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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Practice, practice, practice,” says Mama afterwards. “This isn’t a charity. Show us something ‘real’ or we’ll get someone else.”\u003c/p>\n\u003cp>Next time Jesus goes out on stage he’s in a white dress, pearls and a scarlet boa, and there’s no question the audience finds him “real.” He’s a knockout. And he gets knocked out, by a drunk at the bar — a drunk he is horrified to learn, is his father, just released from jail and coming back to live with him in the family apartment they both have claims on.\u003c/p>\n\u003cp>Complications ensue, including a power struggle in the household that gains a bit of complexity from a cleverly ‘meta’ bit of casting. Irish filmmaker Paddy Breathnach has placed newcomer Medina, opposite one of Cuba’s most celebrated actors, Jorge Perugorría, as his homophobic father, which qualifies as an intriguing bit of role-reversal. Perugorría became celebrated two decades ago by making his own debut as the gay lead in \u003cem>Fresa y chocolate\u003c/em> (\u003cem>Strawberry & Chocolate\u003c/em>), the Oscar-nominated film that is probably Cuba’s best-known.\u003c/p>\n\u003cp>The two actors are well-paired here, in a story that’s perhaps over-familiar — striking mostly conventional notes about identity and family — but that benefits enormously from its setting: the cobbled streets of Old Havana, where the colorful hues of antique cars and crumbling storefronts, brighten the grittier world they inhabit, much as Jesus wants to brighten the world around him, as Viva.\u003c/p>\n\u003cp>\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/S097UTL057I'\n title='//www.youtube.com/embed/S097UTL057I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Deep Breaths: A Dispatch From the Gwyneth Paltrow Industrial Complex",
"headTitle": "Deep Breaths: A Dispatch From the Gwyneth Paltrow Industrial Complex | KQED",
"content": "\u003cp>Let’s start with this: I am not here to hate bluntly on Gwyneth Paltrow. And a desire to do that is not, I swear to you, why I felt a subtle yet unmistakable gravitational pull toward the actress’s new San Francisco pop-up shop, \u003ca href=\"http://goop.com/goop-mrkt/\">Goop MRKT\u003c/a> (apparently she got the memo about ditching vowels if you want to do good business in the Bay Area), when I learned she would be appearing there May 5 to sign her new cookbook and shower plebeians with her effervescent, organically produced glow.\u003c/p>\n\u003cp>Gwyneth is an easy target. Too easy, one could say. In this \u003ca href=\"http://www.huffingtonpost.com/entry/muslim-woman-attacked_us_57289b7ae4b0bc9cb0447aed\" target=\"_blank\" rel=\"noopener\">terrifying political climate\u003c/a>, with our current levels of income inequality — while five hunger strikers endanger themselves in the hopes of raising awareness about police brutality against young men of color \u003ca href=\"http://ww2.kqed.org/arts/2016/04/30/equiptos-hunger-strike-the-importance-of-art-in-social-change/\">four blocks away from my house\u003c/a> — it is all too convenient to point a finger at the extremely wealthy thin white blonde actress lady shilling \u003ca href=\"http://www.amazon.com/dp/1455522716/ref=pd_lpo_sbs_dp_ss_2?pf_rd_p=1944687682&pf_rd_s=lpo-top-stripe-1&pf_rd_t=201&pf_rd_i=1455584215&pf_rd_m=ATVPDKIKX0DER&pf_rd_r=1VS4T5GV941V0EWNXQCW\">health-conscious cookbooks\u003c/a> and an organic skincare line as part of her \u003ca href=\"http://goop.com/\">egregiously overpriced lifestyle brand\u003c/a> and say, “That right there, that’s a thing I know how to hate. That seems simple. Let’s just focus on that for today.”\u003c/p>\n\u003cp>Hating on Gwyneth has, in fact, become such an\u003ca href=\"http://www.dailymail.co.uk/tvshowbiz/article-2310405/Gwyneth-Paltrow-named-hated-celebrities-Hollywood-beats-Anne-Hathaway-Kristen-Stewart-poll.html\"> obvious national pastime\u003c/a> that when she was gruesomely killed off in the first 10 minutes of \u003cem>Contagion \u003c/em>a few years ago\u003cem>, \u003c/em>one had to wonder if Steven Soderbergh was enacting a bit of cinematic revenge porn for his audience’s collective benefit.\u003c/p>\n\u003cfigure id=\"attachment_23939\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-23939\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/gwyneth-paltrow-as-beth-emhoff-in-contagion-800x450.jpg\" alt=\"Gwyneth looking not that pretty \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/gwyneth-paltrow-as-beth-emhoff-in-contagion-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/gwyneth-paltrow-as-beth-emhoff-in-contagion-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/gwyneth-paltrow-as-beth-emhoff-in-contagion-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/gwyneth-paltrow-as-beth-emhoff-in-contagion-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/gwyneth-paltrow-as-beth-emhoff-in-contagion-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/gwyneth-paltrow-as-beth-emhoff-in-contagion.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gwyneth looking not that pretty in ‘Contagion.’\u003c/figcaption>\u003c/figure>\n\u003cp>Which, in turn, brings up a slew of questions, such as: Is she in on the joke? Surely the most hated celebrity in America has an inkling of that status by now. On the other hand: Is a person whose online kitchenware store includes \u003ca href=\"http://shop.goop.com/collections/kitchen-tabletop/products/copper-spoons\">$1200 spoons\u003c/a> and a \u003ca href=\"http://shop.goop.com/collections/kitchen-tabletop/products/apron-with-leather\">$200 apron\u003c/a> one must disassemble with a screwdriver in order to wash really a person who’s in touch with the rest of America?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-23945\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/Paltrow-Vegetables1-800x776.jpg\" alt=\"Paltrow-Vegetables1\" width=\"800\" height=\"776\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/Paltrow-Vegetables1-800x776.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/Paltrow-Vegetables1-400x388.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/Paltrow-Vegetables1-768x745.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/Paltrow-Vegetables1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/Paltrow-Vegetables1.jpg 940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If I’m not here to add on the hate-pile, you might ask, then why did I join a couple hundred Gwyneth fans on the street in downtown San Francisco yesterday, all for the privilege of getting an up-close-and-personal look at her line of children’s clothes, face washes, and frying pans, then wait in line for nearly 90 minutes to have her royal blondness sign a cookbook for my mother?\u003c/p>\n\u003cp>I can say I was genuinely curious about the interior of San Francisco’s only \u003ca href=\"http://www.sfchronicle.com/bayarea/place/article/S-F-move-to-protect-interior-of-Frank-Lloyd-6834897.php\">Frank Lloyd Wright-designed building\u003c/a>, which is the “mrkt” from whence Gwyneth shall sell her Goop until May 22. And I can promise that I really tried to leave my preconceived notions behind — to consciously uncouple, if you will, from whatever biases I may have previously formed about the woman.\u003c/p>\n\u003cfigure id=\"attachment_23876\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-23876 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/goop-mrkt-details-left-800x569.jpg\" alt=\"goop-mrkt-details-left\" width=\"800\" height=\"569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/goop-mrkt-details-left-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/goop-mrkt-details-left-400x284.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/goop-mrkt-details-left-768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/goop-mrkt-details-left-1180x839.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/goop-mrkt-details-left-960x683.