing mediocrities like that with heartfelt stuff like \u003cem>Frankenweenie,\u003c/em> his delightful stop-motion ode to his dog. Any director who averages a studio feature every other year for three decades will have a stinker or two on his resume.\u003c/p>\n\u003cp>And yet somehow Burton’s stock feels low enough to make the spooky, visually ingenious, oft-incoherent-but-in-a-dreamlike-way \u003cem>Miss Peregrine’s Home for Peculiar Children\u003c/em> feel like a win just because it isn’t dreadful. Burton stages two or three striking set pieces, and otherwise builds as much of the movie as he possibly can around Eva Green’s severe-but-solicitous performance as mysterious headmistress Miss Peregrine, a sort of hard-eyed Mary Poppins. Surely that’s fair freight for your $12.\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/tV_IhWE4LP0'\n title='//www.youtube.com/embed/tV_IhWE4LP0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Everything that predates Ms. Green’s arrival — even scenes featuring the great Terence Stamp, and, well, \u003cem>one\u003c/em> scene with the great Allison Janney — is kind of a slog. The movie takes at least 15 minutes to get going, and its final third is as narratively opaque as any table-setting Marvel or DC flick.\u003c/p>\n\u003cp>But by then I didn’t care that I couldn’t tell you the stakes: Even before Burton dispatches a platoon of skeletons to fight a horde of eyeless, tentacle-tongued “hollowgasts” on a London pier — a clear homage to one of his heroes, pioneering stop-motion animator Ray Harryhausen — I’d surrendered once again to his gifts as peddler of surreal imagery. Burton uses archaic stop-motion techniques in addition to untold petabyes (or exabytes) of CGI, and the movie is never more entrancing than when a creepy babydoll armed with a chef’s knife is fighting a crab. (To be fair, its two young human leads, Asa Butterfield and Ella Purnell, are quite animated and capable, too.) If you were to strip Guillermo del Toro’s decade-old masterpiece\u003cem> Pan’s Labyrinth\u003c/em> of all its allegorical and emotional heft, \u003cem>Miss Peregrine\u003c/em>‘s is more or less what you’d have left. Easy to watch, after that distended Floridian prologue, and easy to forget.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The movie is a liberal adaptation of a bestselling 2011 young-adult novel by Ransom Riggs, whose muse was a stack of “vernacular” (read: found) photos he’d collected at the monthly Rose Bowl flea market in Pasadena. Truly, the medium is the message: Jake, the 16-year-old hero of Riggs’ story (Butterfield in the movie), is likewise dispatched on a quest by collection of faded photos—portraits of, um, peculiar-looking children. These belonged to his grandfather (Stamp), who has been telling Jake stories about their odd subjects since Jake was a child. He’d once lived with these kids at an orphanage in Wales, he said. One was lighter than air and had to wear lead shoes to prevent herself from floating away like a balloon. One had a hive of bees inside his chest, which would escape when he opened his mouth to speak or eat. One could briefly reanimate the dead using animal hearts.\u003c/p>\n\u003cp>Naturally, Jake has become more skeptical of the old man’s fantastic claims as he has grown into adolescence. When he finds grandpa dead with his eyeballs missing, then catches a glimpse of a monster in the woods behind his house, his parents (Chris O’Dowd and the mighty Kim Dickens, who’s in the movie even less than Janney is) take him to licensed-and-bonded mental health professional C.J. Cregg — that is, Dr. Golan. The doc persuades Jake’s folks that a trip to Wales to try to find the old orphanage might help the boy to process his grief. O’Dowd, by the way, is 100 percent believable as the sort of impotent dad who would agree to this plan. He figures he’ll come along and get some birdwatching done while his son is busy moping. I don’t know enough about Wales or birds to know whether or not this is a joke, but I know Dickens, in her approximately 15 seconds onscreen, looks relieved to be rid of them both.\u003c/p>\n\u003cp>It’s when the scene shifts from flat, sunny Florida to cloudy, oppressive Wales that the movie brightens up. That’s Burton for you. Jake and his dad check into the one inn in town (it’s called The Priest Hole), and after some predictable complication Jake finds his way to the old manor among its occupants — as it, and they, existed in 1943. The place is basically Brigadoon crossed with Xavier’s School for Gifted Youngsters of X-Men lore, only the gifted not-so-youngsters in Miss Peregrine’s charge shall never grow up if she has anything to say about it. Her supernatural talent is the ability to create cul-de-sacs in time where she can keep her “peculiars” hidden from the vile Mr. Barron (Samuel L. Jackson in milk-colored contact lenses), a kinda-sorta vampire who seeks immortality by… eating their eyes.\u003c/p>\n\u003cp>That’s not, I don’t believe, a spoiler, though I couldn’t swear I grokked the plot clearly enough to know which elements ought to be classified. Screenwriter Jane Goldman has plenty of experience translating dense mythologies born in prose and comics to the movies, having worked on the scrips for \u003cem>Stardust, Kick-Ass, Kingsman: The Secret Service, \u003c/em>and a pair of the stronger \u003cem>X-Men \u003c/em>movies, among others. The adaptation she’s delivered here borrows material from Riggs’ sequel novel \u003cem>Hollow City \u003c/em>to permit an action-packed finale\u003cem>, \u003c/em>but still manages to leave plenty of threads dangling after 122 increasingly chaotic minutes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The result feels less like a thoughtfully-conceived franchise-starter than a picture that was rushed out of the editing suite prematurely. That makes it at once a minor disappointment and Burton’s most satisfying (mostly) live-action fantasy film in years. Too bad it probably won’t last ’til Halloween.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Mara Wilson on What Happened after 'Matilda' and Why She Quit Hollywood",
"title": "Mara Wilson on What Happened after 'Matilda' and Why She Quit Hollywood",
