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"content": "\u003cp>Hollywood voice double Marni Nixon, whose singing was heard in place of the leading actresses in such classic movie musicals as \u003cem>West Side Story\u003c/em>, \u003cem>The King and I\u003c/em> and \u003cem>My Fair Lady\u003c/em>, has died. She was 86.\u003c/p>\n\u003cp>Michael Kirsten, senior vice president of Nixon’s talent agency, Harden-Curtis Associates, said she died Sunday of cancer in New York. “She passed away peacefully with her family at her side,” he said.\u003c/p>\n\u003cp>Nixon, who was initially uncredited for her work, early on resented the dubbing work but later came to terms with it. “I realized now that this was something that would outlive me. Something that would last,” she wrote in her 2006 memoir, \u003cem>I Could Have Sung All Night\u003c/em>.\u003c/p>\n\u003cp>In the heyday of the Hollywood musical, studios often paid big money for film rights to hit Broadway shows, then cast them with popular non-singing actors and actresses.\u003c/p>\n\u003cp>Such was the case with the 1956 hit \u003cem>The King and I\u003c/em>, in which filmmakers dubbed Deborah Kerr’s voice with Nixon’s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was brought in and had to follow along with her, getting her diction and acting style,” Nixon recalled in 2004. “She in turn would study how I looked when I hit the high notes.”\u003c/p>\n\u003cp>Nixon did the same for Natalie Wood in 1961’s \u003cem>West Side Story\u003c/em> and Audrey Hepburn in 1964’s \u003cem>My Fair Lady\u003c/em>, which had starred Julie Andrews onstage. Earlier, she added a few notes to Marilyn Monroe’s \u003cem>Diamonds Are a Girl’s Best Friend\u003c/em>, from \u003cem>Gentlemen Prefer Blondes\u003c/em>.\u003c/p>\n\u003cp>She went uncredited in the films and on their soundtrack albums and was warned by the filmmakers that if she ever let it be known that she was doing the singing, “they would run me out of town.”\u003c/p>\n\u003cp>Word began to leak out, however, and Kerr herself blew Nixon’s cover when she praised her work on \u003cem>The King and I\u003c/em>. By the late 1960s, The Hollywood Reporter was joking that “they found out who was doing (talking horse) Mr. Ed’s voice on the television show; it was Marni Nixon’s horse.”\u003c/p>\n\u003cp>Nixon also appeared before the cameras in 1965, in a small role as a nun in \u003cem>The Sound of Music\u003c/em>, and provided the singing voice of Grandmother Fa in the 1998 animated film \u003cem>Mulan\u003c/em>.\u003c/p>\n\u003cp>As the era of big, traditional movie musicals dried up, though, so did Nixon’s film career. But she kept busy with other work, including starring in her own children’s TV show, singing opera, soloing with symphony orchestras, appearing in a road tour of \u003cem>Cabaret\u003c/em> and teaching at the California Institute of the Arts.\u003c/p>\n\u003cp>In her later years, she was also popular at nostalgia festivals, where she told audiences, “I allowed all these actresses to dub their bodies to my voice.”\u003c/p>\n\u003cp>She had landed her role in \u003cem>West Side Story\u003c/em> after Wood’s voice proved inadequate for the challenging Leonard Bernstein score. She prepared for it by studying Wood singing the role of Maria before the cameras — and had to then face the exacting task of getting her singing to match Wood’s on-screen lip movements.\u003c/p>\n\u003cp>Hepburn, who had memorably sung “Moon River” in \u003cem>Breakfast at Tiffany’s\u003c/em>, had campaigned to do her own singing as Eliza Doolittle in \u003cem>My Fair Lady\u003c/em>.\u003c/p>\n\u003cp>She was able to handle the film’s early cockney-accented songs like “Wouldn’t It Be Loverly,” but Nixon — again carefully matching Hepburn’s vocal style — had to be called in for such soaring melodies as “I Could Have Danced All Night.”\u003c/p>\n\u003cp>Both Wood and Hepburn, Nixon wrote, worked hard to learn the songs, and their singing was recorded in hopes that Nixon’s voice would be needed only to fill in on difficult passages. But that was not to be.\u003c/p>\n\u003cp>“I heard later that Natalie Wood was very upset and felt betrayed by the powers that be,” Nixon wrote. As for Hepburn, “determined as she was, her vocals were not used.”\u003c/p>\n\u003cp>Nixon recalled that after getting no royalties from the big-selling \u003cem>The King and I\u003c/em> soundtrack album, she and her manager fought for better treatment for \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cp>After some haggling, she wrote, Bernstein made the “incredibly generous gesture” of giving up a sliver of his royalty share. It amounted to a major payday for her, given the album’s huge sales.\u003c/p>\n\u003cp>She recalled she also had a small credit as “soprano soloist” — but no royalty — on the soundtrack recording of Kerr’s 1957 \u003cem>An Affair to Remember\u003c/em>. The film isn’t a musical, but Kerr’s character is a nightclub singer.\u003c/p>\n\u003cp>Nixon was born Margaret Nixon McEathron in 1930 in Altadena, Calif. The nickname Marni came from the first letters of her first and middle names.\u003c/p>\n\u003cp>She took up the violin as a child and later studied voice. Her first dubbing job was for young Margaret O’Brien in the 1949 film \u003cem>The Secret Garden\u003c/em>.\u003c/p>\n\u003cp>Onstage, she made her Broadway debut in 1954 in \u003cem>The Girl in Pink Tights\u003c/em>, and was in the 2001 revival of \u003cem>Follies\u003c/em> and the 2003 revival of \u003cem>Nine\u003c/em>. She toured with \u003cem>My Fair Lady\u003c/em> in 2007.\u003c/p>\n\u003cp>Nixon was married to film composer-conductor Ernest Gold, Oscar winner for \u003cem>Exodus\u003c/em>, from 1950 to 1969. A second marriage, to Dr. Lajos Fenster, in 1971 also ended in divorce. Nixon married flutist Albert Block in 1983.\u003c/p>\n\u003cp>Her son, Andrew Gold, was a rock musician who arranged music for Linda Ronstadt and had a top 10 hit in 1977 with “Lonely Boy.” He died in 2011. She also had two daughters with her first husband, Martha and Melani.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Biographical material in this story was written by The Associated Press’ late Hollywood correspondent Bob Thomas.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was brought in and had to follow along with her, getting her diction and acting style,” Nixon recalled in 2004. “She in turn would study how I looked when I hit the high notes.”\u003c/p>\n\u003cp>Nixon did the same for Natalie Wood in 1961’s \u003cem>West Side Story\u003c/em> and Audrey Hepburn in 1964’s \u003cem>My Fair Lady\u003c/em>, which had starred Julie Andrews onstage. Earlier, she added a few notes to Marilyn Monroe’s \u003cem>Diamonds Are a Girl’s Best Friend\u003c/em>, from \u003cem>Gentlemen Prefer Blondes\u003c/em>.\u003c/p>\n\u003cp>She went uncredited in the films and on their soundtrack albums and was warned by the filmmakers that if she ever let it be known that she was doing the singing, “they would run me out of town.”\u003c/p>\n\u003cp>Word began to leak out, however, and Kerr herself blew Nixon’s cover when she praised her work on \u003cem>The King and I\u003c/em>. By the late 1960s, The Hollywood Reporter was joking that “they found out who was doing (talking horse) Mr. Ed’s voice on the television show; it was Marni Nixon’s horse.”\u003c/p>\n\u003cp>Nixon also appeared before the cameras in 1965, in a small role as a nun in \u003cem>The Sound of Music\u003c/em>, and provided the singing voice of Grandmother Fa in the 1998 animated film \u003cem>Mulan\u003c/em>.\u003c/p>\n\u003cp>As the era of big, traditional movie musicals dried up, though, so did Nixon’s film career. But she kept busy with other work, including starring in her own children’s TV show, singing opera, soloing with symphony orchestras, appearing in a road tour of \u003cem>Cabaret\u003c/em> and teaching at the California Institute of the Arts.\u003c/p>\n\u003cp>In her later years, she was also popular at nostalgia festivals, where she told audiences, “I allowed all these actresses to dub their bodies to my voice.”\u003c/p>\n\u003cp>She had landed her role in \u003cem>West Side Story\u003c/em> after Wood’s voice proved inadequate for the challenging Leonard Bernstein score. She prepared for it by studying Wood singing the role of Maria before the cameras — and had to then face the exacting task of getting her singing to match Wood’s on-screen lip movements.\u003c/p>\n\u003cp>Hepburn, who had memorably sung “Moon River” in \u003cem>Breakfast at Tiffany’s\u003c/em>, had campaigned to do her own singing as Eliza Doolittle in \u003cem>My Fair Lady\u003c/em>.\u003c/p>\n\u003cp>She was able to handle the film’s early cockney-accented songs like “Wouldn’t It Be Loverly,” but Nixon — again carefully matching Hepburn’s vocal style — had to be called in for such soaring melodies as “I Could Have Danced All Night.”\u003c/p>\n\u003cp>Both Wood and Hepburn, Nixon wrote, worked hard to learn the songs, and their singing was recorded in hopes that Nixon’s voice would be needed only to fill in on difficult passages. But that was not to be.\u003c/p>\n\u003cp>“I heard later that Natalie Wood was very upset and felt betrayed by the powers that be,” Nixon wrote. 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"headTitle": "Now Playing! True Crime at the Roxie, an Embarrassment of Riches at BAMPFA | KQED",
"content": "\u003cp>\u003ci>Leave the computer screen behind and venture into Bay Area theaters this week with silver screen recommendations from our film critic Michael Fox.\u003c/i>\u003c/p>\n\u003ch3>\u003ci>\u003ca href=\"http://www.roxie.com/ai1ec_event/the-witness/?instance_id=14004\" target=\"_blank\" rel=\"noopener\">The Witness\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>Opens Friday, July 29\u003cbr>\nRoxie, San Francisco\u003c/h5>\n\u003cp>Armchair aficionados of criminal justice — and there are more of us every day judging from the ratings for the nonfiction series \u003ci>Making a Murderer\u003c/i> and the spiraling number of British detective shows on PBS — may be the most enthusiastic audience for \u003cem>The Witness\u003c/em>. James Solomon’s uneven but ultimately unnerving documentary follows dogged Vietnam vet Bill Genovese as he seeks to unearth the 50-year-old truth about a murder, its investigation and the media coverage. It would seem to be the archetypal cold case and nothing more—unless you’re of a certain age and that last name struck a chord.\u003c/p>\n\u003cfigure id=\"attachment_11855955\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Witness640.jpg\" alt=\"Kitty Genovese photographed circa 1956. Photo from June Murley.\" width=\"640\" height=\"633\" class=\"size-full wp-image-11855955\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Witness640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Witness640-400x396.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Witness640-607x600.jpg 607w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Witness640-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Witness640-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Witness640-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Witness640-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Witness640-128x128.jpg 128w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kitty Genovese photographed circa 1956. Photo from June Murley. \u003ccite>(Courtesy of The Witnesses Film, LLC.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The late-night stabbing of Kitty Genovese on a Queens street in 1964, reportedly while dozens of people in nearby apartments closed their eyes and ears to her distress, became an emblem of the anonymity and indifference of big-city dwellers. (Residents of small towns, rural communities and polite suburbs came to adopt a superior attitude. Perhaps that’s why \u003ci>Blue Velvet\u003c/i> was so shocking. But I digress.) \u003c/p>\n\u003cp>Bill Genovese’s search for witnesses turns up some fascinating details of his sister’s character and sexuality, as well as the degree to which \u003ci>The New York Times\u003c/i> and respected editor A.M. Rosenthal printed and promoted the legend, not the fact. (\u003ci>The Witness\u003c/i> doesn’t reference it, but the \u003ci>Times\u003c/i> did revisit its initially flawed coverage several years ago.)\u003c/p>\n\u003cp>The first half of \u003cem>The Witness\u003c/em> is powerful and riveting until the filmmaker and Genovese make the miscalculation of soliciting the murderer’s participation. Even more bizarre, though, is Genovese’s hiring of an actress to reenact Kitty’s wee-hours path — and screams — in a kind of masochistic exorcism. \u003cem>The Witness\u003c/em>, opening Friday, July 29 for a week at the Roxie, provokes conversation despite and because of its flaws.\u003c/p>\n\u003cfigure id=\"attachment_11855956\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/RussianArk1200.jpg\" alt=\"Still from 'Russian Ark.'\" width=\"1200\" height=\"677\" class=\"size-full wp-image-11855956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RussianArk1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RussianArk1200-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RussianArk1200-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RussianArk1200-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RussianArk1200-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RussianArk1200-960x542.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Russian Ark.’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Also…\u003c/h3>\n\u003cp>If you haven’t visited the \u003ca href=\"http://bampfa.org/\" target=\"_blank\" rel=\"noopener\">Pacific Film Archive\u003c/a> since it moved (with the Berkeley Art Museum) to its new downtown location in January, why not? This week, beginning with film scholar extraordinaire and local treasure David Thomson introducing Billy Wilder’s \u003cem>\u003ca href=\"http://bampfa.org/event/sunset-blvd-1\" target=\"_blank\" rel=\"noopener\">Sunset Boulevard\u003c/a>\u003c/em> (July 27) as part of a series entitled “\u003ca href=\"http://bampfa.org/program/vienna-and-movies\" target=\"_blank\" rel=\"noopener\">Vienna and the Movies\u003c/a>,” has more peaks than the Alps. \u003c/p>\n\u003cfigure id=\"attachment_11855959\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Rijksmuseum1200.jpg\" alt=\"Still from 'The New Rijksmuseum.'\" width=\"1200\" height=\"673\" class=\"size-full wp-image-11855959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rijksmuseum1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rijksmuseum1200-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rijksmuseum1200-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rijksmuseum1200-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rijksmuseum1200-1180x662.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rijksmuseum1200-960x538.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The New Rijksmuseum.’ \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The “\u003ca href=\"http://bampfa.org/program/guided-tour-museums-cinema\" target=\"_blank\" rel=\"noopener\">Guided Tour: Museums in Cinema\u003c/a>” series continues with the recent Dutch doc \u003cem>\u003ca href=\"http://bampfa.org/event/new-rijksmuseum\" target=\"_blank\" rel=\"noopener\">The New Rijksmuseum\u003c/a>\u003c/em> (July 28) and Aleksandr Sokurov’s breathtakingly ambitious \u003cem>\u003ca href=\"http://bampfa.org/event/russian-ark\" target=\"_blank\" rel=\"noopener\">Russian Ark\u003c/a>\u003c/em> (July 30 and 31), while the “\u003ca href=\"http://bampfa.org/program/hitchcocktruffaut\" target=\"_blank\" rel=\"noopener\">Hitchcock/Truffaut\u003c/a>” series is represented by Francois’ exquisite \u003cem>\u003ca href=\"http://bampfa.org/event/shoot-piano-player-5\" target=\"_blank\" rel=\"noopener\">Shoot the Piano Player\u003c/a>\u003c/em> (July 29) and \u003cem>\u003ca href=\"http://bampfa.org/event/bride-wore-black-1\" target=\"_blank\" rel=\"noopener\">The Bride Wore Black\u003c/a>\u003c/em> (July 31). \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Wait, there’s more: The musical travelogue \u003cem>\u003ca href=\"http://bampfa.org/event/buena-vista-social-club\" target=\"_blank\" rel=\"noopener\">Buena Vista Social Club\u003c/a>\u003c/em> (July 30) concludes a Wim Wenders retrospective, while “Vienna and the Movies” presents an archival print of Max Ophuls’s elegant 1932 evocation of love and memory, \u003cem>\u003ca href=\"http://bampfa.org/event/liebelei-5\" target=\"_blank\" rel=\"noopener\">Liebelei\u003c/a>\u003c/em> (July 29). To paraphrase Martin Scorsese’s appreciation of Sam Fuller, if you don’t like anything at the PFA this week, you don’t like cinema.\u003c/p>\n\n",