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/goop-mrkt-details-left.jpg 1350w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Official press photos from the goop MRKT website.\u003c/figcaption>\u003c/figure>\n\u003cp>Still, I had questions, and I thought her devotees, these subjects of Gwyneth’s empire who had dutifully flocked here on a muggy, overcast Thursday morning, might answer them.\u003c/p>\n\u003cp>Luckily, I also had some time to kill. Gwyneth was due to sign books from 10:30 to noon; the doorman informed that me that the first people began lining up around 9am. By 10:30, when I arrived, the line stretched entirely down the length of Maiden Lane. Roughly 95 percent of these people were women; maybe 93 percent of them were white; 100 percent of them were beautiful. A special kind of beautiful. You know that specific kind of rich-people beautiful that involves perfect skin and shiny hair and flawless manicures and a general aura of effortlessness that somehow also communicates a great deal of effort and certainly a f*ck-ton of money? I was immediately aware of my chipped nail polish, of the stray cat hair on my jacket. I couldn’t tell if I hated everyone or wanted them to adopt me.\u003c/p>\n\u003cp>“What brings you here?” I asked about a dozen women, tossing my hair, trying my darnedest to act like I belonged.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-25768\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/Screen-Shot-2016-06-02-at-10.26.36-PM.png\" alt=\"Screen Shot 2016-06-02 at 10.26.36 PM\" width=\"475\" height=\"407\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/Screen-Shot-2016-06-02-at-10.26.36-PM.png 475w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/Screen-Shot-2016-06-02-at-10.26.36-PM-400x343.png 400w\" sizes=\"(max-width: 475px) 100vw, 475px\">\u003c/p>\n\u003cp>“I’ve just been a fan of hers forever,” offered a woman with immaculate eyeliner. “I just think she’s really cool, and has a great sense of style. And I try to eat healthy, so her recipes are great.”\u003c/p>\n\u003cp>Another told me she traveled for work frequently, and Gwyneth’s \u003ca href=\"http://goop.com/city-guides/city-guide/\">hotel and restaurant tips \u003c/a>were always right up her alley.\u003c/p>\n\u003cp>“Cool,” I said. “What do you do for work?”\u003c/p>\n\u003cp>“I work in marketing at Twitter,” she said.\u003c/p>\n\u003cp>“Cool,” I said.\u003c/p>\n\u003cfigure id=\"attachment_23897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-23897\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/FullSizeRender-18-800x1059.jpg\" alt=\"Who looks beautiful holding cans of sardines? Gwyneth Paltrow looks beautiful holding cans of sardines. \" width=\"800\" height=\"1059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-18-800x1059.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-18-400x530.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-18-768x1017.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-18-1440x1907.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-18-1920x2542.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-18-1180x1563.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-18-960x1271.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-18.jpg 1925w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Who looks beautiful holding cans of sardines? Gwyneth Paltrow looks beautiful holding cans of sardines.\u003c/figcaption>\u003c/figure>\n\u003cp>Another young woman who worked in PR revealed to me that this was not her first Goop experience this week: She had attended a Goop workout class at The Battery, San Francisco’s grand members-only club, the previous evening.\u003c/p>\n\u003cp>“What kind of workout class?” I asked. “Was Gwyneth there, like, on the floor doing Pilates with you guys?”\u003c/p>\n\u003cp>“Oh, no, she wasn’t there,” she clarified with a laugh, looking starry-eyed at the thought. “Just a Goop thing. They had us, like, running around on the roof.”\u003c/p>\n\u003cp>“Cool,” I said.\u003c/p>\n\u003cfigure id=\"attachment_23885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-23885\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/FullSizeRender-13-800x600.jpg\" alt=\"goop waterbottles for those goop workouts\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-13-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-13-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-13-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-13-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-13-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-13-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-13-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Goop waterbottles for those Goop workouts.\u003c/figcaption>\u003c/figure>\n\u003cp>Many attendees reported that they were in fact big fans of Gwyneth’s previous cookbooks, including \u003cem>My Father’s Daughter: Delicious, Easy Recipes Celebrating Family & Togetherness \u003c/em>and\u003cem> It’s All Good: Delicious, Easy Recipes That Will Make You Look Good and Feel Great. \u003c/em>\u003c/p>\n\u003cp>The new book, out in time for Mother’s Day, is titled \u003cem>It’s All Easy: Delicious Weekday Recipes for the Super-Busy Home Cook. \u003c/em>Its promotional copy, in case the title didn’t make this clear, emphasizes that these are Gwyneth’s favorite recipes for regular people like you and me — people with jobs, in other words, and without personal chefs, nor millions of dollars.\u003c/p>\n\u003cfigure id=\"attachment_23880\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-23880\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/8943550_5-simple-and-healthy-breakfast-recipes-gwyneth_5a4d079a_m.png\" alt=\"Something that Gwyneth Paltrow totally eats on the regular hahahaha yeah right\" width=\"640\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/8943550_5-simple-and-healthy-breakfast-recipes-gwyneth_5a4d079a_m.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/8943550_5-simple-and-healthy-breakfast-recipes-gwyneth_5a4d079a_m-400x200.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Something that Gwyneth Paltrow totally eats on the regular hahahaha yeah right.\u003c/figcaption>\u003c/figure>\n\u003cp>It is filled, naturally, with photos of Gwyneth looking beautiful, wearing chunky knit sweaters at home or in nature with her children, in addition to photos of the beautiful meals she ostensibly prepares on weeknights when she is home from her imaginary regular-person job, and must feed her regular children without any help whatsoever. These spreads are interspersed with “easy” recipes — the very first in the book is for an “easy” acai bowl — plus stories about Gwyneth’s ostensible regular-person life.\u003c/p>\n\u003cp>The persistent attempt to come off like a relatable human being results in some hilarious reaches, like the recipe for a beautiful, gourmet salad niçoise made with nine-minute eggs served on a fresh baguette, which Gwyneth suggests should really be enjoyed during a picnic with a bottle of rosé, but can also be wolfed down while sitting in one’s car waiting for the kids to finish soccer practice. (You can clearly envision the edit meetings: “That’s a thing people do, right?”)\u003c/p>\n\u003cp>Here are some actual excerpts from the book, selected via a process of opening it to random pages once I was home, writing this, eating cheese popcorn out of a bag that I bought at the liquor store across the street.\u003c/p>\n\u003cp>\u003cem>Cacio e pepe is one of my favorite simple pasta dishes, so when Thea and I started spiralizing vegetables like maniacs, we thought a zucchini noodle version might be nice. \u003c/em>\u003c/p>\n\u003cp>\u003cem>If you’re short on time, get someone at the meat counter to pound out your chicken for you and be sure to let the lemon slices get caramelized and sweet before adding the other ingredients. \u003c/em>\u003c/p>\n\u003cp>\u003cem>When working on a GOOP story with the L.A.