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"content": "\u003cp>The \u003cem>Mrs. Doubtfire\u003c/em> star shares what Robin Williams was really like, why Hufflepuffs make great significant others, and how she ended up elbowing Jonathan Taylor Thomas in the crotch.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2016/09/Mara.mp3\" title=\"Mara Wilson on What Happened after 'Matilda' and Why She Quit Hollywood\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>Today, we are joined by Mara Wilson, a name you might remember from \u003cem>Mrs. Doubtfire\u003c/em>, \u003cem>Matilda,\u003c/em> and \u003cem>Miracle on 34\u003csup>th\u003c/sup> Street\u003c/em>. She’s since traded Hollywood for a life of writing and being a badass performer at storytelling and comedy shows. Her new book, \u003cem>Where Am I Now?,\u003c/em> takes us through her childhood fame and everything that has followed.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HR36ohpPZZs\u003c/p>\n\u003cp>We talk about what it was like to grow up on screen...\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/XS6auaZLuBA5y.gif\">\u003cimg class=\"aligncenter size-full wp-image-39301\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/XS6auaZLuBA5y.gif\" alt=\"XS6auaZLuBA5y\" width=\"500\" height=\"251\">\u003c/a>\u003c/p>\n\u003cp>...what Robin Williams was really like...\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/tumblr_nlr1z5WddJ1tqkacio1_500.gif\">\u003cimg class=\"aligncenter size-medium wp-image-39297\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/tumblr_nlr1z5WddJ1tqkacio1_500.gif\" alt=\"tumblr_nlr1z5WddJ1tqkacio1_500\" width=\"500\" height=\"213\">\u003c/a>\u003c/p>\n\u003cp>...the importance of de-stigmatizing mental health...\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/giphy-15.gif\">\u003cimg class=\"aligncenter size-full wp-image-39302\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/giphy-15.gif\" alt=\"giphy (15)\" width=\"500\" height=\"279\">\u003c/a>\u003c/p>\n\u003cp>...why Hufflepuffs make great partners...\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/tumblr_inline_mq3e09Dfdq1qz4rgp.gif\">\u003cimg class=\"aligncenter size-medium wp-image-39298\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/tumblr_inline_mq3e09Dfdq1qz4rgp.gif\" alt=\"tumblr_inline_mq3e09Dfdq1qz4rgp\" width=\"250\" height=\"293\">\u003c/a>\u003c/p>\n\u003cp>...how the word \"cute\" has the power to be condescending and affirming...\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/anigif_enhanced-5495-1441821354-2.gif\">\u003cbr>\n\u003c/a> \u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/tumblr_lvmefgZoU01qfjrdco1_500.gif\">\u003cimg class=\"aligncenter size-medium wp-image-39300\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/tumblr_lvmefgZoU01qfjrdco1_500.gif\" alt=\"tumblr_lvmefgZoU01qfjrdco1_500\" width=\"500\" height=\"276\">\u003c/a>\u003c/p>\n\u003cp>...and how Mara ended up elbowing Jonathan Taylor Thomas in the crotch.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/c3fbc42888bbdafe9a4e65fc2475d94ba7af5bacc6de9e6244e0ed6c547d8ee6.gif\">\u003cimg class=\"aligncenter size-full wp-image-39296\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/c3fbc42888bbdafe9a4e65fc2475d94ba7af5bacc6de9e6244e0ed6c547d8ee6.gif\" alt=\"c3fbc42888bbdafe9a4e65fc2475d94ba7af5bacc6de9e6244e0ed6c547d8ee6\" width=\"400\" height=\"300\">\u003c/a>\u003c/p>\n\u003cp>Mara also drops truth bombs like this one: \"Having a fan base is like having strict parents, except they don't love you unconditionally.\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/giphy-16.gif\">\u003cimg class=\"aligncenter size-full wp-image-39303\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/giphy-16.gif\" alt=\"giphy (16)\" width=\"480\" height=\"480\">\u003c/a>\u003c/p>\n\u003cp>And we cap things off with a song of Mara's choosing, \"I Touch Myself\" by Divinyls:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wv-34w8kGPM\u003c/p>\n\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>Today, we are joined by Mara Wilson, a name you might remember from \u003cem>Mrs. Doubtfire\u003c/em>, \u003cem>Matilda,\u003c/em> and \u003cem>Miracle on 34\u003csup>th\u003c/sup> Street\u003c/em>. She’s since traded Hollywood for a life of writing and being a badass performer at storytelling and comedy shows. Her new book, \u003cem>Where Am I Now?,\u003c/em> takes us through her childhood fame and everything that has followed.\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/HR36ohpPZZs'\n title='//www.youtube.com/embed/HR36ohpPZZs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We talk about what it was like to grow up on screen...\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/XS6auaZLuBA5y.gif\">\u003cimg class=\"aligncenter size-full wp-image-39301\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/XS6auaZLuBA5y.gif\" alt=\"XS6auaZLuBA5y\" width=\"500\" height=\"251\">\u003c/a>\u003c/p>\n\u003cp>...what Robin Williams was really like...\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/tumblr_nlr1z5WddJ1tqkacio1_500.gif\">\u003cimg class=\"aligncenter size-medium wp-image-39297\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/tumblr_nlr1z5WddJ1tqkacio1_500.gif\" alt=\"tumblr_nlr1z5WddJ1tqkacio1_500\" width=\"500\" height=\"213\">\u003c/a>\u003c/p>\n\u003cp>...the importance of de-stigmatizing mental health...\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/giphy-15.gif\">\u003cimg class=\"aligncenter size-full wp-image-39302\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/giphy-15.gif\" alt=\"giphy (15)\" width=\"500\" height=\"279\">\u003c/a>\u003c/p>\n\u003cp>...why Hufflepuffs make great partners...\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/tumblr_inline_mq3e09Dfdq1qz4rgp.gif\">\u003cimg class=\"aligncenter size-medium wp-image-39298\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/tumblr_inline_mq3e09Dfdq1qz4rgp.gif\" alt=\"tumblr_inline_mq3e09Dfdq1qz4rgp\" width=\"250\" height=\"293\">\u003c/a>\u003c/p>\n\u003cp>...how the word \"cute\" has the power to be condescending and affirming...\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/anigif_enhanced-5495-1441821354-2.gif\">\u003cbr>\n\u003c/a> \u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/tumblr_lvmefgZoU01qfjrdco1_500.gif\">\u003cimg class=\"aligncenter size-medium wp-image-39300\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/tumblr_lvmefgZoU01qfjrdco1_500.gif\" alt=\"tumblr_lvmefgZoU01qfjrdco1_500\" width=\"500\" height=\"276\">\u003c/a>\u003c/p>\n\u003cp>...and how Mara ended up elbowing Jonathan Taylor Thomas in the crotch.