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"excerpt": "Kitty Genovese's brother tracks down the true story of her infamous murder in the Roxie's 'The Witness.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Leave the computer screen behind and venture into Bay Area theaters this week with silver screen recommendations from our film critic Michael Fox.\u003c/i>\u003c/p>\n\u003ch3>\u003ci>\u003ca href=\"http://www.roxie.com/ai1ec_event/the-witness/?instance_id=14004\" target=\"_blank\" rel=\"noopener\">The Witness\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>Opens Friday, July 29\u003cbr>\nRoxie, San Francisco\u003c/h5>\n\u003cp>Armchair aficionados of criminal justice — and there are more of us every day judging from the ratings for the nonfiction series \u003ci>Making a Murderer\u003c/i> and the spiraling number of British detective shows on PBS — may be the most enthusiastic audience for \u003cem>The Witness\u003c/em>. James Solomon’s uneven but ultimately unnerving documentary follows dogged Vietnam vet Bill Genovese as he seeks to unearth the 50-year-old truth about a murder, its investigation and the media coverage. It would seem to be the archetypal cold case and nothing more—unless you’re of a certain age and that last name struck a chord.\u003c/p>\n\u003cfigure id=\"attachment_11855955\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Witness640.jpg\" alt=\"Kitty Genovese photographed circa 1956. Photo from June Murley.\" width=\"640\" height=\"633\" class=\"size-full wp-image-11855955\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Witness640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Witness640-400x396.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Witness640-607x600.jpg 607w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Witness640-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Witness640-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Witness640-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Witness640-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Witness640-128x128.jpg 128w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kitty Genovese photographed circa 1956. Photo from June Murley. \u003ccite>(Courtesy of The Witnesses Film, LLC.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The late-night stabbing of Kitty Genovese on a Queens street in 1964, reportedly while dozens of people in nearby apartments closed their eyes and ears to her distress, became an emblem of the anonymity and indifference of big-city dwellers. (Residents of small towns, rural communities and polite suburbs came to adopt a superior attitude. Perhaps that’s why \u003ci>Blue Velvet\u003c/i> was so shocking. But I digress.) \u003c/p>\n\u003cp>Bill Genovese’s search for witnesses turns up some fascinating details of his sister’s character and sexuality, as well as the degree to which \u003ci>The New York Times\u003c/i> and respected editor A.M. Rosenthal printed and promoted the legend, not the fact. (\u003ci>The Witness\u003c/i> doesn’t reference it, but the \u003ci>Times\u003c/i> did revisit its initially flawed coverage several years ago.)\u003c/p>\n\u003cp>The first half of \u003cem>The Witness\u003c/em> is powerful and riveting until the filmmaker and Genovese make the miscalculation of soliciting the murderer’s participation. Even more bizarre, though, is Genovese’s hiring of an actress to reenact Kitty’s wee-hours path — and screams — in a kind of masochistic exorcism. \u003cem>The Witness\u003c/em>, opening Friday, July 29 for a week at the Roxie, provokes conversation despite and because of its flaws.\u003c/p>\n\u003cfigure id=\"attachment_11855956\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/RussianArk1200.jpg\" alt=\"Still from 'Russian Ark.'\" width=\"1200\" height=\"677\" class=\"size-full wp-image-11855956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RussianArk1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RussianArk1200-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RussianArk1200-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RussianArk1200-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RussianArk1200-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RussianArk1200-960x542.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Russian Ark.’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Also…\u003c/h3>\n\u003cp>If you haven’t visited the \u003ca href=\"http://bampfa.org/\" target=\"_blank\" rel=\"noopener\">Pacific Film Archive\u003c/a> since it moved (with the Berkeley Art Museum) to its new downtown location in January, why not? This week, beginning with film scholar extraordinaire and local treasure David Thomson introducing Billy Wilder’s \u003cem>\u003ca href=\"http://bampfa.org/event/sunset-blvd-1\" target=\"_blank\" rel=\"noopener\">Sunset Boulevard\u003c/a>\u003c/em> (July 27) as part of a series entitled “\u003ca href=\"http://bampfa.org/program/vienna-and-movies\" target=\"_blank\" rel=\"noopener\">Vienna and the Movies\u003c/a>,” has more peaks than the Alps. \u003c/p>\n\u003cfigure id=\"attachment_11855959\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Rijksmuseum1200.jpg\" alt=\"Still from 'The New Rijksmuseum.'\" width=\"1200\" height=\"673\" class=\"size-full wp-image-11855959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rijksmuseum1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rijksmuseum1200-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rijksmuseum1200-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rijksmuseum1200-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rijksmuseum1200-1180x662.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rijksmuseum1200-960x538.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The New Rijksmuseum.’ \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The “\u003ca href=\"http://bampfa.org/program/guided-tour-museums-cinema\" target=\"_blank\" rel=\"noopener\">Guided Tour: Museums in Cinema\u003c/a>” series continues with the recent Dutch doc \u003cem>\u003ca href=\"http://bampfa.org/event/new-rijksmuseum\" target=\"_blank\" rel=\"noopener\">The New Rijksmuseum\u003c/a>\u003c/em> (July 28) and Aleksandr Sokurov’s breathtakingly ambitious \u003cem>\u003ca href=\"http://bampfa.org/event/russian-ark\" target=\"_blank\" rel=\"noopener\">Russian Ark\u003c/a>\u003c/em> (July 30 and 31), while the “\u003ca href=\"http://bampfa.org/program/hitchcocktruffaut\" target=\"_blank\" rel=\"noopener\">Hitchcock/Truffaut\u003c/a>” series is represented by Francois’ exquisite \u003cem>\u003ca href=\"http://bampfa.org/event/shoot-piano-player-5\" target=\"_blank\" rel=\"noopener\">Shoot the Piano Player\u003c/a>\u003c/em> (July 29) and \u003cem>\u003ca href=\"http://bampfa.org/event/bride-wore-black-1\" target=\"_blank\" rel=\"noopener\">The Bride Wore Black\u003c/a>\u003c/em> (July 31). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Wait, there’s more: The musical travelogue \u003cem>\u003ca href=\"http://bampfa.org/event/buena-vista-social-club\" target=\"_blank\" rel=\"noopener\">Buena Vista Social Club\u003c/a>\u003c/em> (July 30) concludes a Wim Wenders retrospective, while “Vienna and the Movies” presents an archival print of Max Ophuls’s elegant 1932 evocation of love and memory, \u003cem>\u003ca href=\"http://bampfa.org/event/liebelei-5\" target=\"_blank\" rel=\"noopener\">Liebelei\u003c/a>\u003c/em> (July 29). To paraphrase Martin Scorsese’s appreciation of Sam Fuller, if you don’t like anything at the PFA this week, you don’t like cinema.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "turns-out-fighting-fat-shaming-and-racist-trolls-is-also-a-ghostbusters-job",
"title": "Turns Out, Fighting Fat Shaming and Racist Trolls is Also a Ghostbuster's Job",
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"headTitle": "Turns Out, Fighting Fat Shaming and Racist Trolls is Also a Ghostbuster’s Job | KQED",
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"content": "\u003cp>She’s back.\u003c/p>\n\u003cp>Earlier this week actor and comedian Leslie Jones decided she’d had enough of Twitter trolls targeting her because she dared to co-star in a reboot of the 1984 film, \u003cem>Ghostbusters\u003c/em>.\u003c/p>\n\u003cp>She was tired of being called ugly and savage, and being compared to gorillas and apes.\u003c/p>\n\u003cp>She was tired of being called a coon.\u003c/p>\n\u003cp>She’d had enough. She was tired.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/Lesdoggg/status/755261962674696192\u003c/p>\n\u003cp>So \u003ca href=\"http://www.slate.com/blogs/browbeat/2016/07/19/leslie_jones_tweets_were_a_powerful_response_to_an_insane_torrent_of_hate.html\" target=\"_blank\" rel=\"noopener\">Leslie retweeted screenshots\u003c/a> of some of the racist and sexist tweets piled up in her Twitter mentions, then she threw up two fingas and peace’d out.\u003c/p>\n\u003cp>https://twitter.com/Lesdoggg/status/755271004520349698\u003c/p>\n\u003cp>And, it’s a shame. A shame that she couldn’t be in the world — just exist — minding her own business, entertaining fans and pursuing her craft, without having all that hate hurled at her via social media.\u003c/p>\n\u003cp>Two days later, Jones returned, encouraged by the support she had received and also admitting she was unable to resist the pull of the platform.\u003c/p>\n\u003cp>https://twitter.com/Lesdoggg/status/756224822879846400\u003c/p>\n\u003cp>Still, I get why Leslie initially shut it down and walked away.\u003c/p>\n\u003cp>I am fat. I have been fat for much of my life (I was on my first diet at 5), give or take a few years in college and 2013 when I lost more than 50 pounds by white knuckling it through a low-carb, high deprivation diet (I gained that weight back).\u003c/p>\n\u003cp>Needless to say, neither I nor Leslie fit the mainstream beauty ideal: thin body, fair skin, long, straight, blonde hair. And that’s OK.\u003c/p>\n\u003cp>But it’s one thing to not fit the beauty ideal — because, hey, work what your mama gave you and all that — and it’s something else to have a constant stream of vitriol coming at you attacking how you look. That’s enough to shake someone with even the highest self-esteem. I know if I opened my Twitter account and saw my mentions filled with that kind of hate, it would hurt (and writing this I am likely opening myself up to it. Sigh).\u003c/p>\n\u003cp>Once Leslie rang the alarm, many people \u003ca href=\"https://twitter.com/hashtag/LoveforLeslieJ?src=hash&ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener\">tweeted their support\u003c/a>, including Vanessa De Luca, editor-in-chief of the African-American fashion, lifestyle and beauty magazine \u003ca href=\"http://www.essence.com/\" target=\"_blank\" rel=\"noopener\">Essence\u003c/a>, actor Kerry Washington, and Bernice King, daughter of Martin Luther King Jr.\u003c/p>\n\u003cp>https://twitter.com/Vanessa_KDeLuca/status/755825219852443648\u003c/p>\n\u003cp>https://twitter.com/BerniceKing/status/755799284927172608\u003c/p>\n\u003cp>https://twitter.com/kerrywashington/status/755611187270721536\u003c/p>\n\u003cp>In the wake of all this, Twitter \u003ca href=\"https://ww2.kqed.org/pop/2016/07/21/internet-tantrum-of-the-week-why-freemilo-is-kinda-funny-but-really-important/\" target=\"_blank\" rel=\"noopener\">permanently suspended the account of Milo Yiannopoulos\u003c/a>, a conservative commentator, for his role in what they say was a campaign to target Leslie with abusive tweets. Yiannopoulos says he did nothing wrong and that “Twitter’s permanent suspension of my account makes a mockery of their claims to be a free speech platform.”\u003c/p>\n\u003cp>I’m glad Leslie came back to Twitter, though, and here’s why. As Ijeoma Oluo \u003ca href=\"https://www.theguardian.com/commentisfree/2016/jul/19/leslie-jones-twitter-abuse-deliberate-campaign-hate?CMP=share_btn_tw\">wrote in The Guardian\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>This woman, this dark-skinned black woman — who didn’t even have the courtesy to be “conventionally” attractive by their standards — had the audacity to star in an all-female remake of a beloved white-dude film? Of course she must pay by being forced off of the internet — a platform essential to those in public life today.\u003c/p>\n\u003cp>These abusers know the power of the internet, and it’s access to that power that they hope to consolidate for themselves and deny women like Jones with their abuse. For many of us, our very livelihoods are at stake. My writing career is dependent on the internet. This is the same for many women, people of color, disabled people, and LGBT people who have long been denied access to traditional press.\u003c/p>\n\u003c/blockquote>\n\u003cp>I don’t know what makes trolls attack so viciously on social media. Is it that they don’t like it that some women — in this case a 6-ft.-tall, larger than size zero dark-skinned black woman — are confident and comfortable with themselves?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who knows, but now that Leslie has returned and is once again engaging on social media with her fans, maybe she can reach out to help some of the women who \u003cem>aren’t\u003c/em> comedians or actors in summer blockbuster movies navigate troll attacks. \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=Turns+Out%2C+Fighting+Fat+Shaming+And+Racist+Trolls+Is+Also+A+Ghostbuster%27s+Job&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>She’s back.