-based company Moon Juice, we learned the easiest-ever method for making instant almond milk: simply blend good almond butter and water together. Duh — why didn’t we think of that?! Here we make a hot version with fresh ginger and a little sesame oil to add roundness. \u003c/em>\u003c/p>\n\u003cp>Duh!! Anyway, the interior of the building was truly beautiful. With a nod from the doorman, I passed the rubicon (goopicon? sorry) to see beautiful assistants swiping credit cards through iPads as customers bought books for Gwyneth to sign; the line to meet her packed the spiral ramp to the second floor.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-23879\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/FullSizeRender-9-800x600.jpg\" alt=\"FullSizeRender (9)\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-9-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-9-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-9-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-9-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-9-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-9-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-9-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>On the ground floor below, the Goop beauty and skincare line occupied one bright-white corner, while another, set up to look like an expensive but also regular-person living room, featured bookshelves full of architecture tomes and travel guides; $200 throw pillows; and black and white photographs lining each wall. (“She curated those herself,” I heard one impressed woman murmur to another, as Rihanna extolled the virtues of \u003cem>werk werk werk werk werk\u003c/em> over a PA.) A white old-timey bicycle was perched in another corner; I couldn’t tell if it was for sale or if perhaps Gwyneth had pedaled it here herself while carrying a basket overflowing with fresh vegetables.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-23882\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/FullSizeRender-12-800x600.jpg\" alt=\"FullSizeRender (12)\" width=\"489\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-12-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-12-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-12-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-12-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-12-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-12-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-12-960x720.jpg 960w\" sizes=\"(max-width: 489px) 100vw, 489px\">\u003c/p>\n\u003cp>Up the walkway, the line snaked past Goop’s various houseware and clothing lines — workout gear, children’s items, these weird things that were hanging on the wall and I still don’t know what they are after looking them up but they cost \u003cem>$300 each\u003c/em>. Oh wait, the tag says they’re “wall tassels.” That clears it up.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-24910\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/FullSizeRender-22-800x600.jpg\" alt=\"FullSizeRender (22)\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-22-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-22-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-22-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-22-1440x1079.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-22-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-22-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-22-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>You get the idea.\u003c/p>\n\u003cp>And yet: As I made my way through the vortex, inching closer to the holy grail — Gwyneth had been set up for the book-signing behind a hilariously wide butcher-block table, accessorized with Goop dish sets and cast iron pans for that “I’m totally actually in Gwyneth Paltrow’s kitchen!” feeling — I felt some air leaking slowly from my dark balloon of repulsion.\u003c/p>\n\u003cp>Maybe it was the fact that every single beautiful human I’d interacted with for the past hour and a half had been wonderfully kind and friendly. Then there was the fact that every person walking away from the table after meeting her looked like they could die happy, on the spot. Then, from 10 feet away, I could see Gwyneth’s own smile as she chatted up each beautiful human who’d come out to see her, and — in my limited experience with encountering celebrities in the flesh — it was among the most warm, lifelike, genuine smiles I’d seen.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-23900\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/32A327B600000578-0-image-a-4_1459335038932-1.jpg\" alt=\"32A327B600000578-0-image-a-4_1459335038932-1\" width=\"634\" height=\"607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/32A327B600000578-0-image-a-4_1459335038932-1.jpg 634w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/32A327B600000578-0-image-a-4_1459335038932-1-400x383.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/32A327B600000578-0-image-a-4_1459335038932-1-32x32.jpg 32w\" sizes=\"(max-width: 634px) 100vw, 634px\">\u003c/p>\n\u003cp>Or maybe it was more like: Over the course of 90 minutes, I’d made peace with my incredulity. Because you know what? It’s fine to be obscenely wealthy. It’s fine that she was born into a Hollywood family, and has therefore been wealthy, and privileged, and ensconced in a bubble with people just like her, for literally her entire life. It’s even fine that she’s selling this \u003ca href=\"http://shop.goop.com/collections/kitchen-tabletop/products/three-dip-board\">slab of wood you’re supposed to pay $395 to put hummus on\u003c/a>. (I mean it’s crazy, but it’s fine.)\u003c/p>\n\u003cp>But that is not why people hate her. Extreme wealth in and of itself is not grounds for ridicule in this country. It’s your attitude about it — your understanding of where you fit into the grand scheme of things — that can get you in trouble. The Kardashians are mocked for many things, but they have never pretended they cook their own meals. George Clooney owns a f*cking villa in Italy; he does not, however, have a weekly newsletter with suggestions for other people about how to decorate their Italian villas. (That I know of. Someone please sign me up immediately if I’m wrong.)\u003c/p>\n\u003cfigure id=\"attachment_23896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-23896\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/IMG_0233-800x600.jpg\" alt='Here is a seafood-and-sherry dish one is supposed to be able to make at the last minute if one has \"unexpected guests\"' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0233-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0233-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0233-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0233-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0233-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0233-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0233-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Here is a seafood-and-sherry dish one is supposed to be able to make at the last minute if one has “unexpected guests.”\u003c/figcaption>\u003c/figure>\n\u003cp>Whether it’s complete lack of self-awareness or calculated business strategy or both, the idea of being so disconnected from reality that you see “regular person with a 9-to-5 and kids to feed” as a charming brand to try on is staggering; it’s homemaker fetishization of the most insidious degree. The fact that it’s difficult for busy people with little money to feed their children nutritious food is a source of real pain for real humans every day, not to mention the root of a massive national health crisis, and for Gwyneth Paltrow — who has publicly proved that she’s \u003ca href=\"https://www.washingtonpost.com/news/morning-mix/wp/2015/04/17/a-hungry-gwyneth-paltrow-fails-the-food-stamp-challenge-four-days-in/\">woefully incapable of eating on a budget for more than four days\u003c/a> — to suggest that she can relate to this problem, let alone has solutions to it, is patently insulting. \u003cem>It’s All Easy\u003c/em> is a book for people who can afford to not cook but want to feel like they’re the kind of people who do anyway.