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/c3fbc42888bbdafe9a4e65fc2475d94ba7af5bacc6de9e6244e0ed6c547d8ee6.gif\">\u003cimg class=\"aligncenter size-full wp-image-39296\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/c3fbc42888bbdafe9a4e65fc2475d94ba7af5bacc6de9e6244e0ed6c547d8ee6.gif\" alt=\"c3fbc42888bbdafe9a4e65fc2475d94ba7af5bacc6de9e6244e0ed6c547d8ee6\" width=\"400\" height=\"300\">\u003c/a>\u003c/p>\n\u003cp>Mara also drops truth bombs like this one: \"Having a fan base is like having strict parents, except they don't love you unconditionally.\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/giphy-16.gif\">\u003cimg class=\"aligncenter size-full wp-image-39303\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/giphy-16.gif\" alt=\"giphy (16)\" width=\"480\" height=\"480\">\u003c/a>\u003c/p>\n\u003cp>And we cap things off with a song of Mara's choosing, \"I Touch Myself\" by Divinyls:\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/wv-34w8kGPM'\n title='//www.youtube.com/embed/wv-34w8kGPM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>By the beginning of next year, the back section of Berkeley’s Amoeba Music won’t be where you buy jazz records; it will be where you buy “jazz cigarettes.”\u003c/p>\n\u003cp>Joking aside, the decision by the \u003ca href=\"http://www.berkeleyside.com/2016/09/21/berkeley-council-picks-amoeba-apothecarium-as-new-cannabis-dispensaries/\" target=\"_blank\" rel=\"noopener\">Berkeley City Council last week\u003c/a> to award the owners of the Amoeba Music one of the city’s six marijuana dispensary licenses means their flagship store on Telegraph Avenue has a shot at sticking around, says co-owner Marc Weinstein.\u003c/p>\n\u003cp>“This is absolutely going to help save the Berkeley store,” Weinstein says. \u003c/p>\n\u003cp>The Berkeley location will be the first record store in California to house a marijuana dispensary, but Amoeba Music isn’t doing it just to be pioneers in the field. Opened by Weinstein and co-owner David Prinz in 1990, the store, just blocks away from UC Berkeley campus, has been continually losing money for the past eight years; Weinstein says that this year’s sales at that location are less than half what they were in 2008. In the past, this wasn’t dire, as sales at the L.A. and San Francisco stores made up for the Berkeley store’s troubles, but in recent years sales at all three locations have decreased “because the market is shrinking all the time.”\u003c/p>\n\u003cp>“The Berkeley store got a lot slower than the other stores a lot sooner, partially because of the culture that surrounds Telegraph,” Weinstein says. “But also the students in general, especially five to ten years ago, came in, and the new wave was downloading and streaming music. Really, a lot of students don’t understand why anyone would buy a hard copy.” \u003c/p>\n\u003cfigure id=\"attachment_12130902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-800x450.jpg\" alt=\"In the jazz section of Amoeba Music in Berkeley\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12130902\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the jazz section of Amoeba Music in Berkeley \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing the rising \u003ca href=\"http://www.nytimes.com/2016/04/12/us/in-california-marijuana-is-smelling-more-like-big-business.html?_r=0\" target=\"_blank\" rel=\"noopener\">profitability of medical marijuana in California\u003c/a>, Amoeba Music has worked with Berkeley city officials and advisers in the pot industry for almost five years to secure a license. Now that they’ve been approved, Amoeba’s owners are working with Debby Goldsberry, executive director at Magnolia Wellness Collective dispensary in Oakland, to create the Berkeley Compassionate Care Collective in the section of the store that currently hosts its jazz, classical and world music sections. The 3,000-square-foot dispensary will sell a wide variety of products, and Weinstein says it will also serve to educate the public about uses and benefits of medical marijuana.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s going to be a full-service, comprehensive dispensary for the neighborhood,” Weinstein says. \u003c/p>\n\u003cp>But it hasn’t been cheap to enter the medical marijuana industry. Amoeba Music has already paid approximately $100,000 just for applying for the license to sell — it didn’t help that they were \u003ca href=\"http://www.berkeleyside.com/2016/05/11/berkeley-names-icann-as-next-cannabis-dispensary/\" target=\"_blank\" rel=\"noopener\">denied a license back in May\u003c/a> — and converting the space into a dispensary is expected to cost them several hundred thousand more. \u003c/p>\n\u003cp>Also, despite the almost-guaranteed profitability of medical marijuana, entering the business for the Amoeba owners is still risky after spending about $5 million on an online digital music store that never came to fruition. Weinstein says the project, which they saw as potentially competing with iTunes and Amazon in terms of the range and amount of downloadable music it would provide, “almost killed” Amoeba and had to be scrapped because they couldn’t strike a licensing deal with the major labels. Also, by the time the store was ready, Weinstein says the market for music downloads had come and went.\u003c/p>\n\u003cfigure id=\"attachment_12131878\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-600x600.jpg\" alt=\"Marc Weinstein\" width=\"600\" height=\"600\" class=\"size-medium wp-image-12131878\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein.jpg 640w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Marc Weinstein \u003ccite>(Photo: Courtesy of Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The whole market only lasted nine years from beginning to end! Nobody buys digital downloads any more,” Weinstein says. “We literally never had any chance to get footing in that market. We spent millions of dollars on it and lots of resources, and where did it go? Into thin air.” \u003c/p>\n\u003cp>Besides being financially hobbled by an expensive gamble, Amoeba has the challenge of sustaining a business model that is contradictory to what is working for newer record stores. Local chains like 1-2-3-4-Go! and Stranded appear to be thriving because they’re in smaller locations and are smaller-staffed than the larger-sized Amoebas — Weinstein says that the L.A. store alone costs $165,000 a month in rent and employs over 200 workers. Not to say Amoeba’s emporiums are completely doomed, since plenty of customers still regularly shop at all three locations. \u003c/p>\n\u003cp>“We feel that the market for hard copies (of music releases) is going to stay strong for years to come, but it may not be big enough to sustain all of our three big stores,” Weinstein says. “We want to keep an emporium for hard copies in each of the three communities that we care about so much.”