\u003c/p>\n\u003cp>Earlier this week actor and comedian Leslie Jones decided she’d had enough of Twitter trolls targeting her because she dared to co-star in a reboot of the 1984 film, \u003cem>Ghostbusters\u003c/em>.\u003c/p>\n\u003cp>She was tired of being called ugly and savage, and being compared to gorillas and apes.\u003c/p>\n\u003cp>She was tired of being called a coon.\u003c/p>\n\u003cp>She’d had enough. She was tired.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>So \u003ca href=\"http://www.slate.com/blogs/browbeat/2016/07/19/leslie_jones_tweets_were_a_powerful_response_to_an_insane_torrent_of_hate.html\" target=\"_blank\" rel=\"noopener\">Leslie retweeted screenshots\u003c/a> of some of the racist and sexist tweets piled up in her Twitter mentions, then she threw up two fingas and peace’d out.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Still, I get why Leslie initially shut it down and walked away.\u003c/p>\n\u003cp>I am fat. I have been fat for much of my life (I was on my first diet at 5), give or take a few years in college and 2013 when I lost more than 50 pounds by white knuckling it through a low-carb, high deprivation diet (I gained that weight back).\u003c/p>\n\u003cp>Needless to say, neither I nor Leslie fit the mainstream beauty ideal: thin body, fair skin, long, straight, blonde hair. And that’s OK.\u003c/p>\n\u003cp>But it’s one thing to not fit the beauty ideal — because, hey, work what your mama gave you and all that — and it’s something else to have a constant stream of vitriol coming at you attacking how you look. That’s enough to shake someone with even the highest self-esteem. I know if I opened my Twitter account and saw my mentions filled with that kind of hate, it would hurt (and writing this I am likely opening myself up to it. Sigh).\u003c/p>\n\u003cp>Once Leslie rang the alarm, many people \u003ca href=\"https://twitter.com/hashtag/LoveforLeslieJ?src=hash&ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener\">tweeted their support\u003c/a>, including Vanessa De Luca, editor-in-chief of the African-American fashion, lifestyle and beauty magazine \u003ca href=\"http://www.essence.com/\" target=\"_blank\" rel=\"noopener\">Essence\u003c/a>, actor Kerry Washington, and Bernice King, daughter of Martin Luther King Jr.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In the wake of all this, Twitter \u003ca href=\"https://ww2.kqed.org/pop/2016/07/21/internet-tantrum-of-the-week-why-freemilo-is-kinda-funny-but-really-important/\" target=\"_blank\" rel=\"noopener\">permanently suspended the account of Milo Yiannopoulos\u003c/a>, a conservative commentator, for his role in what they say was a campaign to target Leslie with abusive tweets. Yiannopoulos says he did nothing wrong and that “Twitter’s permanent suspension of my account makes a mockery of their claims to be a free speech platform.”\u003c/p>\n\u003cp>I’m glad Leslie came back to Twitter, though, and here’s why. As Ijeoma Oluo \u003ca href=\"https://www.theguardian.com/commentisfree/2016/jul/19/leslie-jones-twitter-abuse-deliberate-campaign-hate?CMP=share_btn_tw\">wrote in The Guardian\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>This woman, this dark-skinned black woman — who didn’t even have the courtesy to be “conventionally” attractive by their standards — had the audacity to star in an all-female remake of a beloved white-dude film? Of course she must pay by being forced off of the internet — a platform essential to those in public life today.\u003c/p>\n\u003cp>These abusers know the power of the internet, and it’s access to that power that they hope to consolidate for themselves and deny women like Jones with their abuse. For many of us, our very livelihoods are at stake. My writing career is dependent on the internet. This is the same for many women, people of color, disabled people, and LGBT people who have long been denied access to traditional press.\u003c/p>\n\u003c/blockquote>\n\u003cp>I don’t know what makes trolls attack so viciously on social media. Is it that they don’t like it that some women — in this case a 6-ft.-tall, larger than size zero dark-skinned black woman — are confident and comfortable with themselves?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who knows, but now that Leslie has returned and is once again engaging on social media with her fans, maybe she can reach out to help some of the women who \u003cem>aren’t\u003c/em> comedians or actors in summer blockbuster movies navigate troll attacks. \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=Turns+Out%2C+Fighting+Fat+Shaming+And+Racist+Trolls+Is+Also+A+Ghostbuster%27s+Job&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Making an \u003cem>Absolutely Fabulous\u003c/em> movie in 2016, over 20 years after the cheerfully vulgar British sitcom became a cult sensation, seems both absurdly late and entirely in keeping with the spirit of the show. After all, Edina “Eddy” Monsoon and Patricia “Patsy” Stone, a pair of unrepentant boozers on the fringes of the fashion world, have never known cultural cachet. It only follows, then, that a big-screen version of their exploits would not be particularly hip or in-demand, but a continuation of the bawdy obliviousness that have made them such a treasure over the years. They are perpetually out of time, which in their case is another way of saying “timeless.”\u003c/p>\n\u003cp>https://youtu.be/Dj3ZWhlmexw\u003c/p>\n\u003cp>“Sixty is the new 40,” Eddy declares, bridging the gap between the show’s premiere in late 1992 and \u003cem>Absolutely Fabulous: The Movie\u003c/em>, in which she and Patsy want nothing more than to “keep the party going.” This ungainly, catch-as-catch-can feature isn’t a comfortable expansion of the series, but there’s a brightness and spontaneity to it that forgives its many lapses, because each new scene brings the possibility of a filthy one-liner or a bizarre comic setpiece. Here’s a movie that gives you Jon Hamm, as himself, shuddering over memories of the “English rose” who deflowered him and a club full of drag queens doing a karaoke chorus of “At Seventeen.” Resistance is futile.\u003c/p>\n\u003cp>Leading a principal cast that has stayed with AbFab from the beginning, creator/star Jennifer Saunders and Joanna Lumley return as Eddy and Patsy, respectively, two women still clinging to a lifestyle they cannot afford. With Eddy’s PR business dwindling to just a few D-list clients — all of whom are angry over her neglect — her credit cards are “broken” and she doesn’t have any cash, which is such a foreign concept to Patsy that she refers to it as “hand money.” Nonetheless, the two wake up hungover every morning, dutifully self-administer Botox injections and liposuction treatments, and head out in search of the next gold mine.\u003c/p>\n\u003cp>After hearing word that Kate Moss (also appearing, gamely, as herself) is looking for representation, Eddy crashes an exclusive party to corner her perspective client, but winds up bumping her off a balcony and into the Thames. With Britain’s greatest fashion icon missing and presumed dead, Eddy and Patsy endure the indignities of coach class and fly to the French Riviera, simultaneously fleeing justice and gaining new opportunities to pursue a big score. They don’t have a plan. Their thinking seems to be that if they keep rubbing elbows with the elite, something will come up. Perhaps requiring a fake mustache.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Saunders’ script accommodates \u003cem>AbFab\u003c/em> veterans like Julia Sawalha as Eddy’s scolding daughter Saffron (Julia Sawalha), June Whitfield as her blinkered mother, and Jane Horrocks as the flighty Bubble, who’s introduced wearing an outfit of inflatable hashtags. None of these characters are particularly well-served, given how much Eddy and Patsy are on the move, and Saunders’ approach to screenwriting isn’t all that dissimilar to the merry, improvised bungling that get her characters through life. The increased scale of an \u003cem>Absolutely Fabulous\u003c/em> movie allows Saunders and company to trample through scenic locales and roll out cameos by Moss, Hamm, Rebel Wilson, and other recognizable faces, but it mostly sticks to basics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not that there’s anything wrong with that. Saunders and Lumley are a wonderful team — Eddy constantly seeking to improve her status and salve her insecurities, Patsy casually devouring all the pills and champagne she can get — and they have a particular gift for the “ooooooo” laugh, gags that pleasantly shock without crossing the line. Their characters’ refusal to change as the world trends past them is as funny now as it was in the early ’90s; nothing will stop Patsy from smoking cigarettes in public, for example, only now she calls it “vaping.” Twenty years from now, 80 might be the new 60 for Saunders and Lumley’s lovable creations. Little will have changed. The party keeps going.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Making an \u003cem>Absolutely Fabulous\u003c/em> movie in 2016, over 20 years after the cheerfully vulgar British sitcom became a cult sensation, seems both absurdly late and entirely in keeping with the spirit of the show. After all, Edina “Eddy” Monsoon and Patricia “Patsy” Stone, a pair of unrepentant boozers on the fringes of the fashion world, have never known cultural cachet. It only follows, then, that a big-screen version of their exploits would not be particularly hip or in-demand, but a continuation of the bawdy obliviousness that have made them such a treasure over the years. They are perpetually out of time, which in their case is another way of saying “timeless.”\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/Dj3ZWhlmexw'\n title='//www.youtube.com/embed/Dj3ZWhlmexw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Sixty is the new 40,” Eddy declares, bridging the gap between the show’s premiere in late 1992 and \u003cem>Absolutely Fabulous: The Movie\u003c/em>, in which she and Patsy want nothing more than to “keep the party going.” This ungainly, catch-as-catch-can feature isn’t a comfortable expansion of the series, but there’s a brightness and spontaneity to it that forgives its many lapses, because each new scene brings the possibility of a filthy one-liner or a bizarre comic setpiece. Here’s a movie that gives you Jon Hamm, as himself, shuddering over memories of the “English rose” who deflowered him and a club full of drag queens doing a karaoke chorus of “At Seventeen.” Resistance is futile.\u003c/p>\n\u003cp>Leading a principal cast that has stayed with AbFab from the beginning, creator/star Jennifer Saunders and Joanna Lumley return as Eddy and Patsy, respectively, two women still clinging to a lifestyle they cannot afford. With Eddy’s PR business dwindling to just a few D-list clients — all of whom are angry over her neglect — her credit cards are “broken” and she doesn’t have any cash, which is such a foreign concept to Patsy that she refers to it as “hand money.” Nonetheless, the two wake up hungover every morning, dutifully self-administer Botox injections and liposuction treatments, and head out in search of the next gold mine.\u003c/p>\n\u003cp>After hearing word that Kate Moss (also appearing, gamely, as herself) is looking for representation, Eddy crashes an exclusive party to corner her perspective client, but winds up bumping her off a balcony and into the Thames. With Britain’s greatest fashion icon missing and presumed dead, Eddy and Patsy endure the indignities of coach class and fly to the French Riviera, simultaneously fleeing justice and gaining new opportunities to pursue a big score. They don’t have a plan. Their thinking seems to be that if they keep rubbing elbows with the elite, something will come up. Perhaps requiring a fake mustache.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Saunders’ script accommodates \u003cem>AbFab\u003c/em> veterans like Julia Sawalha as Eddy’s scolding daughter Saffron (Julia Sawalha), June Whitfield as her blinkered mother, and Jane Horrocks as the flighty Bubble, who’s introduced wearing an outfit of inflatable hashtags. None of these characters are particularly well-served, given how much Eddy and Patsy are on the move, and Saunders’ approach to screenwriting isn’t all that dissimilar to the merry, improvised bungling that get her characters through life. The increased scale of an \u003cem>Absolutely Fabulous\u003c/em> movie allows Saunders and company to trample through scenic locales and roll out cameos by Moss, Hamm, Rebel Wilson, and other recognizable faces, but it mostly sticks to basics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not that there’s anything wrong with that. Saunders and Lumley are a wonderful team — Eddy constantly seeking to improve her status and salve her insecurities, Patsy casually devouring all the pills and champagne she can get — and they have a particular gift for the “ooooooo” laugh, gags that pleasantly shock without crossing the line. Their characters’ refusal to change as the world trends past them is as funny now as it was in the early ’90s; nothing will stop Patsy from smoking cigarettes in public, for example, only now she calls it “vaping.” Twenty years from now, 80 might be the new 60 for Saunders and Lumley’s lovable creations. Little will have changed. The party keeps going.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oliver Stone Says Studios' Boards Led to 'Snowden' Rejection",