\u003c/p>\n\u003cp>The central conceit, that Gwyneth is a regular person in any way, is condescending and gross. It’s tacky. And the level of narcissism and near-sightedness it reveals implies a kind of existence \u003cem>I don’t actually think I would ever want.\u003c/em> I work for a public radio station, Gwyneth. I live in the most expensive city in America, one whose future is alarmingly uncertain. I’m hanging on by a thread, and relatively speaking I’m incredibly lucky: I walked by approximately 30 homeless people in and around BART stations just to get here.\u003c/p>\n\u003cp>Here is a $165 keychain by Stella McCartney.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-23899\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/IMG_0229-800x800.jpg\" alt=\"IMG_0229\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0229-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0229-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0229-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0229-1440x1440.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0229-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0229-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0229-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0229-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0229-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0229-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0229-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0229-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“It’s aspirational, for sure,” the girl behind me in line said thoughtfully, of her affinity for Gwyn’s cookbooks.\u003c/p>\n\u003cp>“Right,” I said. “Like if you’re eating the same dinner she’s eating, you might — ”\u003c/p>\n\u003cp>“Kind of become her? Yeah,” she laughed. “It’s a little weird, isn’t it.”\u003c/p>\n\u003cp>A little.\u003c/p>\n\u003cp>Our journey ends like this: Gwyneth was a doll. No, I mean she actually looked like a doll. A tiny, beautiful, beaming doll, and one who — with zero prompting — signed a copy of \u003cem>It’s All Easy\u003c/em> with a Mother’s Day message for my mother, then both my name and hers.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-23890\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/FullSizeRender-17-800x923.jpg\" alt=\"FullSizeRender (17)\" width=\"800\" height=\"923\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-17-800x923.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-17-400x462.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-17-768x886.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-17-1440x1662.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-17-1920x2216.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-17-1180x1362.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-17-960x1108.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-17.jpg 1948w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“So,” I said to her from across the table, with what I can only assume was the voice of a sheepish giantess, willing myself to be something like a journalist and not a large, trembly child meeting Cinderella at Disneyland. “What do you do when it doesn’t all \u003cem>feel\u003c/em> easy?”\u003c/p>\n\u003cp>She looked peeved for a moment, cocked her head to one side. For one, instantaneous flash of a second, I saw a crack in her golden human-shaped costume, a slight tinge of awareness of being mocked. And then it was gone, and she was beaming again.\u003c/p>\n\u003cp>“Just take deep breaths,” she said, in a beautiful voice. “And keep putting one foot in front of the other.”\u003c/p>\n\u003cp>I nodded. And then I did just that, Gwyneth. All the way home.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/pop/24274/whats-really-behind-all-the-hate-gwyneth-paltrow-and-goop-get\">More about Emma’s Goopy day can be found in this episode of ‘The Cooler.’\u003c/a>\u003c/em>\u003c/p>\n\n",
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"excerpt": "The actress-turned-lifestyle-brand appeared at the launch of her pop-up shop in San Francisco May 5. We showed up with some questions. ",
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"title": "Deep Breaths: A Dispatch From the Gwyneth Paltrow Industrial Complex | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s start with this: I am not here to hate bluntly on Gwyneth Paltrow. And a desire to do that is not, I swear to you, why I felt a subtle yet unmistakable gravitational pull toward the actress’s new San Francisco pop-up shop, \u003ca href=\"http://goop.com/goop-mrkt/\">Goop MRKT\u003c/a> (apparently she got the memo about ditching vowels if you want to do good business in the Bay Area), when I learned she would be appearing there May 5 to sign her new cookbook and shower plebeians with her effervescent, organically produced glow.\u003c/p>\n\u003cp>Gwyneth is an easy target. Too easy, one could say. In this \u003ca href=\"http://www.huffingtonpost.com/entry/muslim-woman-attacked_us_57289b7ae4b0bc9cb0447aed\" target=\"_blank\" rel=\"noopener\">terrifying political climate\u003c/a>, with our current levels of income inequality — while five hunger strikers endanger themselves in the hopes of raising awareness about police brutality against young men of color \u003ca href=\"http://ww2.kqed.org/arts/2016/04/30/equiptos-hunger-strike-the-importance-of-art-in-social-change/\">four blocks away from my house\u003c/a> — it is all too convenient to point a finger at the extremely wealthy thin white blonde actress lady shilling \u003ca href=\"http://www.amazon.com/dp/1455522716/ref=pd_lpo_sbs_dp_ss_2?pf_rd_p=1944687682&pf_rd_s=lpo-top-stripe-1&pf_rd_t=201&pf_rd_i=1455584215&pf_rd_m=ATVPDKIKX0DER&pf_rd_r=1VS4T5GV941V0EWNXQCW\">health-conscious cookbooks\u003c/a> and an organic skincare line as part of her \u003ca href=\"http://goop.com/\">egregiously overpriced lifestyle brand\u003c/a> and say, “That right there, that’s a thing I know how to hate. That seems simple. Let’s just focus on that for today.”\u003c/p>\n\u003cp>Hating on Gwyneth has, in fact, become such an\u003ca href=\"http://www.dailymail.co.uk/tvshowbiz/article-2310405/Gwyneth-Paltrow-named-hated-celebrities-Hollywood-beats-Anne-Hathaway-Kristen-Stewart-poll.html\"> obvious national pastime\u003c/a> that when she was gruesomely killed off in the first 10 minutes of \u003cem>Contagion \u003c/em>a few years ago\u003cem>, \u003c/em>one had to wonder if Steven Soderbergh was enacting a bit of cinematic revenge porn for his audience’s collective benefit.\u003c/p>\n\u003cfigure id=\"attachment_23939\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-23939\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/gwyneth-paltrow-as-beth-emhoff-in-contagion-800x450.jpg\" alt=\"Gwyneth looking not that pretty \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/gwyneth-paltrow-as-beth-emhoff-in-contagion-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/gwyneth-paltrow-as-beth-emhoff-in-contagion-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/gwyneth-paltrow-as-beth-emhoff-in-contagion-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/gwyneth-paltrow-as-beth-emhoff-in-contagion-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/gwyneth-paltrow-as-beth-emhoff-in-contagion-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/gwyneth-paltrow-as-beth-emhoff-in-contagion.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gwyneth looking not that pretty in ‘Contagion.’\u003c/figcaption>\u003c/figure>\n\u003cp>Which, in turn, brings up a slew of questions, such as: Is she in on the joke? Surely the most hated celebrity in America has an inkling of that status by now. On the other hand: Is a person whose online kitchenware store includes \u003ca href=\"http://shop.goop.com/collections/kitchen-tabletop/products/copper-spoons\">$1200 spoons\u003c/a> and a \u003ca href=\"http://shop.goop.com/collections/kitchen-tabletop/products/apron-with-leather\">$200 apron\u003c/a> one must disassemble with a screwdriver in order to wash really a person who’s in touch with the rest of America?