\u003c/p>\n\u003cp>If the dispensary succeeds in keeping the Berkeley store afloat, Weinstein says that the other two locations will end up incorporating marijuana dispensaries. (The San Francisco store already has \u003ca href=\"http://hoodline.com/2014/04/amoeba-records-now-your-friendly-local-medical-cannabis-doctor\" target=\"_blank\" rel=\"noopener\">a medical marijuana evaluation office \u003c/a>in its upstairs.) But Weinstein says it’s not just because of the money; he and Prinz strongly support the medical marijuana business in general. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Cannabis dispensaries are our first experiment in this business — a business we strongly believe in. We think access to cannabis is a human rights issue, and my partner Dave and I are both very much on the same page,” Weinstein says. “We’re being afforded an opportunity to come into this business with fresh eyes and come up with a new model on Telegraph. We feel the responsibility and we’re hoping to make everyone happy with a model that is strictly Berkeley-style and very much a part of the community.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By the beginning of next year, the back section of Berkeley’s Amoeba Music won’t be where you buy jazz records; it will be where you buy “jazz cigarettes.”\u003c/p>\n\u003cp>Joking aside, the decision by the \u003ca href=\"http://www.berkeleyside.com/2016/09/21/berkeley-council-picks-amoeba-apothecarium-as-new-cannabis-dispensaries/\" target=\"_blank\" rel=\"noopener\">Berkeley City Council last week\u003c/a> to award the owners of the Amoeba Music one of the city’s six marijuana dispensary licenses means their flagship store on Telegraph Avenue has a shot at sticking around, says co-owner Marc Weinstein.\u003c/p>\n\u003cp>“This is absolutely going to help save the Berkeley store,” Weinstein says. \u003c/p>\n\u003cp>The Berkeley location will be the first record store in California to house a marijuana dispensary, but Amoeba Music isn’t doing it just to be pioneers in the field. Opened by Weinstein and co-owner David Prinz in 1990, the store, just blocks away from UC Berkeley campus, has been continually losing money for the past eight years; Weinstein says that this year’s sales at that location are less than half what they were in 2008. In the past, this wasn’t dire, as sales at the L.A. and San Francisco stores made up for the Berkeley store’s troubles, but in recent years sales at all three locations have decreased “because the market is shrinking all the time.”\u003c/p>\n\u003cp>“The Berkeley store got a lot slower than the other stores a lot sooner, partially because of the culture that surrounds Telegraph,” Weinstein says. “But also the students in general, especially five to ten years ago, came in, and the new wave was downloading and streaming music. Really, a lot of students don’t understand why anyone would buy a hard copy.” \u003c/p>\n\u003cfigure id=\"attachment_12130902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-800x450.jpg\" alt=\"In the jazz section of Amoeba Music in Berkeley\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12130902\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Ameoba-Music-Berkeley-Jazz1-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the jazz section of Amoeba Music in Berkeley \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing the rising \u003ca href=\"http://www.nytimes.com/2016/04/12/us/in-california-marijuana-is-smelling-more-like-big-business.html?_r=0\" target=\"_blank\" rel=\"noopener\">profitability of medical marijuana in California\u003c/a>, Amoeba Music has worked with Berkeley city officials and advisers in the pot industry for almost five years to secure a license. Now that they’ve been approved, Amoeba’s owners are working with Debby Goldsberry, executive director at Magnolia Wellness Collective dispensary in Oakland, to create the Berkeley Compassionate Care Collective in the section of the store that currently hosts its jazz, classical and world music sections. The 3,000-square-foot dispensary will sell a wide variety of products, and Weinstein says it will also serve to educate the public about uses and benefits of medical marijuana.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s going to be a full-service, comprehensive dispensary for the neighborhood,” Weinstein says. \u003c/p>\n\u003cp>But it hasn’t been cheap to enter the medical marijuana industry. Amoeba Music has already paid approximately $100,000 just for applying for the license to sell — it didn’t help that they were \u003ca href=\"http://www.berkeleyside.com/2016/05/11/berkeley-names-icann-as-next-cannabis-dispensary/\" target=\"_blank\" rel=\"noopener\">denied a license back in May\u003c/a> — and converting the space into a dispensary is expected to cost them several hundred thousand more. \u003c/p>\n\u003cp>Also, despite the almost-guaranteed profitability of medical marijuana, entering the business for the Amoeba owners is still risky after spending about $5 million on an online digital music store that never came to fruition. Weinstein says the project, which they saw as potentially competing with iTunes and Amazon in terms of the range and amount of downloadable music it would provide, “almost killed” Amoeba and had to be scrapped because they couldn’t strike a licensing deal with the major labels. Also, by the time the store was ready, Weinstein says the market for music downloads had come and went.