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"content": "\u003cp>Director Oliver Stone said Thursday at Comic-Con that every major movie studio turned down his narrative film about Edward Snowden because of censorship from their corporate leaders.\u003c/p>\n\u003cp>Stone, who has chronicled many American conspiracies in his films, said he does not believe an entity like the National Security Agency is putting pressure on the studios, but the corporate boards who control them.\u003c/p>\n\u003cp>He got financing from France and Germany for the movie, which comes out Sept. 16 and stars Joseph Gordon-Levitt as Snowden.\u003c/p>\n\u003cp>Stone said he believes Snowden is still “a mystery” despite many interviews, articles and the Oscar-winning documentary \u003cem>Citizenfour\u003c/em> exploring the former NSA contractor who leaked thousands of classified documents about the government’s surveillance programs.\u003c/p>\n\u003cp>Snowden now lives in Russia, and Stone met with him a number of times in Moscow, trying to gain his trust and decide whether to take on the project.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gordon-Levitt also tried to get to know Snowden before portraying him. The actor said he was particularly surprised at Snowden’s optimism about the ability of technology to positively change the future.\u003c/p>\n\u003cp>The conversation Thursday took a decidedly heady turn, away from the usual fanboy fun and toward big ideas about government transparency and the surveillance state.\u003c/p>\n\u003cp>“We’re promised privacy in the Constitution, and if the government was going to change those rules, they have to be open about it,” Gordon-Levitt said. “We’re supposed to have that conversation and decide together.”\u003c/p>\n\u003cp>The film is set to screen for the first time Thursday at the annual fan convention. Although Stone and the cast have their own views on Snowden, the filmmaker stressed that the movie is not one-sided.\u003c/p>\n\u003cp>“We don’t want to take sides on this in the movie,” Stone said. “You have to see the movie to explore the positions.”\u003c/p>\n\u003cp>Gordon-Levitt added that it’s a story that does not lend itself to a headline.\u003c/p>\n\u003cp>“It isn’t even as simple as a two-hour film,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Director Oliver Stone said Thursday at Comic-Con that every major movie studio turned down his narrative film about Edward Snowden because of censorship from their corporate leaders.\u003c/p>\n\u003cp>Stone, who has chronicled many American conspiracies in his films, said he does not believe an entity like the National Security Agency is putting pressure on the studios, but the corporate boards who control them.\u003c/p>\n\u003cp>He got financing from France and Germany for the movie, which comes out Sept. 16 and stars Joseph Gordon-Levitt as Snowden.\u003c/p>\n\u003cp>Stone said he believes Snowden is still “a mystery” despite many interviews, articles and the Oscar-winning documentary \u003cem>Citizenfour\u003c/em> exploring the former NSA contractor who leaked thousands of classified documents about the government’s surveillance programs.\u003c/p>\n\u003cp>Snowden now lives in Russia, and Stone met with him a number of times in Moscow, trying to gain his trust and decide whether to take on the project.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gordon-Levitt also tried to get to know Snowden before portraying him. The actor said he was particularly surprised at Snowden’s optimism about the ability of technology to positively change the future.\u003c/p>\n\u003cp>The conversation Thursday took a decidedly heady turn, away from the usual fanboy fun and toward big ideas about government transparency and the surveillance state.\u003c/p>\n\u003cp>“We’re promised privacy in the Constitution, and if the government was going to change those rules, they have to be open about it,” Gordon-Levitt said. “We’re supposed to have that conversation and decide together.”\u003c/p>\n\u003cp>The film is set to screen for the first time Thursday at the annual fan convention. Although Stone and the cast have their own views on Snowden, the filmmaker stressed that the movie is not one-sided.\u003c/p>\n\u003cp>“We don’t want to take sides on this in the movie,” Stone said. “You have to see the movie to explore the positions.”\u003c/p>\n\u003cp>Gordon-Levitt added that it’s a story that does not lend itself to a headline.\u003c/p>\n\u003cp>“It isn’t even as simple as a two-hour film,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Night That Trans Women Rioted for Their Rights at a Tenderloin Cafeteria",
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"content": "\u003cp>Today, the ground floor of the building at the corner of Turk and Taylor Streets in San Francisco’s Tenderloin district is a nondescript concrete rectangle; it stands unassuming, seemingly unimportant. But as a historical marker in the sidewalk will tell you, this was once the site of Compton’s Cafeteria, a background to one of the most historic and little known events in queer history.\u003c/p>\n\u003cfigure id=\"attachment_11841773\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11841773\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/SusanHeadshot2640.jpg\" alt=\"Filmmaker Susan Stryker.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/SusanHeadshot2640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/SusanHeadshot2640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Susan Stryker. \u003ccite>(Courtesy of the film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Three years before New York’s \u003ca href=\"https://en.wikipedia.org/wiki/Stonewall_riots\" target=\"_blank\" rel=\"noopener\">Stonewall riots\u003c/a>, a drag queen at Compton’s Cafeteria, sick of the continued harassment she and her community experienced at the hands of the San Francisco police department, threw her coffee in the face of the officer who grabbed her arm. Other patrons joined the fray; the confrontation erupted into riot of thrown dishware and overturned tables, following the police out onto the street as they called for backup. Sugar shakers went through the cafeteria windows and glass doors, drag queens beat police with their heavy purses, and a corner newsstand went up in flames. As filmmaker Susan Stryker narrates in her 2005 documentary \u003ci>Screaming Queens\u003c/i>, so launched the “first known instance of collective militant queer resistance to police harassment in United States history.”\u003c/p>\n\u003cp>Screening on KQED Saturday, July 23, \u003ci>\u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=13676\" target=\"_blank\" rel=\"noopener\">Screaming Queens: The Riot at Compton’s Cafeteria\u003c/a>\u003c/i> has a particular resonance now, 50 years after the event that inspired its making, as the need for queer safe spaces becomes a subject of focus once again.\u003c/p>\n\u003cp>https://youtu.be/NAj0r1YAzko\u003c/p>\n\u003cp>Overshadowed by Stonewall, the riot at Compton’s Cafeteria might have remained a little-known, almost mythical event that took place “one hot August night,” until Stryker dug deep into the \u003ca href=\"http://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\">GLBT Historical Society\u003c/a> archives and tracked down the people who remembered the Tenderloin as it was.\u003c/p>\n\u003cfigure id=\"attachment_11841770\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11841770\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/ComptonsCROP.jpg\" alt=\"Still from 'Screaming Queens.' One of the San Francisco Compton's Cafeteria chain locations.\" width=\"1200\" height=\"888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ComptonsCROP.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ComptonsCROP-400x296.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ComptonsCROP-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ComptonsCROP-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ComptonsCROP-1180x873.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ComptonsCROP-960x710.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Screaming Queens.’ One of the San Francisco Compton’s Cafeteria chain locations. \u003ccite>(Courtesy of the film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was beautiful because it was clean,” says one of Stryker’s interviewees of Compton’s. “It was like Oz,” says another, “something like \u003cem>The Wizard of Oz\u003c/em>.” The cafeteria served reasonably-priced food 24 hours a day, acting as a gathering place for drag queens, trans women, sex workers and down-and-out individuals into the wee hours of the night.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Outside the cafeteria, the Tenderloin of the 1960s was a place where transgender people could be themselves, but it was also the \u003ci>only\u003c/i> place where they could be themselves. “Police would give the people who were of indeterminate gender the message that they belonged pretty much in the Tenderloin, which at the time was kind of a gay ghetto, a very slummy gay ghetto,” Suzan Cooke says in the film.\u003c/p>\n\u003cfigure id=\"attachment_11841771\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11841771\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/FeliciaCROP.jpg\" alt=\"Still from 'Screaming Queens.' A young Felicia Elizondo.\" width=\"1200\" height=\"889\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/FeliciaCROP.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/FeliciaCROP-400x296.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/FeliciaCROP-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/FeliciaCROP-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/FeliciaCROP-1180x874.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/FeliciaCROP-960x711.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Screaming Queens.’ A young Felicia Elizondo. \u003ccite>(Courtesy of the film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their lives were further limited by the lack of legitimate employment opportunities. “As for me and other girls,” says former sex worker Felicia Elizondo, “we never thought of looking for a job because maybe in the back of our heads we knew they wouldn’t hire us anyway.”\u003c/p>\n\u003cp>“We sold ourselves because we needed to make a living,” she says, “but we sold ourselves because we wanted to be loved.”\u003c/p>\n\u003cfigure id=\"attachment_11841772\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11841772\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Queens-at-comptonsCROP.jpg\" alt=\"Still from 'Screaming Queens.' Queens at Compton's.\" width=\"640\" height=\"438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Queens-at-comptonsCROP.jpg 702w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Queens-at-comptonsCROP-400x274.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Screaming Queens.’ Queens at Compton’s. \u003ccite>(Courtesy of the film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stryker’s film acutely depicts the danger faced by those who worked the streets. Johns were often violent. A serial killer prowled the Tenderloin, targeting trans women. That stress, combined with a growing LGBTQ civil rights movement and the prejudice and police harassment Compton’s customers faced on a daily basis (the interviewees list off any number of offenses that could lead to arrest for the then-crime of “female impersonation”: lipstick, mascara, hair too long, shirt buttons on the wrong side, obstructing the sidewalk or just \u003ci>being\u003c/i>) came to a boiling point in August 1966.\u003c/p>\n\u003cp>“There was a lot of joy after it happened,” says Amanda St. Jaymes. “A lot of ’em went to jail, but there was a lot of ‘I really don’t give a damn, this is what needs to happen.’”\u003c/p>\n\u003cfigure id=\"attachment_11841774\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11841774\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/StJaymesCROP.jpg\" alt=\"Still from 'Screaming Queens.'\" width=\"1200\" height=\"890\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/StJaymesCROP.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/StJaymesCROP-400x297.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/StJaymesCROP-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/StJaymesCROP-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/StJaymesCROP-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/StJaymesCROP-960x712.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Screaming Queens.’ \u003ccite>(Courtesy of the film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exact date of the Compton’s Cafeteria riot is lost to history, a reminder that a violent uprising of San Francisco’s most marginalized citizens didn’t even make the pages of a mainstream newspaper in August 1966. Stryker’s film goes some way to correct that erasure of local LGBTQ history.\u003c/p>\n\u003cp>“Transgender people today need to change a world that still denies us many of our basic human rights,” Stryker says at the film’s close. “Knowing what happened that night at Compton’s brings the power of our history to bear on that struggle.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=G-WASW9dRBU\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Screaming Queens: The Riot at Compton’s Cafeteria\u003c/b> airs on KQED at 6pm Sat., July 23, or you can watch it online today! Visit \u003ca href=\"http://ww2.kqed.org/trulyca/screaming-queens/\" target=\"_blank\" rel=\"noopener\">kqed.org\u003c/a> for more information.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Today, the ground floor of the building at the corner of Turk and Taylor Streets in San Francisco’s Tenderloin district is a nondescript concrete rectangle; it stands unassuming, seemingly unimportant. But as a historical marker in the sidewalk will tell you, this was once the site of Compton’s Cafeteria, a background to one of the most historic and little known events in queer history.\u003c/p>\n\u003cfigure id=\"attachment_11841773\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11841773\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/SusanHeadshot2640.jpg\" alt=\"Filmmaker Susan Stryker.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/SusanHeadshot2640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/SusanHeadshot2640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Susan Stryker. \u003ccite>(Courtesy of the film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Three years before New York’s \u003ca href=\"https://en.wikipedia.org/wiki/Stonewall_riots\" target=\"_blank\" rel=\"noopener\">Stonewall riots\u003c/a>, a drag queen at Compton’s Cafeteria, sick of the continued harassment she and her community experienced at the hands of the San Francisco police department, threw her coffee in the face of the officer who grabbed her arm. Other patrons joined the fray; the confrontation erupted into riot of thrown dishware and overturned tables, following the police out onto the street as they called for backup. Sugar shakers went through the cafeteria windows and glass doors, drag queens beat police with their heavy purses, and a corner newsstand went up in flames. As filmmaker Susan Stryker narrates in her 2005 documentary \u003ci>Screaming Queens\u003c/i>, so launched the “first known instance of collective militant queer resistance to police harassment in United States history.”\u003c/p>\n\u003cp>Screening on KQED Saturday, July 23, \u003ci>\u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=13676\" target=\"_blank\" rel=\"noopener\">Screaming Queens: The Riot at Compton’s Cafeteria\u003c/a>\u003c/i> has a particular resonance now, 50 years after the event that inspired its making, as the need for queer safe spaces becomes a subject of focus once again.\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/NAj0r1YAzko'\n title='//www.youtube.com/embed/NAj0r1YAzko'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Overshadowed by Stonewall, the riot at Compton’s Cafeteria might have remained a little-known, almost mythical event that took place “one hot August night,” until Stryker dug deep into the \u003ca href=\"http://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\">GLBT Historical Society\u003c/a> archives and tracked down the people who remembered the Tenderloin as it was.