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-23945\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/Paltrow-Vegetables1-800x776.jpg\" alt=\"Paltrow-Vegetables1\" width=\"800\" height=\"776\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/Paltrow-Vegetables1-800x776.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/Paltrow-Vegetables1-400x388.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/Paltrow-Vegetables1-768x745.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/Paltrow-Vegetables1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/Paltrow-Vegetables1.jpg 940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If I’m not here to add on the hate-pile, you might ask, then why did I join a couple hundred Gwyneth fans on the street in downtown San Francisco yesterday, all for the privilege of getting an up-close-and-personal look at her line of children’s clothes, face washes, and frying pans, then wait in line for nearly 90 minutes to have her royal blondness sign a cookbook for my mother?\u003c/p>\n\u003cp>I can say I was genuinely curious about the interior of San Francisco’s only \u003ca href=\"http://www.sfchronicle.com/bayarea/place/article/S-F-move-to-protect-interior-of-Frank-Lloyd-6834897.php\">Frank Lloyd Wright-designed building\u003c/a>, which is the “mrkt” from whence Gwyneth shall sell her Goop until May 22. And I can promise that I really tried to leave my preconceived notions behind — to consciously uncouple, if you will, from whatever biases I may have previously formed about the woman.\u003c/p>\n\u003cfigure id=\"attachment_23876\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-23876 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/goop-mrkt-details-left-800x569.jpg\" alt=\"goop-mrkt-details-left\" width=\"800\" height=\"569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/goop-mrkt-details-left-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/goop-mrkt-details-left-400x284.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/goop-mrkt-details-left-768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/goop-mrkt-details-left-1180x839.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/goop-mrkt-details-left-960x683.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/goop-mrkt-details-left.jpg 1350w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Official press photos from the goop MRKT website.\u003c/figcaption>\u003c/figure>\n\u003cp>Still, I had questions, and I thought her devotees, these subjects of Gwyneth’s empire who had dutifully flocked here on a muggy, overcast Thursday morning, might answer them.\u003c/p>\n\u003cp>Luckily, I also had some time to kill. Gwyneth was due to sign books from 10:30 to noon; the doorman informed that me that the first people began lining up around 9am. By 10:30, when I arrived, the line stretched entirely down the length of Maiden Lane. Roughly 95 percent of these people were women; maybe 93 percent of them were white; 100 percent of them were beautiful. A special kind of beautiful. You know that specific kind of rich-people beautiful that involves perfect skin and shiny hair and flawless manicures and a general aura of effortlessness that somehow also communicates a great deal of effort and certainly a f*ck-ton of money? I was immediately aware of my chipped nail polish, of the stray cat hair on my jacket. I couldn’t tell if I hated everyone or wanted them to adopt me.\u003c/p>\n\u003cp>“What brings you here?” I asked about a dozen women, tossing my hair, trying my darnedest to act like I belonged.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-25768\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/Screen-Shot-2016-06-02-at-10.26.36-PM.png\" alt=\"Screen Shot 2016-06-02 at 10.26.36 PM\" width=\"475\" height=\"407\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/Screen-Shot-2016-06-02-at-10.26.36-PM.png 475w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/Screen-Shot-2016-06-02-at-10.26.36-PM-400x343.png 400w\" sizes=\"(max-width: 475px) 100vw, 475px\">\u003c/p>\n\u003cp>“I’ve just been a fan of hers forever,” offered a woman with immaculate eyeliner. “I just think she’s really cool, and has a great sense of style. And I try to eat healthy, so her recipes are great.”\u003c/p>\n\u003cp>Another told me she traveled for work frequently, and Gwyneth’s \u003ca href=\"http://goop.com/city-guides/city-guide/\">hotel and restaurant tips \u003c/a>were always right up her alley.\u003c/p>\n\u003cp>“Cool,” I said. “What do you do for work?”\u003c/p>\n\u003cp>“I work in marketing at Twitter,” she said.\u003c/p>\n\u003cp>“Cool,” I said.\u003c/p>\n\u003cfigure id=\"attachment_23897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-23897\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/FullSizeRender-18-800x1059.jpg\" alt=\"Who looks beautiful holding cans of sardines? Gwyneth Paltrow looks beautiful holding cans of sardines. \" width=\"800\" height=\"1059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-18-800x1059.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-18-400x530.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-18-768x1017.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-18-1440x1907.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-18-1920x2542.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-18-1180x1563.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-18-960x1271.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-18.jpg 1925w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Who looks beautiful holding cans of sardines? Gwyneth Paltrow looks beautiful holding cans of sardines.\u003c/figcaption>\u003c/figure>\n\u003cp>Another young woman who worked in PR revealed to me that this was not her first Goop experience this week: She had attended a Goop workout class at The Battery, San Francisco’s grand members-only club, the previous evening.\u003c/p>\n\u003cp>“What kind of workout class?” I asked. “Was Gwyneth there, like, on the floor doing Pilates with you guys?”\u003c/p>\n\u003cp>“Oh, no, she wasn’t there,” she clarified with a laugh, looking starry-eyed at the thought. “Just a Goop thing. They had us, like, running around on the roof.”\u003c/p>\n\u003cp>“Cool,” I said.\u003c/p>\n\u003cfigure id=\"attachment_23885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-23885\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/FullSizeRender-13-800x600.jpg\" alt=\"goop waterbottles for those goop workouts\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-13-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-13-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-13-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-13-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-13-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-13-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-13-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Goop waterbottles for those Goop workouts.\u003c/figcaption>\u003c/figure>\n\u003cp>Many attendees reported that they were in fact big fans of Gwyneth’s previous cookbooks, including \u003cem>My Father’s Daughter: Delicious, Easy Recipes Celebrating Family & Togetherness \u003c/em>and\u003cem> It’s All Good: Delicious, Easy Recipes That Will Make You Look Good and Feel Great. \u003c/em>\u003c/p>\n\u003cp>The new book, out in time for Mother’s Day, is titled \u003cem>It’s All Easy: Delicious Weekday Recipes for the Super-Busy Home Cook. \u003c/em>Its promotional copy, in case the title didn’t make this clear, emphasizes that these are Gwyneth’s favorite recipes for regular people like you and me — people with jobs, in other words, and without personal chefs, nor millions of dollars.