\u003c/p>\n\u003cfigure id=\"attachment_12131878\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-600x600.jpg\" alt=\"Marc Weinstein\" width=\"600\" height=\"600\" class=\"size-medium wp-image-12131878\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Marc-Weinstein.jpg 640w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Marc Weinstein \u003ccite>(Photo: Courtesy of Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The whole market only lasted nine years from beginning to end! Nobody buys digital downloads any more,” Weinstein says. “We literally never had any chance to get footing in that market. We spent millions of dollars on it and lots of resources, and where did it go? Into thin air.” \u003c/p>\n\u003cp>Besides being financially hobbled by an expensive gamble, Amoeba has the challenge of sustaining a business model that is contradictory to what is working for newer record stores. Local chains like 1-2-3-4-Go! and Stranded appear to be thriving because they’re in smaller locations and are smaller-staffed than the larger-sized Amoebas — Weinstein says that the L.A. store alone costs $165,000 a month in rent and employs over 200 workers. Not to say Amoeba’s emporiums are completely doomed, since plenty of customers still regularly shop at all three locations. \u003c/p>\n\u003cp>“We feel that the market for hard copies (of music releases) is going to stay strong for years to come, but it may not be big enough to sustain all of our three big stores,” Weinstein says. “We want to keep an emporium for hard copies in each of the three communities that we care about so much.”\u003c/p>\n\u003cp>If the dispensary succeeds in keeping the Berkeley store afloat, Weinstein says that the other two locations will end up incorporating marijuana dispensaries. (The San Francisco store already has \u003ca href=\"http://hoodline.com/2014/04/amoeba-records-now-your-friendly-local-medical-cannabis-doctor\" target=\"_blank\" rel=\"noopener\">a medical marijuana evaluation office \u003c/a>in its upstairs.) But Weinstein says it’s not just because of the money; he and Prinz strongly support the medical marijuana business in general. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Cannabis dispensaries are our first experiment in this business — a business we strongly believe in. We think access to cannabis is a human rights issue, and my partner Dave and I are both very much on the same page,” Weinstein says. “We’re being afforded an opportunity to come into this business with fresh eyes and come up with a new model on Telegraph. We feel the responsibility and we’re hoping to make everyone happy with a model that is strictly Berkeley-style and very much a part of the community.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are two “firsts” in the list of highest-paid comedians that was put out by \u003cem>Forbes\u003c/em> on Tuesday: For the first time in a decade, someone other than Jerry Seinfeld tops the rankings; and a woman is in the top 10 for the first time, according to Forbes’ tally.\u003c/p>\n\u003cp>Kevin Hart ended Seinfeld’s decade of dominating the list of highest-paid comedians in decisive fashion, using his tour of huge venues to earn $87.5 million — roughly double the $43.5 million that Seinfeld, the next-most successful comedian on the list, made in the same period from June 2015 to June 2016, \u003ca href=\"http://www.forbes.com/sites/maddieberg/2016/09/27/the-highest-paid-comedians-2016-kevin-hart-out-jokes-jerry-seinfeld-with-87-5-million-payday/#6f7206ef1a62\" target=\"_blank\" rel=\"noopener\">Forbes reports\u003c/a>.\u003c/p>\n\u003cp>Amy Schumer is the first woman to break into the list of comedy’s top earners, with $17 million netting her the fourth spot in the rankings. And like Hart — who says on his Twitter bio, “My name is Kevin Hart and I WORK HARD!!” — Schumer is building on her recent success.\u003c/p>\n\u003cp>Schumer, 35, is on a world tour that will send her to Australia later this year; like Hart, she’s currently playing U.S. venues that normally host NBA games. Her book, \u003cem>The Girl with the Lower Back Tattoo,\u003c/em> earned Schumer a \u003ca href=\"http://www.hollywoodreporter.com/bookmark/amy-schumer-book-girl-lower-826042\" target=\"_blank\" rel=\"noopener\">$9 million advance\u003c/a> last September and has become a best-seller since its release in August.\u003c/p>\n\u003cp>Hart, 37, is widening his exposure even more: He just launched a batch of for-pay “\u003ca href=\"https://itunes.apple.com/us/app/kevmoji-by-kevin-hart/id1152576183?ls=1&mt=8\" target=\"_blank\" rel=\"noopener\">Kevmojis\u003c/a>” that use his expressions to liven up smartphone texts, and his concert/action film \u003cem>What Now?\u003c/em> will hit theaters on Oct. 14.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The earnings shuffle comes after years in which the path to comedy super-stardom followed a familiar pattern: Comedians make a career on the road, get a solid radio or TV break, and then maybe they parlay TV into the movies. The pattern worked for comedians from Milton Berle to Joan Rivers; from Robin Williams and Eddie Murphy to Jerry Seinfeld.\u003c/p>\n\u003cp>Although he’s a star, Hart doesn’t headline a TV show, and while ubiquitous in film, he’s shy of being a matinee idol. Comedians like Hart and Schumer and others have broken the mold by using social media, merchandising and the Web to speak — and sell — directly to fans.\u003c/p>\n\u003cp>For Hart, here’s how \u003cem>Forbes\u003c/em>’ Madeline Berg explains his huge year:\u003c/p>\n\u003cblockquote>\u003cp>“In the 12 month period, Hart played over 100 shows with an average gross of over $1 million at each stop. And these shows aren’t at dingy comedy clubs; Hart played stadiums and arenas, including Madison Square Garden and the Staples Center. Because the stand-up comedian’s set requires little more than a stool, water bottle and microphone, he takes home a larger cut of that gross than most rock stars would.”\u003c/p>\u003c/blockquote>\n\u003cp>Gary Bongiovanni, editor of the concert trade publication \u003ca href=\"http://www.pollstar.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Pollstar\u003c/em>\u003c/a>, tells Berg, “Only a few comedians [are] capable of playing sports arenas the way that Kevin Hart does.”\u003c/p>\n\u003cp>The short list of comedians who can fill an arena now includes Schumer — whose show at Washington, D.C.’s Verizon Center was recently reviewed by \u003ca href=\"http://www.nytimes.com/2016/09/26/arts/review-as-amy-schumer-evolves-so-does-her-arena-show.html?smid=tw-nytimes&smtyp=cur\" target=\"_blank\" rel=\"noopener\">\u003cem>The New York Times\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“It’s been an insane year,” Schumer is quoted as saying onstage. “I’ve gotten very rich, famous and humble.”