\u003c/p>\n\u003cfigure id=\"attachment_11841770\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11841770\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/ComptonsCROP.jpg\" alt=\"Still from 'Screaming Queens.' One of the San Francisco Compton's Cafeteria chain locations.\" width=\"1200\" height=\"888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ComptonsCROP.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ComptonsCROP-400x296.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ComptonsCROP-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ComptonsCROP-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ComptonsCROP-1180x873.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ComptonsCROP-960x710.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Screaming Queens.’ One of the San Francisco Compton’s Cafeteria chain locations. \u003ccite>(Courtesy of the film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was beautiful because it was clean,” says one of Stryker’s interviewees of Compton’s. “It was like Oz,” says another, “something like \u003cem>The Wizard of Oz\u003c/em>.” The cafeteria served reasonably-priced food 24 hours a day, acting as a gathering place for drag queens, trans women, sex workers and down-and-out individuals into the wee hours of the night.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Outside the cafeteria, the Tenderloin of the 1960s was a place where transgender people could be themselves, but it was also the \u003ci>only\u003c/i> place where they could be themselves. “Police would give the people who were of indeterminate gender the message that they belonged pretty much in the Tenderloin, which at the time was kind of a gay ghetto, a very slummy gay ghetto,” Suzan Cooke says in the film.\u003c/p>\n\u003cfigure id=\"attachment_11841771\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11841771\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/FeliciaCROP.jpg\" alt=\"Still from 'Screaming Queens.' A young Felicia Elizondo.\" width=\"1200\" height=\"889\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/FeliciaCROP.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/FeliciaCROP-400x296.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/FeliciaCROP-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/FeliciaCROP-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/FeliciaCROP-1180x874.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/FeliciaCROP-960x711.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Screaming Queens.’ A young Felicia Elizondo. \u003ccite>(Courtesy of the film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their lives were further limited by the lack of legitimate employment opportunities. “As for me and other girls,” says former sex worker Felicia Elizondo, “we never thought of looking for a job because maybe in the back of our heads we knew they wouldn’t hire us anyway.”\u003c/p>\n\u003cp>“We sold ourselves because we needed to make a living,” she says, “but we sold ourselves because we wanted to be loved.”\u003c/p>\n\u003cfigure id=\"attachment_11841772\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11841772\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Queens-at-comptonsCROP.jpg\" alt=\"Still from 'Screaming Queens.' Queens at Compton's.\" width=\"640\" height=\"438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Queens-at-comptonsCROP.jpg 702w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Queens-at-comptonsCROP-400x274.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Screaming Queens.’ Queens at Compton’s. \u003ccite>(Courtesy of the film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stryker’s film acutely depicts the danger faced by those who worked the streets. Johns were often violent. A serial killer prowled the Tenderloin, targeting trans women. That stress, combined with a growing LGBTQ civil rights movement and the prejudice and police harassment Compton’s customers faced on a daily basis (the interviewees list off any number of offenses that could lead to arrest for the then-crime of “female impersonation”: lipstick, mascara, hair too long, shirt buttons on the wrong side, obstructing the sidewalk or just \u003ci>being\u003c/i>) came to a boiling point in August 1966.\u003c/p>\n\u003cp>“There was a lot of joy after it happened,” says Amanda St. Jaymes. “A lot of ’em went to jail, but there was a lot of ‘I really don’t give a damn, this is what needs to happen.’”\u003c/p>\n\u003cfigure id=\"attachment_11841774\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11841774\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/StJaymesCROP.jpg\" alt=\"Still from 'Screaming Queens.'\" width=\"1200\" height=\"890\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/StJaymesCROP.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/StJaymesCROP-400x297.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/StJaymesCROP-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/StJaymesCROP-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/StJaymesCROP-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/StJaymesCROP-960x712.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Screaming Queens.’ \u003ccite>(Courtesy of the film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exact date of the Compton’s Cafeteria riot is lost to history, a reminder that a violent uprising of San Francisco’s most marginalized citizens didn’t even make the pages of a mainstream newspaper in August 1966. Stryker’s film goes some way to correct that erasure of local LGBTQ history.\u003c/p>\n\u003cp>“Transgender people today need to change a world that still denies us many of our basic human rights,” Stryker says at the film’s close. “Knowing what happened that night at Compton’s brings the power of our history to bear on that struggle.”\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/G-WASW9dRBU'\n title='//www.youtube.com/embed/G-WASW9dRBU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Screaming Queens: The Riot at Compton’s Cafeteria\u003c/b> airs on KQED at 6pm Sat., July 23, or you can watch it online today! Visit \u003ca href=\"http://ww2.kqed.org/trulyca/screaming-queens/\" target=\"_blank\" rel=\"noopener\">kqed.org\u003c/a> for more information.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Robin Williams, beloved actor, comedian, philanthropist, and Bay Area resident, would have been 65 years old today.\u003c/p>\n\u003cp>And if for some reason you're not able to take the whole day off to watch a film festival made up of his greatest hits, then drive back and forth through \u003ca href=\"http://ww2.kqed.org/arts/2016/03/02/robin-williams-tunnel-now-identified-by-new-sign/\" target=\"_blank\">the tunnel that now bears his name\u003c/a> -- what, you have a job, or something? -- the next-best thing might just be this YouTube video explaining the history of (and some lesser-known drama surrounding) Williams' unforgettable turn as the Genie in Disney's \u003cem>Aladdin\u003c/em>.\u003c/p>\n\u003cp>Though it's technically a kids' movie, it's hard to disagree with our narrator that Aladdin is the most Robin Williams-like role Robin Williams ever played. Genie captured Williams' mania, his lightning-quick mind, his unbelievable gift for impressions -- but also his tenderness and compassion. Who \u003cem>wouldn't\u003c/em> want a friend like him?\u003c/p>\n\u003cp>All of which makes it that much more fascinating to learn how contentious the part became for Williams. He apparently took a pay cut to voice the role in order to thank Disney for \u003cem>Good Morning, Vietnam \u003c/em>and\u003cem> Dead Poets Society, \u003c/em>and then wound up locked in a bitter, years-long standoff with the company over how the character was used to market the film. All things considered, it's good to know he made peace with the role (and maybe the people behind it) before he died.\u003c/p>\n\u003cp>Oh, and if you are putting together that film festival: Toys \u003cem>is\u003c/em> underrated. Do with that what you will.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CK-VbToD0eM\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Robin Williams, beloved actor, comedian, philanthropist, and Bay Area resident, would have been 65 years old today.\u003c/p>\n\u003cp>And if for some reason you're not able to take the whole day off to watch a film festival made up of his greatest hits, then drive back and forth through \u003ca href=\"http://ww2.kqed.org/arts/2016/03/02/robin-williams-tunnel-now-identified-by-new-sign/\" target=\"_blank\">the tunnel that now bears his name\u003c/a> -- what, you have a job, or something? -- the next-best thing might just be this YouTube video explaining the history of (and some lesser-known drama surrounding) Williams' unforgettable turn as the Genie in Disney's \u003cem>Aladdin\u003c/em>.\u003c/p>\n\u003cp>Though it's technically a kids' movie, it's hard to disagree with our narrator that Aladdin is the most Robin Williams-like role Robin Williams ever played. Genie captured Williams' mania, his lightning-quick mind, his unbelievable gift for impressions -- but also his tenderness and compassion. Who \u003cem>wouldn't\u003c/em> want a friend like him?\u003c/p>\n\u003cp>All of which makes it that much more fascinating to learn how contentious the part became for Williams. He apparently took a pay cut to voice the role in order to thank Disney for \u003cem>Good Morning, Vietnam \u003c/em>and\u003cem> Dead Poets Society, \u003c/em>and then wound up locked in a bitter, years-long standoff with the company over how the character was used to market the film. All things considered, it's good to know he made peace with the role (and maybe the people behind it) before he died.\u003c/p>\n\u003cp>Oh, and if you are putting together that film festival: Toys \u003cem>is\u003c/em> underrated. Do with that what you will.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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He was 81.\u003c/p>\n\u003cp>Marshall died Tuesday in at a hospital in Burbank, Calif., of complications from pneumonia after having a stroke, his publicist Michelle Bega said in a statement.\u003c/p>\n\u003cp>The director also had an on-screen presence, using his New York accent and gruff delivery in colorful supporting roles that included a practical-minded casino boss unswayed by Albert Brooks’ disastrous luck in\u003cem> Lost in America\u003c/em> and a crass network executive in \u003cem>Soapdish\u003c/em>.\u003c/p>\n\u003cp>“A great, great guy and the best casino boss in the history of film,” actor-filmmaker Brooks posted on Twitter.\u003c/p>\n\u003cp>Henry Winkler, who starred as Fonzie on \u003ci>Happy Days\u003c/i>, saluted Marshall in a tweet as “larger than life, funnier than most, wise and the definition of friend.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Richard Gere, who starred opposite Julia Roberts in \u003cem>Pretty Woman\u003c/em>, said in a statement that “everyone loved Garry. He was a mentor and a cheerleader and one of the funniest men who ever lived. He had a heart of the purest gold and a soul full of mischief. He was Garry.”\u003c/p>\n\u003cp>Marshall, brother of actress-director Penny Marshall, earned a degree in journalism from Northwestern University and worked at the New York Daily News. But he found he was better at writing punchlines.\u003c/p>\n\u003cp>“In the neighborhood where we grew up in, the Bronx, you only had a few choices,” Marshall said in a 1980s interview. “You were either an athlete or a gangster, or you were funny.”\u003c/p>\n\u003cp>He began his entertainment career in the 1960s selling jokes to comedians, then moved to writing sketches for \u003cem>The Tonight Show\u003c/em> with Jack Paar in New York. He caught the eye of comic Joey Bishop, who brought him to Los Angeles to write for \u003cem>The Joey Bishop Show\u003c/em>.\u003c/p>\n\u003cp>Sitcoms quickly proved to be Marshall’s forte. He and then-writing partner Jerry Belson turned out scripts for the most popular comedies of the ’60s, including \u003cem>The Lucy Show\u003c/em>, \u003cem>The Danny Thomas Show\u003c/em> and \u003cem>The Dick Van Dyke Show\u003c/em>.\u003c/p>\n\u003cp>Marshall and Belson detoured into screenwriting in 1967 with \u003cem>How Sweet It Is\u003c/em>, starring Debbie Reynolds, and followed it up with \u003cem>The Grasshoppers\u003c/em> (1970) with Jacqueline Bisset. But the two men kept their hand in TV.\u003c/p>\n\u003cp>In 1970, they turned Neil Simon’s Broadway hit, \u003cem>The Odd Couple\u003c/em>, into a sitcom starring Jack Klugman and Tony Randall and produced by Marshall. It ran for five seasons and proved the beginning of a TV sitcom empire.\u003c/p>\n\u003cp>In January 1979, Marshall had three of the top five comedies on the air with \u003cem>Happy Days\u003c/em>, which ran from 1974-84; \u003cem>Laverne & Shirley \u003c/em>(1976-83), which starred Penny Marshall and Cindy Williams, and \u003cem>Mork and Mindy\u003c/em> (1978-82) with newcomer Robin Williams.\u003c/p>\n\u003cp>“Critics have knocked me for targeting society’s lowest common denominator,” he said in his 1995 autobiography, \u003cem>Wake Me When It’s Funny\u003c/em>, written with his daughter, Lori Marshall.\u003c/p>\n\u003cp>“I believe that television was, and still is, the only medium that can truly reach society’s lowest common denominator and entertain those people who maybe can’t afford a movie or a play. So why not reach them and do it well?” he said.\u003c/p>\n\u003cp>Penny Marshall told The New York Times in 2001 that her brother “has a life. He’s not into the show business glitterati. If he has a hot movie, that’s great. But if he has something that doesn’t do great, he’s not around those people who won’t speak to you or will make you feel terrible.”\u003c/p>\n\u003cp>After cranking out what Marshall once estimated to be 1,000 sitcom episodes, he switched his focus to the big screen with 1984’s \u003cem>The Flamingo Kid\u003c/em>, a coming-of-age story starring Matt Dillon, which Marshall wrote and directed.\u003c/p>\n\u003cp>He concentrated on directing with his later films, including 1986’s \u003cem>Nothing in Common\u003c/em>, with Tom Hanks and Jackie Gleason; \u003cem>Overboard\u003c/em> (1987) starring Goldie Hawn and Kurt Russell; \u003cem>Beaches\u003c/em> (1988) with Bette Midler and Barbara Hershey; \u003cem>Pretty Woman\u003c/em> (1990) and \u003cem>Dear God\u003c/em> (1996) with John Denver and George Burns.\u003c/p>\n\u003cp>The Gere-Roberts pairing that helped make \u003cem>Pretty Woman\u003c/em> a smash hit did the same for \u003cem>Runaway Bride\u003c/em>, which reunited them in 1999. \u003cem>The Princess Diaries\u003c/em> in 2001 was another winner, although Marshall suffered a flop with \u003cem>Georgia Rule\u003c/em> (2007), starring Jane Fonda and Lindsay Lohan.\u003c/p>\n\u003cp>He served as a consultant on CBS’ 2015 reboot of \u003cem>The Odd Couple\u003c/em>, starring Matthew Perry and Thomas Lennon, and appeared in an episode this year as Oscar’s father, Walter.\u003c/p>\n\u003cp>Marshall is survived by his wife, Barbara, and the couple’s three children, Lori, Kathleen and Scott.