\u003c/p>\n\u003cfigure id=\"attachment_23880\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-23880\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/8943550_5-simple-and-healthy-breakfast-recipes-gwyneth_5a4d079a_m.png\" alt=\"Something that Gwyneth Paltrow totally eats on the regular hahahaha yeah right\" width=\"640\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/8943550_5-simple-and-healthy-breakfast-recipes-gwyneth_5a4d079a_m.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/8943550_5-simple-and-healthy-breakfast-recipes-gwyneth_5a4d079a_m-400x200.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Something that Gwyneth Paltrow totally eats on the regular hahahaha yeah right.\u003c/figcaption>\u003c/figure>\n\u003cp>It is filled, naturally, with photos of Gwyneth looking beautiful, wearing chunky knit sweaters at home or in nature with her children, in addition to photos of the beautiful meals she ostensibly prepares on weeknights when she is home from her imaginary regular-person job, and must feed her regular children without any help whatsoever. These spreads are interspersed with “easy” recipes — the very first in the book is for an “easy” acai bowl — plus stories about Gwyneth’s ostensible regular-person life.\u003c/p>\n\u003cp>The persistent attempt to come off like a relatable human being results in some hilarious reaches, like the recipe for a beautiful, gourmet salad niçoise made with nine-minute eggs served on a fresh baguette, which Gwyneth suggests should really be enjoyed during a picnic with a bottle of rosé, but can also be wolfed down while sitting in one’s car waiting for the kids to finish soccer practice. (You can clearly envision the edit meetings: “That’s a thing people do, right?”)\u003c/p>\n\u003cp>Here are some actual excerpts from the book, selected via a process of opening it to random pages once I was home, writing this, eating cheese popcorn out of a bag that I bought at the liquor store across the street.\u003c/p>\n\u003cp>\u003cem>Cacio e pepe is one of my favorite simple pasta dishes, so when Thea and I started spiralizing vegetables like maniacs, we thought a zucchini noodle version might be nice. \u003c/em>\u003c/p>\n\u003cp>\u003cem>If you’re short on time, get someone at the meat counter to pound out your chicken for you and be sure to let the lemon slices get caramelized and sweet before adding the other ingredients. \u003c/em>\u003c/p>\n\u003cp>\u003cem>When working on a GOOP story with the L.A.-based company Moon Juice, we learned the easiest-ever method for making instant almond milk: simply blend good almond butter and water together. Duh — why didn’t we think of that?! Here we make a hot version with fresh ginger and a little sesame oil to add roundness. \u003c/em>\u003c/p>\n\u003cp>Duh!! Anyway, the interior of the building was truly beautiful. With a nod from the doorman, I passed the rubicon (goopicon? sorry) to see beautiful assistants swiping credit cards through iPads as customers bought books for Gwyneth to sign; the line to meet her packed the spiral ramp to the second floor.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-23879\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/FullSizeRender-9-800x600.jpg\" alt=\"FullSizeRender (9)\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-9-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-9-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-9-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-9-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-9-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-9-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-9-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>On the ground floor below, the Goop beauty and skincare line occupied one bright-white corner, while another, set up to look like an expensive but also regular-person living room, featured bookshelves full of architecture tomes and travel guides; $200 throw pillows; and black and white photographs lining each wall. (“She curated those herself,” I heard one impressed woman murmur to another, as Rihanna extolled the virtues of \u003cem>werk werk werk werk werk\u003c/em> over a PA.) A white old-timey bicycle was perched in another corner; I couldn’t tell if it was for sale or if perhaps Gwyneth had pedaled it here herself while carrying a basket overflowing with fresh vegetables.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-23882\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/FullSizeRender-12-800x600.jpg\" alt=\"FullSizeRender (12)\" width=\"489\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-12-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-12-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-12-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-12-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-12-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-12-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-12-960x720.jpg 960w\" sizes=\"(max-width: 489px) 100vw, 489px\">\u003c/p>\n\u003cp>Up the walkway, the line snaked past Goop’s various houseware and clothing lines — workout gear, children’s items, these weird things that were hanging on the wall and I still don’t know what they are after looking them up but they cost \u003cem>$300 each\u003c/em>. Oh wait, the tag says they’re “wall tassels.” That clears it up.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-24910\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/FullSizeRender-22-800x600.jpg\" alt=\"FullSizeRender (22)\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-22-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-22-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-22-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-22-1440x1079.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-22-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-22-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-22-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>You get the idea.\u003c/p>\n\u003cp>And yet: As I made my way through the vortex, inching closer to the holy grail — Gwyneth had been set up for the book-signing behind a hilariously wide butcher-block table, accessorized with Goop dish sets and cast iron pans for that “I’m totally actually in Gwyneth Paltrow’s kitchen!” feeling — I felt some air leaking slowly from my dark balloon of repulsion.\u003c/p>\n\u003cp>Maybe it was the fact that every single beautiful human I’d interacted with for the past hour and a half had been wonderfully kind and friendly. Then there was the fact that every person walking away from the table after meeting her looked like they could die happy, on the spot. Then, from 10 feet away, I could see Gwyneth’s own smile as she chatted up each beautiful human who’d come out to see her, and — in my limited experience with encountering celebrities in the flesh — it was among the most warm, lifelike, genuine smiles I’d seen.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-23900\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/32A327B600000578-0-image-a-4_1459335038932-1.jpg\" alt=\"32A327B600000578-0-image-a-4_1459335038932-1\" width=\"634\" height=\"607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/32A327B600000578-0-image-a-4_1459335038932-1.jpg 634w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/32A327B600000578-0-image-a-4_1459335038932-1-400x383.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/32A327B600000578-0-image-a-4_1459335038932-1-32x32.jpg 32w\" sizes=\"(max-width: 634px) 100vw, 634px\">\u003c/p>\n\u003cp>Or maybe it was more like: Over the course of 90 minutes, I’d made peace with my incredulity. Because you know what? It’s fine to be obscenely wealthy. It’s fine that she was born into a Hollywood family, and has therefore been wealthy, and privileged, and ensconced in a bubble with people just like her, for literally her entire life. It’s even fine that she’s selling this \u003ca href=\"http://shop.goop.com/collections/kitchen-tabletop/products/three-dip-board\">slab of wood you’re supposed to pay $395 to put hummus on\u003c/a>. (I mean it’s crazy, but it’s fine.)