\u003c/p>\n\u003cp>\u003cem>Forbes\u003c/em>‘ rankings require concert sales to account for most of the stars’ revenue from one summer to the next. But both Schumer and Hart are also cashing checks from Comedy Central — in her case for \u003cem>Inside Amy Schumer\u003c/em>, which will see its fifth season next year, and in his case for \u003cem>Hart of the City\u003c/em>, a new show about comedy on the road that’s set to debut Sunday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With Seinfeld in the second spot, the \u003cem>Forbes\u003c/em> top five also includes Terry Fator at No. 3 with $21 million — due to his successful career in Las Vegas — followed by Schumer. At No. 5 is Jeff Dunham, with $13.5 million.\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=Kevin+Hart+And+Amy+Schumer%3A+The+New+King+And+Queen+Of+Comedy+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are two “firsts” in the list of highest-paid comedians that was put out by \u003cem>Forbes\u003c/em> on Tuesday: For the first time in a decade, someone other than Jerry Seinfeld tops the rankings; and a woman is in the top 10 for the first time, according to Forbes’ tally.\u003c/p>\n\u003cp>Kevin Hart ended Seinfeld’s decade of dominating the list of highest-paid comedians in decisive fashion, using his tour of huge venues to earn $87.5 million — roughly double the $43.5 million that Seinfeld, the next-most successful comedian on the list, made in the same period from June 2015 to June 2016, \u003ca href=\"http://www.forbes.com/sites/maddieberg/2016/09/27/the-highest-paid-comedians-2016-kevin-hart-out-jokes-jerry-seinfeld-with-87-5-million-payday/#6f7206ef1a62\" target=\"_blank\" rel=\"noopener\">Forbes reports\u003c/a>.\u003c/p>\n\u003cp>Amy Schumer is the first woman to break into the list of comedy’s top earners, with $17 million netting her the fourth spot in the rankings. And like Hart — who says on his Twitter bio, “My name is Kevin Hart and I WORK HARD!!” — Schumer is building on her recent success.\u003c/p>\n\u003cp>Schumer, 35, is on a world tour that will send her to Australia later this year; like Hart, she’s currently playing U.S. venues that normally host NBA games. Her book, \u003cem>The Girl with the Lower Back Tattoo,\u003c/em> earned Schumer a \u003ca href=\"http://www.hollywoodreporter.com/bookmark/amy-schumer-book-girl-lower-826042\" target=\"_blank\" rel=\"noopener\">$9 million advance\u003c/a> last September and has become a best-seller since its release in August.\u003c/p>\n\u003cp>Hart, 37, is widening his exposure even more: He just launched a batch of for-pay “\u003ca href=\"https://itunes.apple.com/us/app/kevmoji-by-kevin-hart/id1152576183?ls=1&mt=8\" target=\"_blank\" rel=\"noopener\">Kevmojis\u003c/a>” that use his expressions to liven up smartphone texts, and his concert/action film \u003cem>What Now?\u003c/em> will hit theaters on Oct. 14.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The earnings shuffle comes after years in which the path to comedy super-stardom followed a familiar pattern: Comedians make a career on the road, get a solid radio or TV break, and then maybe they parlay TV into the movies. The pattern worked for comedians from Milton Berle to Joan Rivers; from Robin Williams and Eddie Murphy to Jerry Seinfeld.\u003c/p>\n\u003cp>Although he’s a star, Hart doesn’t headline a TV show, and while ubiquitous in film, he’s shy of being a matinee idol. Comedians like Hart and Schumer and others have broken the mold by using social media, merchandising and the Web to speak — and sell — directly to fans.\u003c/p>\n\u003cp>For Hart, here’s how \u003cem>Forbes\u003c/em>’ Madeline Berg explains his huge year:\u003c/p>\n\u003cblockquote>\u003cp>“In the 12 month period, Hart played over 100 shows with an average gross of over $1 million at each stop. And these shows aren’t at dingy comedy clubs; Hart played stadiums and arenas, including Madison Square Garden and the Staples Center. Because the stand-up comedian’s set requires little more than a stool, water bottle and microphone, he takes home a larger cut of that gross than most rock stars would.”\u003c/p>\u003c/blockquote>\n\u003cp>Gary Bongiovanni, editor of the concert trade publication \u003ca href=\"http://www.pollstar.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Pollstar\u003c/em>\u003c/a>, tells Berg, “Only a few comedians [are] capable of playing sports arenas the way that Kevin Hart does.”\u003c/p>\n\u003cp>The short list of comedians who can fill an arena now includes Schumer — whose show at Washington, D.C.’s Verizon Center was recently reviewed by \u003ca href=\"http://www.nytimes.com/2016/09/26/arts/review-as-amy-schumer-evolves-so-does-her-arena-show.html?smid=tw-nytimes&smtyp=cur\" target=\"_blank\" rel=\"noopener\">\u003cem>The New York Times\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“It’s been an insane year,” Schumer is quoted as saying onstage. “I’ve gotten very rich, famous and humble.”\u003c/p>\n\u003cp>\u003cem>Forbes\u003c/em>‘ rankings require concert sales to account for most of the stars’ revenue from one summer to the next. But both Schumer and Hart are also cashing checks from Comedy Central — in her case for \u003cem>Inside Amy Schumer\u003c/em>, which will see its fifth season next year, and in his case for \u003cem>Hart of the City\u003c/em>, a new show about comedy on the road that’s set to debut Sunday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With Seinfeld in the second spot, the \u003cem>Forbes\u003c/em> top five also includes Terry Fator at No. 3 with $21 million — due to his successful career in Las Vegas — followed by Schumer. At No. 5 is Jeff Dunham, with $13.5 million.\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=Kevin+Hart+And+Amy+Schumer%3A+The+New+King+And+Queen+Of+Comedy+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Rolling Stone' Sells Minority Share of Magazine to Singapore Entrepreneur",
"headTitle": "‘Rolling Stone’ Sells Minority Share of Magazine to Singapore Entrepreneur | KQED",