\u003c/p>\n\u003cp>Funeral services will be private but a memorial is being planned for his birthday on Nov. 13, his publicist’s statement said.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press Writer Andrew Dalton and AP Entertainment Writer Sandy Cohen contributed to this story.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Writer-director Garry Marshall, whose deft touch with comedy and romance led to a string of TV hits that included \u003cem>Happy Days\u003c/em> and \u003cem>Laverne & Shirley\u003c/em> and the box-office successes \u003cem>Pretty Woman\u003c/em> and \u003cem>Runaway Bride\u003c/em>, has died. He was 81.\u003c/p>\n\u003cp>Marshall died Tuesday in at a hospital in Burbank, Calif., of complications from pneumonia after having a stroke, his publicist Michelle Bega said in a statement.\u003c/p>\n\u003cp>The director also had an on-screen presence, using his New York accent and gruff delivery in colorful supporting roles that included a practical-minded casino boss unswayed by Albert Brooks’ disastrous luck in\u003cem> Lost in America\u003c/em> and a crass network executive in \u003cem>Soapdish\u003c/em>.\u003c/p>\n\u003cp>“A great, great guy and the best casino boss in the history of film,” actor-filmmaker Brooks posted on Twitter.\u003c/p>\n\u003cp>Henry Winkler, who starred as Fonzie on \u003ci>Happy Days\u003c/i>, saluted Marshall in a tweet as “larger than life, funnier than most, wise and the definition of friend.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Richard Gere, who starred opposite Julia Roberts in \u003cem>Pretty Woman\u003c/em>, said in a statement that “everyone loved Garry. He was a mentor and a cheerleader and one of the funniest men who ever lived. He had a heart of the purest gold and a soul full of mischief. He was Garry.”\u003c/p>\n\u003cp>Marshall, brother of actress-director Penny Marshall, earned a degree in journalism from Northwestern University and worked at the New York Daily News. But he found he was better at writing punchlines.\u003c/p>\n\u003cp>“In the neighborhood where we grew up in, the Bronx, you only had a few choices,” Marshall said in a 1980s interview. “You were either an athlete or a gangster, or you were funny.”\u003c/p>\n\u003cp>He began his entertainment career in the 1960s selling jokes to comedians, then moved to writing sketches for \u003cem>The Tonight Show\u003c/em> with Jack Paar in New York. He caught the eye of comic Joey Bishop, who brought him to Los Angeles to write for \u003cem>The Joey Bishop Show\u003c/em>.\u003c/p>\n\u003cp>Sitcoms quickly proved to be Marshall’s forte. He and then-writing partner Jerry Belson turned out scripts for the most popular comedies of the ’60s, including \u003cem>The Lucy Show\u003c/em>, \u003cem>The Danny Thomas Show\u003c/em> and \u003cem>The Dick Van Dyke Show\u003c/em>.\u003c/p>\n\u003cp>Marshall and Belson detoured into screenwriting in 1967 with \u003cem>How Sweet It Is\u003c/em>, starring Debbie Reynolds, and followed it up with \u003cem>The Grasshoppers\u003c/em> (1970) with Jacqueline Bisset. But the two men kept their hand in TV.\u003c/p>\n\u003cp>In 1970, they turned Neil Simon’s Broadway hit, \u003cem>The Odd Couple\u003c/em>, into a sitcom starring Jack Klugman and Tony Randall and produced by Marshall. It ran for five seasons and proved the beginning of a TV sitcom empire.\u003c/p>\n\u003cp>In January 1979, Marshall had three of the top five comedies on the air with \u003cem>Happy Days\u003c/em>, which ran from 1974-84; \u003cem>Laverne & Shirley \u003c/em>(1976-83), which starred Penny Marshall and Cindy Williams, and \u003cem>Mork and Mindy\u003c/em> (1978-82) with newcomer Robin Williams.\u003c/p>\n\u003cp>“Critics have knocked me for targeting society’s lowest common denominator,” he said in his 1995 autobiography, \u003cem>Wake Me When It’s Funny\u003c/em>, written with his daughter, Lori Marshall.\u003c/p>\n\u003cp>“I believe that television was, and still is, the only medium that can truly reach society’s lowest common denominator and entertain those people who maybe can’t afford a movie or a play. So why not reach them and do it well?” he said.\u003c/p>\n\u003cp>Penny Marshall told The New York Times in 2001 that her brother “has a life. He’s not into the show business glitterati. If he has a hot movie, that’s great. But if he has something that doesn’t do great, he’s not around those people who won’t speak to you or will make you feel terrible.”\u003c/p>\n\u003cp>After cranking out what Marshall once estimated to be 1,000 sitcom episodes, he switched his focus to the big screen with 1984’s \u003cem>The Flamingo Kid\u003c/em>, a coming-of-age story starring Matt Dillon, which Marshall wrote and directed.\u003c/p>\n\u003cp>He concentrated on directing with his later films, including 1986’s \u003cem>Nothing in Common\u003c/em>, with Tom Hanks and Jackie Gleason; \u003cem>Overboard\u003c/em> (1987) starring Goldie Hawn and Kurt Russell; \u003cem>Beaches\u003c/em> (1988) with Bette Midler and Barbara Hershey; \u003cem>Pretty Woman\u003c/em> (1990) and \u003cem>Dear God\u003c/em> (1996) with John Denver and George Burns.\u003c/p>\n\u003cp>The Gere-Roberts pairing that helped make \u003cem>Pretty Woman\u003c/em> a smash hit did the same for \u003cem>Runaway Bride\u003c/em>, which reunited them in 1999. \u003cem>The Princess Diaries\u003c/em> in 2001 was another winner, although Marshall suffered a flop with \u003cem>Georgia Rule\u003c/em> (2007), starring Jane Fonda and Lindsay Lohan.\u003c/p>\n\u003cp>He served as a consultant on CBS’ 2015 reboot of \u003cem>The Odd Couple\u003c/em>, starring Matthew Perry and Thomas Lennon, and appeared in an episode this year as Oscar’s father, Walter.\u003c/p>\n\u003cp>Marshall is survived by his wife, Barbara, and the couple’s three children, Lori, Kathleen and Scott.\u003c/p>\n\u003cp>Funeral services will be private but a memorial is being planned for his birthday on Nov. 13, his publicist’s statement said.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press Writer Andrew Dalton and AP Entertainment Writer Sandy Cohen contributed to this story.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If it's even remotely possible that you know someone who -- after the past few weeks of shootings and protests -- believes racism no longer exists in America, here's a handy crib sheet to give them: Leslie Jones' Twitter account.\u003c/p>\n\u003cp>The actress and comedian, who by all accounts should be riding high on a big box-office weekend and generally favorable critical reception to the much-hyped \u003ca href=\"http://ww2.kqed.org/pop/2016/07/19/why-are-we-treating-the-new-ghostbusters-like-a-cult-classic-on-opening-weekend/\" target=\"_blank\">\u003cem>Ghostbusters\u003c/em> reboot\u003c/a>, has instead spent the last 24 hours dealing with shockingly \u003ca href=\"http://www.nytimes.com/2016/07/20/movies/leslie-jones-star-of-ghostbusters-becomes-a-target-of-online-trolls.html?smid=fb-share\" target=\"_blank\">awful, racist vitriol on Twitter\u003c/a>. Jones first commented on the vile images, videos and slurs aimed at her on the social network on the morning of July 18, and soon thereafter started retweeting the offensive messages themselves.\u003c/p>\n\u003cp>https://twitter.com/Lesdoggg/status/755126377691680768\u003c/p>\n\u003cp>I'm not even comfortable pasting the worst of the offending tweets here -- they're disgusting, and surely triggering to many. You can scroll through \u003ca href=\"https://twitter.com/Lesdoggg\" target=\"_blank\">her feed yourself\u003c/a>, if you like. The RTs are interspersed with heartfelt messages from Jones.\u003c/p>\n\u003cp>https://twitter.com/Lesdoggg/status/755206894734733312\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/Lesdoggg/status/755208137125269504\u003c/p>\n\u003cp>https://twitter.com/Lesdoggg/status/755208606501527552\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Those familiar with the Twitter-verse know that simply blocking and reporting an abusive account doesn't do much -- often they've been created under fake names, and the perpetrator can simply sign up again using another email address.\u003ca href=\"http://ww2.kqed.org/pop/2016/05/20/pump-up-the-volume-with-shrill-lindy-west-drowns-out-the-trolls/\" target=\"_blank\"> Ask any woman who has a Twitter account\u003c/a>, and she can probably give you at least a couple examples of such abuse. Meanwhile, the company has time and again proven itself to be woefully impotent when it comes to punishing offenders, and the\u003ca href=\"https://www.theguardian.com/technology/2016/jan/22/canada-man-twitter-harassment-not-guilty-gregory-alan-elliot\" target=\"_blank\"> legal system isn't currently set up to take online abuse as seriously a\u003c/a>s its \"real life\" counterparts.\u003c/p>\n\u003cp>Personally, I've gotten sexist crap for years, and recently I've become used to at least a few anti-Semitic crazies popping up in my mentions about once a week. They spiked after I \u003ca href=\"http://ww2.kqed.org/pop/2016/05/25/neo-nazis-are-really-into-taylor-swift/\" target=\"_blank\">wrote this\u003c/a>. They will probably spike again after I hit \"publish\" on this post. And if that's what \u003cem>I\u003c/em> get, what do you think gets lobbed at a very famous black woman with a new movie?\u003c/p>\n\u003cp>She gets \u003ca href=\"https://twitter.com/Lesdoggg/status/755180325840556032\" target=\"_blank\">this\u003c/a>. Times \u003ca href=\"https://twitter.com/Lesdoggg/status/755182965060169728\" target=\"_blank\">a thousand\u003c/a>.\u003c/p>\n\u003cp>Jones finally signed off last night with a few clearly pain-filled tweets.\u003c/p>\n\u003cp>https://twitter.com/Lesdoggg/status/755261962674696192\u003c/p>\n\u003cp>https://twitter.com/Lesdoggg/status/755271004520349698\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>A representative from Twitter issued the following statement to \u003ca href=\"https://www.buzzfeed.com/susancheng/love-for-leslie-jones?utm_term=.ueBpbGwLQ#.ffg9g1lvq\" target=\"_blank\">Buzzfeed late Monday night\u003c/a>:\u003c/p>\n\u003cp>“This type of abusive behavior is not permitted on Twitter, and we’ve taken action on many of the accounts reported to us by both Leslie and others. We rely on people to report this type of behavior to us but we are continuing to invest heavily in improving our tools and enforcement systems to prevent this kind of abuse. We realize we still have a lot of work in front of us before Twitter is where it should be on how we handle these issues.”\u003c/p>\n\u003cp>Which is, honestly, not enough. Twitter is a multi-billion-dollar company. Creating an effective policy that treats hate speech like a hate crime is a complicated task, yes -- what with the First Amendment and all -- but it's \u003cem>far\u003c/em> from too much to ask. In an internal memo that leaked over a year ago,\u003ca href=\"http://www.theverge.com/2015/2/4/7982099/twitter-ceo-sent-memo-taking-personal-responsibility-for-the\" target=\"_blank\"> the company admitted that they \"suck at dealing with abuse.\"\u003c/a> What's happened since then? If they want customer loyalty, they need to share an actual plan for action, and we, the customers, need to hear that fixing this issue is priority No. 1.\u003c/p>\n\u003cp>In the meantime: If you want to show \u003ca href=\"https://twitter.com/search?q=%23LoveforLeslieJ&src=tyah\" target=\"_blank\">a little support for Jones\u003c/a>, it seems more than a few of us could use some help restoring our faith in humanity. You'll be in excellent company.\u003c/p>\n\u003cp>https://twitter.com/margaretcho/status/755171670843719681\u003c/p>\n\u003cp>https://twitter.com/jadapsmith/status/755229306863783936\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/cameronesposito/status/755192981376765953\u003c/p>\n\n",
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"excerpt": "\"I didn't do anything to deserve this. It's just too much. It shouldn't be like this. So hurt right now.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If it's even remotely possible that you know someone who -- after the past few weeks of shootings and protests -- believes racism no longer exists in America, here's a handy crib sheet to give them: Leslie Jones' Twitter account.\u003c/p>\n\u003cp>The actress and comedian, who by all accounts should be riding high on a big box-office weekend and generally favorable critical reception to the much-hyped \u003ca href=\"http://ww2.kqed.org/pop/2016/07/19/why-are-we-treating-the-new-ghostbusters-like-a-cult-classic-on-opening-weekend/\" target=\"_blank\">\u003cem>Ghostbusters\u003c/em> reboot\u003c/a>, has instead spent the last 24 hours dealing with shockingly \u003ca href=\"http://www.nytimes.com/2016/07/20/movies/leslie-jones-star-of-ghostbusters-becomes-a-target-of-online-trolls.html?smid=fb-share\" target=\"_blank\">awful, racist vitriol on Twitter\u003c/a>. Jones first commented on the vile images, videos and slurs aimed at her on the social network on the morning of July 18, and soon thereafter started retweeting the offensive messages themselves.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp> \u003c/p>\n\u003cp>Those familiar with the Twitter-verse know that simply blocking and reporting an abusive account doesn't do much -- often they've been created under fake names, and the perpetrator can simply sign up again using another email address.\u003ca href=\"http://ww2.kqed.org/pop/2016/05/20/pump-up-the-volume-with-shrill-lindy-west-drowns-out-the-trolls/\" target=\"_blank\"> Ask any woman who has a Twitter account\u003c/a>, and she can probably give you at least a couple examples of such abuse. Meanwhile, the company has time and again proven itself to be woefully impotent when it comes to punishing offenders, and the\u003ca href=\"https://www.theguardian.com/technology/2016/jan/22/canada-man-twitter-harassment-not-guilty-gregory-alan-elliot\" target=\"_blank\"> legal system isn't currently set up to take online abuse as seriously a\u003c/a>s its \"real life\" counterparts.\u003c/p>\n\u003cp>Personally, I've gotten sexist crap for years, and recently I've become used to at least a few anti-Semitic crazies popping up in my mentions about once a week. They spiked after I \u003ca href=\"http://ww2.kqed.org/pop/2016/05/25/neo-nazis-are-really-into-taylor-swift/\" target=\"_blank\">wrote this\u003c/a>. They will probably spike again after I hit \"publish\" on this post. And if that's what \u003cem>I\u003c/em> get, what do you think gets lobbed at a very famous black woman with a new movie?\u003c/p>\n\u003cp>She gets \u003ca href=\"https://twitter.com/Lesdoggg/status/755180325840556032\" target=\"_blank\">this\u003c/a>. Times \u003ca href=\"https://twitter.com/Lesdoggg/status/755182965060169728\" target=\"_blank\">a thousand\u003c/a>.\u003c/p>\n\u003cp>Jones finally signed off last night with a few clearly pain-filled tweets.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp> \u003c/p>\n\u003cp>A representative from Twitter issued the following statement to \u003ca href=\"https://www.buzzfeed.com/susancheng/love-for-leslie-jones?utm_term=.ueBpbGwLQ#.ffg9g1lvq\" target=\"_blank\">Buzzfeed late Monday night\u003c/a>:\u003c/p>\n\u003cp>“This type of abusive behavior is not permitted on Twitter, and we’ve taken action on many of the accounts reported to us by both Leslie and others. We rely on people to report this type of behavior to us but we are continuing to invest heavily in improving our tools and enforcement systems to prevent this kind of abuse. We realize we still have a lot of work in front of us before Twitter is where it should be on how we handle these issues.”\u003c/p>\n\u003cp>Which is, honestly, not enough. Twitter is a multi-billion-dollar company. Creating an effective policy that treats hate speech like a hate crime is a complicated task, yes -- what with the First Amendment and all -- but it's \u003cem>far\u003c/em> from too much to ask. In an internal memo that leaked over a year ago,\u003ca href=\"http://www.theverge.com/2015/2/4/7982099/twitter-ceo-sent-memo-taking-personal-responsibility-for-the\" target=\"_blank\"> the company admitted that they \"suck at dealing with abuse.\"\u003c/a> What's happened since then? If they want customer loyalty, they need to share an actual plan for action, and we, the customers, need to hear that fixing this issue is priority No. 1.\u003c/p>\n\u003cp>In the meantime: If you want to show \u003ca href=\"https://twitter.com/search?q=%23LoveforLeslieJ&src=tyah\" target=\"_blank\">a little support for Jones\u003c/a>, it seems more than a few of us could use some help restoring our faith in humanity. You'll be in excellent company.\u003c/p>\u003c/p>\u003c/div>",