\u003c/p>\n\u003cp>But that is not why people hate her. Extreme wealth in and of itself is not grounds for ridicule in this country. It’s your attitude about it — your understanding of where you fit into the grand scheme of things — that can get you in trouble. The Kardashians are mocked for many things, but they have never pretended they cook their own meals. George Clooney owns a f*cking villa in Italy; he does not, however, have a weekly newsletter with suggestions for other people about how to decorate their Italian villas. (That I know of. Someone please sign me up immediately if I’m wrong.)\u003c/p>\n\u003cfigure id=\"attachment_23896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-23896\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/IMG_0233-800x600.jpg\" alt='Here is a seafood-and-sherry dish one is supposed to be able to make at the last minute if one has \"unexpected guests\"' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0233-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0233-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0233-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0233-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0233-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0233-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0233-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Here is a seafood-and-sherry dish one is supposed to be able to make at the last minute if one has “unexpected guests.”\u003c/figcaption>\u003c/figure>\n\u003cp>Whether it’s complete lack of self-awareness or calculated business strategy or both, the idea of being so disconnected from reality that you see “regular person with a 9-to-5 and kids to feed” as a charming brand to try on is staggering; it’s homemaker fetishization of the most insidious degree. The fact that it’s difficult for busy people with little money to feed their children nutritious food is a source of real pain for real humans every day, not to mention the root of a massive national health crisis, and for Gwyneth Paltrow — who has publicly proved that she’s \u003ca href=\"https://www.washingtonpost.com/news/morning-mix/wp/2015/04/17/a-hungry-gwyneth-paltrow-fails-the-food-stamp-challenge-four-days-in/\">woefully incapable of eating on a budget for more than four days\u003c/a> — to suggest that she can relate to this problem, let alone has solutions to it, is patently insulting. \u003cem>It’s All Easy\u003c/em> is a book for people who can afford to not cook but want to feel like they’re the kind of people who do anyway.\u003c/p>\n\u003cp>The central conceit, that Gwyneth is a regular person in any way, is condescending and gross. It’s tacky. And the level of narcissism and near-sightedness it reveals implies a kind of existence \u003cem>I don’t actually think I would ever want.\u003c/em> I work for a public radio station, Gwyneth. I live in the most expensive city in America, one whose future is alarmingly uncertain. I’m hanging on by a thread, and relatively speaking I’m incredibly lucky: I walked by approximately 30 homeless people in and around BART stations just to get here.\u003c/p>\n\u003cp>Here is a $165 keychain by Stella McCartney.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-23899\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/IMG_0229-800x800.jpg\" alt=\"IMG_0229\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0229-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0229-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0229-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0229-1440x1440.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0229-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0229-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0229-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0229-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0229-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0229-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0229-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/IMG_0229-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“It’s aspirational, for sure,” the girl behind me in line said thoughtfully, of her affinity for Gwyn’s cookbooks.\u003c/p>\n\u003cp>“Right,” I said. “Like if you’re eating the same dinner she’s eating, you might — ”\u003c/p>\n\u003cp>“Kind of become her? Yeah,” she laughed. “It’s a little weird, isn’t it.”\u003c/p>\n\u003cp>A little.\u003c/p>\n\u003cp>Our journey ends like this: Gwyneth was a doll. No, I mean she actually looked like a doll. A tiny, beautiful, beaming doll, and one who — with zero prompting — signed a copy of \u003cem>It’s All Easy\u003c/em> with a Mother’s Day message for my mother, then both my name and hers.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-23890\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/FullSizeRender-17-800x923.jpg\" alt=\"FullSizeRender (17)\" width=\"800\" height=\"923\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-17-800x923.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-17-400x462.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-17-768x886.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-17-1440x1662.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-17-1920x2216.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-17-1180x1362.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-17-960x1108.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/12/2016/05/FullSizeRender-17.jpg 1948w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“So,” I said to her from across the table, with what I can only assume was the voice of a sheepish giantess, willing myself to be something like a journalist and not a large, trembly child meeting Cinderella at Disneyland. “What do you do when it doesn’t all \u003cem>feel\u003c/em> easy?”\u003c/p>\n\u003cp>She looked peeved for a moment, cocked her head to one side. 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"content": "\u003ch3>Don’t forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>\u003cem>The following is a guest post from San Francisco State University film student Ryan Thompson.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>While some of us may live in a progressive world where free choice is a basic human right, in her film, \u003cem>Seide\u003c/em>, Elnura Osmonalieva masterfully uses visual storytelling \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/05/03/no-escape-conversation-with-seide-filmmaker-elnura-osmonalieva/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/05/03/no-escape-conversation-with-seide-filmmaker-elnura-osmonalieva/\" target=\"_blank\" title=\"No Escape: Conversation with “Seide” Filmmaker Elnura Osmonalieva\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003ch3>Don't forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>\u003cem>The following is a guest post from San Francisco State University film student Ryan Thompson.\u003c/em>\u003c/p>\n\u003chr>\u003cp>While some of us may live in a progressive world where free choice is a basic human right, in her film, \u003cem>Seide\u003c/em>, Elnura Osmonalieva masterfully uses visual storytelling \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/05/03/no-escape-conversation-with-seide-filmmaker-elnura-osmonalieva/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>Don’t forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>\u003cem>The following is a guest post from San Francisco State University film student Ryan Thompson.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>While some of us may live in a progressive world where free choice is a basic human right, in her film, \u003cem>Seide\u003c/em>, Elnura Osmonalieva masterfully uses visual storytelling \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/05/03/no-escape-conversation-with-seide-filmmaker-elnura-osmonalieva/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/05/03/no-escape-conversation-with-seide-filmmaker-elnura-osmonalieva/\" target=\"_blank\" title=\"No Escape: Conversation with “Seide” Filmmaker Elnura Osmonalieva\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Honey, I shrunk the queso.