"content": "\u003cp>The founder of \u003cem>Rolling Stone\u003c/em> is selling a minority share of the fabled magazine to a Singapore-based social media entrepreneur, the first time an outside investor has been allowed to buy into the property.\u003c/p>\n\u003cp>Several media reports say Jann Wenner has decided to sell 49 percent of the magazine, as well as its digital assets, to BandLab Technologies, a social-networking site for musicians and fans.\u003c/p>\n\u003cp>The sale will not involve \u003cem>Rolling Stone\u003c/em>‘s parent company, Wenner Media LLC, and Wenner will retain control of the magazine, \u003ca href=\"http://www.wsj.com/articles/rolling-stone-magazine-sells-49-stake-to-singapores-bandlab-technologies-1474812182\" target=\"_blank\" rel=\"noopener\">The Wall Street Journal reports\u003c/a>. Instead, BandLab “will oversee a new Rolling Stone International subsidiary, which will develop live events, merchandising and hospitality,” \u003ca href=\"http://www.bloomberg.com/news/articles/2016-09-25/jann-wenner-to-sell-49-of-rolling-stone-to-singapore-s-bandlab\" target=\"_blank\" rel=\"noopener\">Bloomberg reports\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12121763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Jann-Wenner-800x450.jpg\" alt=\"Jann Wenner speaks onstage during the 30th Annual Rock And Roll Hall Of Fame Induction Ceremony at Public Hall on April 18, 2015 in Cleveland, Ohio. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-12121763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jann Wenner speaks onstage during the 30th Annual Rock And Roll Hall Of Fame Induction Ceremony at Public Hall on April 18, 2015 in Cleveland, Ohio. \u003ccite>(Photo: Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The sale comes at a time when \u003cem>Rolling Stone\u003c/em>, like virtually every publication, has seen its revenues slip and its subscriber base shrink. It also suffered a major blow to its reputation when it published an article about a purported gang rape at a University of Virginia fraternity that turned out to be a hoax.\u003c/p>\n\u003cp>Under Wenner’s son, Gus, the magazine has pursued an aggressive digital strategy, Bloomberg reports:\u003c/p>\n\u003cblockquote>\n\u003cp>“Rolling Stone currently reaches a global audience of 65 million people, according to the company. That includes 22 million domestic digital monthly users, almost 18 million social fans and followers, and nearly 12 million readers of the U.S. print publication. The average monthly unique visitors to its \u003ca href=\"http://www.RollingStone.com\" target=\"_blank\" data-tracker-action=\"click\" data-tracker-category=\"nav\" data-tracker-label=\"inline_link.05\" rel=\"noopener\">website\u003c/a> rose almost 40 percent in the first half of this year from a year earlier. It publishes 12 international editions in countries including Australia, Indonesia and Japan.”\u003c/p>\n\u003c/blockquote>\n\u003cp>“Everyone is trying to figure out the new business model,” said Gus Wenner, in an interview with the \u003cem>Wall Street Journal\u003c/em>. He runs digital operations at Wenner Media and also oversees ad sales, marketing and digital editorial across the company.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We have the quality that most matters, a brand that means something to people and elicits an emotional response,” said Wenner, the son of Jann Wenner, who founded the magazine in 1967.\u003c/p>\n\u003cp>BandLab was founded by Kuok Meng Ru, the son of agribusiness billionaire Kuok Khoon Hong. It is funded by private investors, including Kuok’s father.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What has happened last 49 years has already shown that \u003cem>Rolling Stone\u003c/em> is more than a brand to people,” Kuok said in a \u003cem>Bloomberg\u003c/em> interview. “It is now our shared responsibility to take it into the future.” \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=%27Rolling+Stone%27+Sells+Minority+Share+Of+Magazine+To+Singapore+Entrepreneur&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The founder of \u003cem>Rolling Stone\u003c/em> is selling a minority share of the fabled magazine to a Singapore-based social media entrepreneur, the first time an outside investor has been allowed to buy into the property.\u003c/p>\n\u003cp>Several media reports say Jann Wenner has decided to sell 49 percent of the magazine, as well as its digital assets, to BandLab Technologies, a social-networking site for musicians and fans.\u003c/p>\n\u003cp>The sale will not involve \u003cem>Rolling Stone\u003c/em>‘s parent company, Wenner Media LLC, and Wenner will retain control of the magazine, \u003ca href=\"http://www.wsj.com/articles/rolling-stone-magazine-sells-49-stake-to-singapores-bandlab-technologies-1474812182\" target=\"_blank\" rel=\"noopener\">The Wall Street Journal reports\u003c/a>. Instead, BandLab “will oversee a new Rolling Stone International subsidiary, which will develop live events, merchandising and hospitality,” \u003ca href=\"http://www.bloomberg.com/news/articles/2016-09-25/jann-wenner-to-sell-49-of-rolling-stone-to-singapore-s-bandlab\" target=\"_blank\" rel=\"noopener\">Bloomberg reports\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12121763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Jann-Wenner-800x450.jpg\" alt=\"Jann Wenner speaks onstage during the 30th Annual Rock And Roll Hall Of Fame Induction Ceremony at Public Hall on April 18, 2015 in Cleveland, Ohio. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-12121763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jann Wenner speaks onstage during the 30th Annual Rock And Roll Hall Of Fame Induction Ceremony at Public Hall on April 18, 2015 in Cleveland, Ohio. \u003ccite>(Photo: Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The sale comes at a time when \u003cem>Rolling Stone\u003c/em>, like virtually every publication, has seen its revenues slip and its subscriber base shrink. It also suffered a major blow to its reputation when it published an article about a purported gang rape at a University of Virginia fraternity that turned out to be a hoax.\u003c/p>\n\u003cp>Under Wenner’s son, Gus, the magazine has pursued an aggressive digital strategy, Bloomberg reports:\u003c/p>\n\u003cblockquote>\n\u003cp>“Rolling Stone currently reaches a global audience of 65 million people, according to the company. That includes 22 million domestic digital monthly users, almost 18 million social fans and followers, and nearly 12 million readers of the U.S. print publication. The average monthly unique visitors to its \u003ca href=\"http://www.RollingStone.com\" target=\"_blank\" data-tracker-action=\"click\" data-tracker-category=\"nav\" data-tracker-label=\"inline_link.05\" rel=\"noopener\">website\u003c/a> rose almost 40 percent in the first half of this year from a year earlier. It publishes 12 international editions in countries including Australia, Indonesia and Japan.”\u003c/p>\n\u003c/blockquote>\n\u003cp>“Everyone is trying to figure out the new business model,” said Gus Wenner, in an interview with the \u003cem>Wall Street Journal\u003c/em>. He runs digital operations at Wenner Media and also oversees ad sales, marketing and digital editorial across the company.