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"disqusTitle": "Why Are We Treating the New 'Ghostbusters' Like a Cult Classic on Opening Weekend?",
"title": "Why Are We Treating the New 'Ghostbusters' Like a Cult Classic on Opening Weekend?",
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"content": "\u003cp>I saw \u003ci>Ghostbusters\u003c/i> this weekend with one adult and two children: people born in 1983, 2007 and 2009, respectively. The under-10 set loved it -- the silly jokes, the exploding ghosts, Thor playing a dumb-as-a-brick receptionist, the running gags about slime. But for those of us who had seen the original \u003ci>Ghostbusters\u003c/i> more times than we can count on two hands, it was a far more complex experience.\u003c/p>\n\u003cp>https://youtu.be/w3ugHP-yZXw\u003c/p>\n\u003cp>Let’s just get this out of the way: the \u003ci>Ghostbusters\u003c/i> reboot is funny. Rapid-fire jokes issue forth from Melissa McCarthy in the style of a Tina Fey sitcom, Kate McKinnon’s cadence is weird and wonderful and never serious, Wiig plays the exasperated straight (wo)man, and Leslie Jones gets some of the best one-liners of the bunch. Jokes and ghosts aside, it's ostensibly a film about female friendship, and a satisfying one at that. Then again, I’m a human of the female persuasion, so what do I know?\u003c/p>\n\u003cp>The real reason I’m writing this today is to parse out the strangeness of my moviegoing experience. The theater was jam packed (we watched the entire film from an awkward left-side-of-the-second-row angle), seemingly full of people not there to see a new movie, but people psyched to see a movie they already knew and loved.\u003c/p>\n\u003cp>As my colleague Emma Silvers wrote just a few weeks ago, the driving premise of \u003ci>Ghostbusters\u003c/i> is \"\u003ca href=\"https://ww2.kqed.org/pop/2016/06/23/if-you-hate-music-and-yourself-definitely-listen-to-the-new-ghostbusters-theme-by-fall-out-boy-and-missy-elliott/\" target=\"_blank\">bankable nostalgia\u003c/a>.\" But instead of just translating into ticket sales, this sense of nostalgia actually facilitated some kind of time travel, making the assembled crowd act like they’d seen the 2016 incarnation of \u003ci>Ghostbusters\u003c/i> more times than they could count on two hands. On opening weekend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I’ve experienced this before. Way back in 2013 I watched \u003ci>The Canyons\u003c/i> at that ill-fated film’s opening night at San Francisco’s Roxie. Don’t remember this one? All you need to know is that it was the subject of a \u003ci>New York Times Magazine\u003c/i> piece titled “Here Is What Happens When You Cast Lindsay Lohan in Your Movie.” (Spoiler alert: not great things.)\u003c/p>\n\u003cp>https://youtu.be/71Dnzi3W_u0\u003c/p>\n\u003cp>After an impassioned introduction about the specialness of the evening, the specialness of the audience and the specialness of the Roxie itself, the assembled crowd of thirty or so people felt pretty good about themselves and the movie they were about to see. (Live! Not on a computer screen! Because we really love the moviegoing experience! Because we’re not philistines! Three cheers for us!)\u003c/p>\n\u003cp>The Roxie crowd was rowdy, itching for a new cult classic to spring off the screen. They seemed to think they could turn \u003ci>The Canyons\u003c/i> into \u003ci>The Rocky Horror Picture Show\u003c/i> by sheer force of will. By heckling the projection, yelling at the characters, repeating lines in funny voices -- maybe, just maybe -- the audience could create a faux patina and quickly induct \u003ci>The Canyons\u003c/i> into campy cinema history. Unfortunately for all of us present that night, it doesn’t work that way.\u003c/p>\n\u003cp>Fast-forward to 2016 and the audience for \u003ci>Ghostbusters\u003c/i>, much more positive in their reactions, responded to the film in a similarly desperate way. When every star of the original two films (save for Harold Ramis, who died in 2014, and Rick Moranis, who stopped acting after 1997’s \u003ci>Honey, We Shrunk Ourselves\u003c/i>) appeared on the screen, the entire theater burst into applause and cheers. The cacophony rendered all the zingers in those few-second cameos completely inaudible.\u003c/p>\n\u003cp>Scenes that we'd already seen because they appeared in the film’s trailer were met with equally raucous applause. When Jones’ character slapped a possessed McCarthy across the face, screaming “The power of pain compels you!” (itself an \u003ci>Exorcist\u003c/i> reference) the theater erupted. When the first notes of Ray Parker, Jr.’s old theme song played, the theater erupted. When the post-movie credits showed still frames of the characters in action, the theater erupted again and again (though McKinnon was the clear winner in this applause-o-meter).\u003c/p>\n\u003cp>The same kind of thing happened at \u003ci>Star Wars: The Force Awakens\u003c/i> last year. Cheers and applause for Leia, Han, Chewbacca and the rest of that fun-loving gang. There were wolf-whistles and fist pumping.\u003c/p>\n\u003cp>https://youtu.be/ngElkyQ6Rhs\u003c/p>\n\u003cp>Why are films we’re watching for the very first time getting the midnight movie treatment? Partly, it’s because these offerings -- \u003ci>Ghostbusters\u003c/i> and \u003ci>Star Wars\u003c/i> in particular -- follow almost exactly the same narrative arc as their predecessors, simply shifting the familiar faces into cameo roles to make space for new stars. We \u003ci>are\u003c/i> seeing \u003ci>Ghostbusters\u003c/i> for the zillionth time; it just has a new cast.\u003c/p>\n\u003cp>But here’s another theory, just for fun: It’s because we, as an audience, don’t trust ourselves to identify new, high-quality objects of our moviegoing affection. It takes more mental energy. Which then creates a chicken-and-egg situation, because then studio executives don’t think we deserve anything better. So much of contemporary life is steeped in nostalgia -- drenched in a retro veneer of whatever Kodachrome tint Instagram is pushing that week -- that we’ve become obsessed with the comfortable and familiar. So obsessed that we cheer at movies, willing them to becoming something they’re not.\u003c/p>\n\u003cp>Don't get me wrong, I don't want the cheering to end; I’m all for the communal movie-going experience. There’s something wonderful about feeding off of each other's emotional response to images flickering across a screen. It wasn’t until I saw \u003ci>The Shining\u003c/i> in a sold-out Castro Theatre that Kubrick’s masterpiece truly terrified me. But I want us to have wholehearted, enthusiastic reactions to new movies as well. You can’t rush a classic, just like I can never unhear the new \u003ci>Ghostbusters\u003c/i> theme song. We’ll never escape \u003ca href=\"https://ww2.kqed.org/pop/2016/07/18/1984-the-year-we-unwittingly-stopped-watching-movies-and-started-watching-franchises/\" target=\"_blank\">this vortex of sequels, reboots and franchises\u003c/a> -- so long as we keep accepting sameness as something exceptional.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I saw \u003ci>Ghostbusters\u003c/i> this weekend with one adult and two children: people born in 1983, 2007 and 2009, respectively. The under-10 set loved it -- the silly jokes, the exploding ghosts, Thor playing a dumb-as-a-brick receptionist, the running gags about slime. But for those of us who had seen the original \u003ci>Ghostbusters\u003c/i> more times than we can count on two hands, it was a far more complex experience.\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/w3ugHP-yZXw'\n title='//www.youtube.com/embed/w3ugHP-yZXw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Let’s just get this out of the way: the \u003ci>Ghostbusters\u003c/i> reboot is funny. Rapid-fire jokes issue forth from Melissa McCarthy in the style of a Tina Fey sitcom, Kate McKinnon’s cadence is weird and wonderful and never serious, Wiig plays the exasperated straight (wo)man, and Leslie Jones gets some of the best one-liners of the bunch. Jokes and ghosts aside, it's ostensibly a film about female friendship, and a satisfying one at that. Then again, I’m a human of the female persuasion, so what do I know?\u003c/p>\n\u003cp>The real reason I’m writing this today is to parse out the strangeness of my moviegoing experience. The theater was jam packed (we watched the entire film from an awkward left-side-of-the-second-row angle), seemingly full of people not there to see a new movie, but people psyched to see a movie they already knew and loved.\u003c/p>\n\u003cp>As my colleague Emma Silvers wrote just a few weeks ago, the driving premise of \u003ci>Ghostbusters\u003c/i> is \"\u003ca href=\"https://ww2.kqed.org/pop/2016/06/23/if-you-hate-music-and-yourself-definitely-listen-to-the-new-ghostbusters-theme-by-fall-out-boy-and-missy-elliott/\" target=\"_blank\">bankable nostalgia\u003c/a>.\" But instead of just translating into ticket sales, this sense of nostalgia actually facilitated some kind of time travel, making the assembled crowd act like they’d seen the 2016 incarnation of \u003ci>Ghostbusters\u003c/i> more times than they could count on two hands. On opening weekend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’ve experienced this before. Way back in 2013 I watched \u003ci>The Canyons\u003c/i> at that ill-fated film’s opening night at San Francisco’s Roxie. Don’t remember this one? All you need to know is that it was the subject of a \u003ci>New York Times Magazine\u003c/i> piece titled “Here Is What Happens When You Cast Lindsay Lohan in Your Movie.” (Spoiler alert: not great things.)\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/71Dnzi3W_u0'\n title='//www.youtube.com/embed/71Dnzi3W_u0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After an impassioned introduction about the specialness of the evening, the specialness of the audience and the specialness of the Roxie itself, the assembled crowd of thirty or so people felt pretty good about themselves and the movie they were about to see. (Live! Not on a computer screen! Because we really love the moviegoing experience! Because we’re not philistines! Three cheers for us!)\u003c/p>\n\u003cp>The Roxie crowd was rowdy, itching for a new cult classic to spring off the screen. They seemed to think they could turn \u003ci>The Canyons\u003c/i> into \u003ci>The Rocky Horror Picture Show\u003c/i> by sheer force of will. By heckling the projection, yelling at the characters, repeating lines in funny voices -- maybe, just maybe -- the audience could create a faux patina and quickly induct \u003ci>The Canyons\u003c/i> into campy cinema history. Unfortunately for all of us present that night, it doesn’t work that way.\u003c/p>\n\u003cp>Fast-forward to 2016 and the audience for \u003ci>Ghostbusters\u003c/i>, much more positive in their reactions, responded to the film in a similarly desperate way. When every star of the original two films (save for Harold Ramis, who died in 2014, and Rick Moranis, who stopped acting after 1997’s \u003ci>Honey, We Shrunk Ourselves\u003c/i>) appeared on the screen, the entire theater burst into applause and cheers. The cacophony rendered all the zingers in those few-second cameos completely inaudible.\u003c/p>\n\u003cp>Scenes that we'd already seen because they appeared in the film’s trailer were met with equally raucous applause. When Jones’ character slapped a possessed McCarthy across the face, screaming “The power of pain compels you!” (itself an \u003ci>Exorcist\u003c/i> reference) the theater erupted. When the first notes of Ray Parker, Jr.’s old theme song played, the theater erupted. When the post-movie credits showed still frames of the characters in action, the theater erupted again and again (though McKinnon was the clear winner in this applause-o-meter).\u003c/p>\n\u003cp>The same kind of thing happened at \u003ci>Star Wars: The Force Awakens\u003c/i> last year. Cheers and applause for Leia, Han, Chewbacca and the rest of that fun-loving gang. There were wolf-whistles and fist pumping.\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/ngElkyQ6Rhs'\n title='//www.youtube.com/embed/ngElkyQ6Rhs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Why are films we’re watching for the very first time getting the midnight movie treatment? Partly, it’s because these offerings -- \u003ci>Ghostbusters\u003c/i> and \u003ci>Star Wars\u003c/i> in particular -- follow almost exactly the same narrative arc as their predecessors, simply shifting the familiar faces into cameo roles to make space for new stars. We \u003ci>are\u003c/i> seeing \u003ci>Ghostbusters\u003c/i> for the zillionth time; it just has a new cast.\u003c/p>\n\u003cp>But here’s another theory, just for fun: It’s because we, as an audience, don’t trust ourselves to identify new, high-quality objects of our moviegoing affection. It takes more mental energy. Which then creates a chicken-and-egg situation, because then studio executives don’t think we deserve anything better. So much of contemporary life is steeped in nostalgia -- drenched in a retro veneer of whatever Kodachrome tint Instagram is pushing that week -- that we’ve become obsessed with the comfortable and familiar. So obsessed that we cheer at movies, willing them to becoming something they’re not.\u003c/p>\n\u003cp>Don't get me wrong, I don't want the cheering to end; I’m all for the communal movie-going experience. There’s something wonderful about feeding off of each other's emotional response to images flickering across a screen. It wasn’t until I saw \u003ci>The Shining\u003c/i> in a sold-out Castro Theatre that Kubrick’s masterpiece truly terrified me. But I want us to have wholehearted, enthusiastic reactions to new movies as well. You can’t rush a classic, just like I can never unhear the new \u003ci>Ghostbusters\u003c/i> theme song. We’ll never escape \u003ca href=\"https://ww2.kqed.org/pop/2016/07/18/1984-the-year-we-unwittingly-stopped-watching-movies-and-started-watching-franchises/\" target=\"_blank\">this vortex of sequels, reboots and franchises\u003c/a> -- so long as we keep accepting sameness as something exceptional.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! SF Jewish Film Festival Brings Conscience, Conflict and Comedy to Screen",