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We have the quality that most matters, a brand that means something to people and elicits an emotional response,” said Wenner, the son of Jann Wenner, who founded the magazine in 1967.\u003c/p>\n\u003cp>BandLab was founded by Kuok Meng Ru, the son of agribusiness billionaire Kuok Khoon Hong. It is funded by private investors, including Kuok’s father.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What has happened last 49 years has already shown that \u003cem>Rolling Stone\u003c/em> is more than a brand to people,” Kuok said in a \u003cem>Bloomberg\u003c/em> interview. “It is now our shared responsibility to take it into the future.” \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=%27Rolling+Stone%27+Sells+Minority+Share+Of+Magazine+To+Singapore+Entrepreneur&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the 1960s, Choi Eun Hee and Shin Sang Ok were South Korean cinema’s first couple. She was a movie star, he was an acclaimed director, and life with their two young children was considered glamorous. Then things got complicated.\u003c/p>\n\u003cp>Shin had two kids with a younger actress, and his financially struggling production company was shuttered by the government. He and Choi divorced, and in 1978 the actress vanished. Later the same year, Shin also disappeared.\u003c/p>\n\u003cp>Next stop, North Korea. Choi was kidnapped from Hong Kong on the orders of dictator-in-waiting Kim Jong Il, a movie buff who hoped his country’s films could become more mainstream and entertaining.\u003c/p>\n\u003cp>Shin was also snatched from Hong Kong, it seems, although his story is murkier. \u003cem>The Lovers and the Despot\u003c/em>, British filmmakers Rob Cannan and Ross Adam’s documentary, capably recounts the main facts of the case, but doesn’t illuminate its darker corners.\u003c/p>\n\u003cp>For those unfamiliar with Choi and Shin, this is a lively introduction. The film follows the abductees to Pyongyang, where they eventually became a couple again. The movies they made in the North are largely unknown elsewhere, but one has become something of a cult item: \u003cem>Pulgasari\u003c/em> is a \u003cem>Godzilla\u003c/em>-like flick about a monster that grows bigger from eating iron. It’s anti-war and anti-authoritarian, Shin has said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Choi and Shin became members of Kim Jong Il’s inner circle, although the actress initially had an easier time than her ex-husband, who spent more than four years in a prison where grass was a large part of his diet. (Kim Jong Il told Shin his jailing was a “misunderstanding.”)\u003c/p>\n\u003cp>The two captives were allowed to travel for film festivals. That enabled them in 1986 to visit Vienna, where they made a sprint for the American Embassy.\u003c/p>\n\u003cp>They came to the U.S. bearing gifts: Choi had secretly taped conversations with Kim Jong Il, a man who didn’t deliver public speeches. The West’s North Korea-watchers had never even heard his voice. Now \u003cem>The Lovers and the Despot\u003c/em>‘s viewers can hear it, too.\u003c/p>\n\u003cp>The couple landed in Hollywood, where Shin directed one and produced four movies in the \u003cem>Three Ninjas\u003c/em> kiddie-action series, under the name Simon S. Sheen. Then came a return to South Korea, where Choi still lives. Shin died in 2006.\u003c/p>\n\u003cp>Although Cannan and Adam filmed re-enactments of some real-life spy-movie moments, they rely on primary sources wherever possible. The couple’s adult children are interviewed, and the movie relies heavily on Choi, who’s now 89.\u003c/p>\n\u003cp>Her recollections aren’t second-guessed, even when she says that in North Korea Shin made 17 movies in less than 2 1/2 years. When I interviewed Shin in 2005, he said there were seven, which is the generally accepted number.\u003c/p>\n\u003cp>Perhaps because the filmmakers couldn’t interview Shin, the movie doesn’t attempt to untangle his knotty story. Many Koreans doubted he had been kidnapped, although that was based largely on circumstantial suspicions of disloyalty: Shin was born in what became North Korea, and studied in 1940s Japan, when Korea was a Japanese colony. He was an admirer of postwar Japanese films, which were banned in South Korea.\u003c/p>\n\u003cp>In 1978, South Korea was not a democratic country, and some of Shin’s problems there were political. When he disappeared, the KCIA (what is now known as South Korea’s National Intelligence Service) was a suspect. Still, there’s no evidence that Shin went voluntarily to the North.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If Shin remains something of missing person in \u003cem>The Lovers and the Despot\u003c/em>, it’s apt that the film focuses on Choi. She was an actress, after all, and the film suggests that successfully playing the role of Kim Jong Il’s pal was the role of her lifetime. \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=A+Korean+Celebrity+Couple+Kidnapped+By+Kim+Jong+Il%3A+%27The+Lovers+And+The+Despot%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>Terry Jones, one of the founding members of comedy troupe Monty Python, has been diagnosed with dementia.\u003c/p>\n\u003cp>In a statement released by Britain’s film academy, a representative says the 74-year-old has primary progressive aphasia, which erodes the ability to use language. As a result, Jones can no longer give interviews.\u003c/p>\n\u003cp>News of Jones’ illness came in a statement announcing he is to receive an award for outstanding contribution to film and television from the academy’s Welsh branch.\u003c/p>\n\u003cp>In the late 1960s Jones, John Cleese, Michael Palin, Eric Idle, Terry Gilliam and the late Graham Chapman formed the surreal and anarchic \u003cem>Monty Python’s Flying Circus\u003c/em>.\u003c/p>\n\u003cp>Jones directed the Python films \u003cem>Life Of Brian\u003c/em> and \u003cem>Monty Python’s The Meaning Of Life\u003c/em>. With Gilliam, he co-directed \u003cem>Monty Python and The Holy Grail\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
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"source": "Commonwealth Club of California"
},
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"title": "Forum",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
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"source": "WNYC"
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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