"headTitle": "Now Playing! SF Jewish Film Festival Brings Conscience, Conflict and Comedy to Screen | KQED",
"content": "\u003cp>\u003cem>For this week’s silver screen recommendations, it’s all about the San Francisco Jewish Film Festival, spread this year across theaters in San Francisco, Berkeley, Oakland, Palo Alto and San Rafael.\u003c/em>\u003c/p>\n\u003ch3>\u003ca href=\"http://sfjff36.jfi.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Jewish Film Festival\u003c/a>\u003c/h3>\n\u003ch5>July 21 – Aug. 7\u003cbr>\nVarious Bay Area theaters\u003cbr>\nTickets: $13-15\u003c/h5>\n\u003cp>Dani Menkin’s rah-rah documentary \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=224467~a70858c6-cd47-4e92-968c-c94c12db6b1c&epguid=6c605fc2-2bc7-421f-85de-c2343380f3f1&\" target=\"_blank\" rel=\"noopener\">On the Map\u003c/a>\u003c/em>, receiving its world premiere at Cinéarts in Palo Alto this Saturday, July 23 as part of the \u003ca href=\"http://sfjff36.jfi.org/festival-guide/\" target=\"_blank\" rel=\"noopener\">San Francisco Jewish Film Festival\u003c/a>, revisits with unabashed pride of the 1977 run of the Maccabi Tel Aviv basketball team to the European Championship. Another Israeli doc maker, Shimon Dotan, offers a more skeptical and complicated picture of nationalism in \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=224446~a70858c6-cd47-4e92-968c-c94c12db6b1c&epguid=6c605fc2-2bc7-421f-85de-c2343380f3f1&\" target=\"_blank\" rel=\"noopener\">The Settlers\u003c/a>\u003c/em> (screening four times during the festival), a balanced history of the sometimes erratic, sometimes systematic relocation of (mostly religious) Israelis into the West Bank and Gaza after the Six-Day War.\u003c/p>\n\u003cfigure id=\"attachment_11830496\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11830496\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/rey-31200.jpg\" alt=\"Still from 'The Tenth Man.'\" width=\"1200\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/rey-31200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/rey-31200-400x210.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/rey-31200-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/rey-31200-768x403.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/rey-31200-1180x620.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/rey-31200-960x504.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Tenth Man.’ \u003ccite>(Courtesy of SFJFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 36th edition of the SFJFF, which runs this Thursday, July 21 through Aug. 7 in San Francisco, Berkeley, Oakland, Palo Alto and San Rafael, also includes several features — \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=224445~a70858c6-cd47-4e92-968c-c94c12db6b1c&epguid=6c605fc2-2bc7-421f-85de-c2343380f3f1&\" target=\"_blank\" rel=\"noopener\">Sand Storm\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=224432~a70858c6-cd47-4e92-968c-c94c12db6b1c&epguid=6c605fc2-2bc7-421f-85de-c2343380f3f1&\" target=\"_blank\" rel=\"noopener\">Baba Joon\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=224426~a70858c6-cd47-4e92-968c-c94c12db6b1c&epguid=6c605fc2-2bc7-421f-85de-c2343380f3f1&\" target=\"_blank\" rel=\"noopener\">Mountain\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=224422~a70858c6-cd47-4e92-968c-c94c12db6b1c&epguid=6c605fc2-2bc7-421f-85de-c2343380f3f1&\" target=\"_blank\" rel=\"noopener\">Blush\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=224486~a70858c6-cd47-4e92-968c-c94c12db6b1c&epguid=6c605fc2-2bc7-421f-85de-c2343380f3f1&\" target=\"_blank\" rel=\"noopener\">One Week and a Day\u003c/a>\u003c/em> — from Israel’s sizable coterie of accomplished narrative filmmakers. Another highlight is the appearance of Arab Israeli writer Sayed Kashua, presently teaching at the University of Illinois at Urbana-Champaign, with the U.S. premiere of his autobiographical TV series \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=224464~a70858c6-cd47-4e92-968c-c94c12db6b1c&epguid=6c605fc2-2bc7-421f-85de-c2343380f3f1&\" target=\"_blank\" rel=\"noopener\">The Writer\u003c/a>\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11830495\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11830495\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/NIMOY_05.jpg\" alt=\"Still from 'For the Love of Spock.'\" width=\"640\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NIMOY_05.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NIMOY_05-400x315.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘For the Love of Spock.’ \u003ccite>(Courtesy of SFJFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The festival’s lens is much wider than just the Middle East, of course, with excursions (among many, many other locales) to Argentina for writer-director Daniel Burman’s poignant opening-night confection of father-son dynamics, \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=221918~a70858c6-cd47-4e92-968c-c94c12db6b1c&epguid=6c605fc2-2bc7-421f-85de-c2343380f3f1&\" target=\"_blank\" rel=\"noopener\">The Tenth Man\u003c/a>\u003c/em>, and the U.S.A. for Adam Nimoy’s tribute to his own father, \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=224472~a70858c6-cd47-4e92-968c-c94c12db6b1c&epguid=6c605fc2-2bc7-421f-85de-c2343380f3f1&\" target=\"_blank\" rel=\"noopener\">For the Love of Spock\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Another television pioneer and influential liberal, Norman Lear, receives the Freedom of Expression Award prior to the doc \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=224447~a70858c6-cd47-4e92-968c-c94c12db6b1c&epguid=6c605fc2-2bc7-421f-85de-c2343380f3f1&\" target=\"_blank\" rel=\"noopener\">Norman Lear: Just Another Version of You\u003c/a>\u003c/em>, while the titular funnyman of \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=223425~a70858c6-cd47-4e92-968c-c94c12db6b1c&epguid=6c605fc2-2bc7-421f-85de-c2343380f3f1&\" target=\"_blank\" rel=\"noopener\">Robert Klein Still Can’t Stop His Leg\u003c/a>\u003c/em> takes the stage before and after the screening of that portrait. Ferne Perlstein achieves the near-perfect synthesis of comedy, conscience and conflict in her provocative doc, \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=224474~a70858c6-cd47-4e92-968c-c94c12db6b1c&epguid=6c605fc2-2bc7-421f-85de-c2343380f3f1&\" target=\"_blank\" rel=\"noopener\">The Last Laugh\u003c/a>\u003c/em>, which embraces the question of whether the Holocaust is off-limits for comedians. As you might imagine, Mel Brooks and Sarah Silverman have an opinion on the matter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The San Francisco Jewish Film Festival opens in theaters across the Bay Area (SF is a misnomer here) with films equally dispersed across the Jewish diaspora. ",
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"description": "The San Francisco Jewish Film Festival opens in theaters across the Bay Area (SF is a misnomer here) with films equally dispersed across the Jewish diaspora. ",
"title": "Now Playing! SF Jewish Film Festival Brings Conscience, Conflict and Comedy to Screen | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>For this week’s silver screen recommendations, it’s all about the San Francisco Jewish Film Festival, spread this year across theaters in San Francisco, Berkeley, Oakland, Palo Alto and San Rafael.\u003c/em>\u003c/p>\n\u003ch3>\u003ca href=\"http://sfjff36.jfi.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Jewish Film Festival\u003c/a>\u003c/h3>\n\u003ch5>July 21 – Aug. 7\u003cbr>\nVarious Bay Area theaters\u003cbr>\nTickets: $13-15\u003c/h5>\n\u003cp>Dani Menkin’s rah-rah documentary \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=224467~a70858c6-cd47-4e92-968c-c94c12db6b1c&epguid=6c605fc2-2bc7-421f-85de-c2343380f3f1&\" target=\"_blank\" rel=\"noopener\">On the Map\u003c/a>\u003c/em>, receiving its world premiere at Cinéarts in Palo Alto this Saturday, July 23 as part of the \u003ca href=\"http://sfjff36.jfi.org/festival-guide/\" target=\"_blank\" rel=\"noopener\">San Francisco Jewish Film Festival\u003c/a>, revisits with unabashed pride of the 1977 run of the Maccabi Tel Aviv basketball team to the European Championship. Another Israeli doc maker, Shimon Dotan, offers a more skeptical and complicated picture of nationalism in \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=224446~a70858c6-cd47-4e92-968c-c94c12db6b1c&epguid=6c605fc2-2bc7-421f-85de-c2343380f3f1&\" target=\"_blank\" rel=\"noopener\">The Settlers\u003c/a>\u003c/em> (screening four times during the festival), a balanced history of the sometimes erratic, sometimes systematic relocation of (mostly religious) Israelis into the West Bank and Gaza after the Six-Day War.\u003c/p>\n\u003cfigure id=\"attachment_11830496\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11830496\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/rey-31200.jpg\" alt=\"Still from 'The Tenth Man.'\" width=\"1200\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/rey-31200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/rey-31200-400x210.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/rey-31200-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/rey-31200-768x403.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/rey-31200-1180x620.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/rey-31200-960x504.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Tenth Man.’ \u003ccite>(Courtesy of SFJFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 36th edition of the SFJFF, which runs this Thursday, July 21 through Aug. 7 in San Francisco, Berkeley, Oakland, Palo Alto and San Rafael, also includes several features — \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=224445~a70858c6-cd47-4e92-968c-c94c12db6b1c&epguid=6c605fc2-2bc7-421f-85de-c2343380f3f1&\" target=\"_blank\" rel=\"noopener\">Sand Storm\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=224432~a70858c6-cd47-4e92-968c-c94c12db6b1c&epguid=6c605fc2-2bc7-421f-85de-c2343380f3f1&\" target=\"_blank\" rel=\"noopener\">Baba Joon\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=224426~a70858c6-cd47-4e92-968c-c94c12db6b1c&epguid=6c605fc2-2bc7-421f-85de-c2343380f3f1&\" target=\"_blank\" rel=\"noopener\">Mountain\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=224422~a70858c6-cd47-4e92-968c-c94c12db6b1c&epguid=6c605fc2-2bc7-421f-85de-c2343380f3f1&\" target=\"_blank\" rel=\"noopener\">Blush\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=224486~a70858c6-cd47-4e92-968c-c94c12db6b1c&epguid=6c605fc2-2bc7-421f-85de-c2343380f3f1&\" target=\"_blank\" rel=\"noopener\">One Week and a Day\u003c/a>\u003c/em> — from Israel’s sizable coterie of accomplished narrative filmmakers. Another highlight is the appearance of Arab Israeli writer Sayed Kashua, presently teaching at the University of Illinois at Urbana-Champaign, with the U.S. premiere of his autobiographical TV series \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=224464~a70858c6-cd47-4e92-968c-c94c12db6b1c&epguid=6c605fc2-2bc7-421f-85de-c2343380f3f1&\" target=\"_blank\" rel=\"noopener\">The Writer\u003c/a>\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11830495\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11830495\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/NIMOY_05.jpg\" alt=\"Still from 'For the Love of Spock.'\" width=\"640\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NIMOY_05.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NIMOY_05-400x315.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘For the Love of Spock.’ \u003ccite>(Courtesy of SFJFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The festival’s lens is much wider than just the Middle East, of course, with excursions (among many, many other locales) to Argentina for writer-director Daniel Burman’s poignant opening-night confection of father-son dynamics, \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=221918~a70858c6-cd47-4e92-968c-c94c12db6b1c&epguid=6c605fc2-2bc7-421f-85de-c2343380f3f1&\" target=\"_blank\" rel=\"noopener\">The Tenth Man\u003c/a>\u003c/em>, and the U.S.A. for Adam Nimoy’s tribute to his own father, \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=224472~a70858c6-cd47-4e92-968c-c94c12db6b1c&epguid=6c605fc2-2bc7-421f-85de-c2343380f3f1&\" target=\"_blank\" rel=\"noopener\">For the Love of Spock\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Another television pioneer and influential liberal, Norman Lear, receives the Freedom of Expression Award prior to the doc \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=224447~a70858c6-cd47-4e92-968c-c94c12db6b1c&epguid=6c605fc2-2bc7-421f-85de-c2343380f3f1&\" target=\"_blank\" rel=\"noopener\">Norman Lear: Just Another Version of You\u003c/a>\u003c/em>, while the titular funnyman of \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=223425~a70858c6-cd47-4e92-968c-c94c12db6b1c&epguid=6c605fc2-2bc7-421f-85de-c2343380f3f1&\" target=\"_blank\" rel=\"noopener\">Robert Klein Still Can’t Stop His Leg\u003c/a>\u003c/em> takes the stage before and after the screening of that portrait. Ferne Perlstein achieves the near-perfect synthesis of comedy, conscience and conflict in her provocative doc, \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=224474~a70858c6-cd47-4e92-968c-c94c12db6b1c&epguid=6c605fc2-2bc7-421f-85de-c2343380f3f1&\" target=\"_blank\" rel=\"noopener\">The Last Laugh\u003c/a>\u003c/em>, which embraces the question of whether the Holocaust is off-limits for comedians. As you might imagine, Mel Brooks and Sarah Silverman have an opinion on the matter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"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.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"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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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"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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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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