\u003c/p>\n\u003cp>They've fried hard shell tacos, made a comforting bowl of chicken noodle soup, even whipped up a batch of rainbow sprinkle-covered doughnuts. In an age of molecular gastronomy, this may not seem like culinary genius. But on \u003ca href=\"https://www.tastemade.com/shows/tiny-kitchen\">Tiny Kitchen\u003c/a>, everything is cooked in a dollhouse kitchen roughly 1/12 the normal size.\u003c/p>\n\u003cp>Now in its second season, the popular online video series is produced by media group Tastemade. Jay Holzer, head of production, says the idea for a tiny cooking show came from one of Tastemade's Japanese partners, who sent them a box filled with a tiny stove, tiny utensils, and a set of tiny cutting boards.\u003c/p>\n\u003cp>https://youtu.be/BWig5gexJXQ\u003c/p>\n\u003cp>\"Since then, it's taken on a life of its own,\" Holzer says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Miniatures have long been popular in Japan due to the cultural dominance of \u003cem>kawaii, \u003c/em>or all things cute, but making minuscule edible food — rather than polymer clay copies — is the newest incarnation of that trend. (A quick search of YouTube reveals several similar tiny cooking shows that appear to be from Japan.)\u003c/p>\n\u003cp>One of Tastemade's food stylists, Hannah Aufman, now works on \u003cem>Tiny Kitchen\u003c/em> exclusively. The show\u003cstrong> \u003c/strong>has also commissioned a special kitchen from a dollhouse maker in Germany. Once the crew finds a tiny working oven and a tiny barbecue, the\u003cem> Tiny Kitchen\u003c/em> folks plan to continue expanding their tiny culinary repertoire.\u003c/p>\n\u003cfigure id=\"attachment_109013\" class=\"wp-caption aligncenter\" style=\"max-width: 1996px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/05/tiny-kitchen_s2e6_tiny-eggplant-parm_landscapethumbnail_en-us_edited_wide-f51c01d8df2c09d4777ef536c8a7d49f6c77b8c1.jpg\" alt=\"Tiny Eggplant Parmesan\" width=\"1996\" height=\"1123\" class=\"size-full wp-image-109013\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/05/tiny-kitchen_s2e6_tiny-eggplant-parm_landscapethumbnail_en-us_edited_wide-f51c01d8df2c09d4777ef536c8a7d49f6c77b8c1.jpg 1996w, https://ww2.kqed.org/app/uploads/sites/24/2016/05/tiny-kitchen_s2e6_tiny-eggplant-parm_landscapethumbnail_en-us_edited_wide-f51c01d8df2c09d4777ef536c8a7d49f6c77b8c1-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/05/tiny-kitchen_s2e6_tiny-eggplant-parm_landscapethumbnail_en-us_edited_wide-f51c01d8df2c09d4777ef536c8a7d49f6c77b8c1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/05/tiny-kitchen_s2e6_tiny-eggplant-parm_landscapethumbnail_en-us_edited_wide-f51c01d8df2c09d4777ef536c8a7d49f6c77b8c1-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/05/tiny-kitchen_s2e6_tiny-eggplant-parm_landscapethumbnail_en-us_edited_wide-f51c01d8df2c09d4777ef536c8a7d49f6c77b8c1-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/05/tiny-kitchen_s2e6_tiny-eggplant-parm_landscapethumbnail_en-us_edited_wide-f51c01d8df2c09d4777ef536c8a7d49f6c77b8c1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/05/tiny-kitchen_s2e6_tiny-eggplant-parm_landscapethumbnail_en-us_edited_wide-f51c01d8df2c09d4777ef536c8a7d49f6c77b8c1-960x540.jpg 960w\" sizes=\"(max-width: 1996px) 100vw, 1996px\">\u003cfigcaption class=\"wp-caption-text\">Tiny Eggplant Parmesan \u003ccite>( Courtesy of Tiny Kitchen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A lot more goes into creating a new recipe than math. In addition to rewriting existing recipes to fit the mini serving sizes, Aufman is responsible for jury-rigging ways to fry teensy taco shells (she bends a paper clip into something like a frying basket) or figuring out how to deal with eggs (use part of a quail egg, the smallest commercially available variety).\u003c/p>\n\u003cp>And forget gas or electricity — this mini stove is heated by a tealight. Since the volume of food being cooked is so small, the candle provides more than enough energy to melt butter or boil water. In fact, things often cook too quickly. Burgers take no more than a few seconds on each side.\u003c/p>\n\u003cp>https://youtu.be/SqU0rTRVotw\u003c/p>\n\u003cp>\"You can't regulate the heat,\" Holzer says. \"It's either 'hot as a tealight' or no heat at all.\" Luckily, the crew is quick with their tiny spatulas and ladles — utensils that are often not much bigger than a fingernail.\u003c/p>\n\u003cp>But size discrepancies are unavoidable when dealing with real food. That quail egg, for example, is the same size as the mixing bowl. An early episode, in which\u003cem> Tiny Kitchen\u003c/em> made bananas Foster, starts by showing a tiny knife chopping into an entire banana. Were this kitchen scaled back to full size, that banana would be at least as tall as a basketball player. To cut out doughnut holes, \u003cem>Tiny Kitchen\u003c/em> had to use part of a soda straw — but that still towered over the individual doughnuts. Even the dollhouse where the show is filmed sits in the midst of a gigantic soundstage.\u003c/p>\n\u003cfigure id=\"attachment_109019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/05/tiny-kitchen.jpg\" alt=\"Even the dollhouse where Tiny Kitchen is filmed sits in the midst of a gigantic soundstage.\" width=\"800\" height=\"664\" class=\"size-full wp-image-109019\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/05/tiny-kitchen.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/05/tiny-kitchen-400x332.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/05/tiny-kitchen-768x637.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Even the dollhouse where Tiny Kitchen is filmed sits in the midst of a gigantic soundstage. \u003ccite>(Courtesy of Tiny Kitchen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somehow, the incongruities make the show feel more relatable. It's not just a beautifully decorated miniature. This is a \"working\" kitchen with real cooks (or at least their hands) making real food that just happens to be less-than-bite-sized. After each episode is done filming, the food is left out for people to eat. And it all does get eaten — though there's not much of it to go around.\u003c/p>\n\u003cp>Holzer says the most popular tiny recipes are the ones people know how to make at home. Pancakes and tacos are two of the show's most shared videos. \"It's something you or I know how to make a human-sized version of, so it's fun to watch it happen as a tiny thing.\"\u003c/p>\n\u003cp>Unfortunately, it's just not very filling.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2016 \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Honey, I shrunk the queso.\u003c/p>\n\u003cp>They've fried hard shell tacos, made a comforting bowl of chicken noodle soup, even whipped up a batch of rainbow sprinkle-covered doughnuts. In an age of molecular gastronomy, this may not seem like culinary genius. But on \u003ca href=\"https://www.tastemade.com/shows/tiny-kitchen\">Tiny Kitchen\u003c/a>, everything is cooked in a dollhouse kitchen roughly 1/12 the normal size.\u003c/p>\n\u003cp>Now in its second season, the popular online video series is produced by media group Tastemade. Jay Holzer, head of production, says the idea for a tiny cooking show came from one of Tastemade's Japanese partners, who sent them a box filled with a tiny stove, tiny utensils, and a set of tiny cutting boards.\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/BWig5gexJXQ'\n title='//www.youtube.com/embed/BWig5gexJXQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"Since then, it's taken on a life of its own,\" Holzer says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Miniatures have long been popular in Japan due to the cultural dominance of \u003cem>kawaii, \u003c/em>or all things cute, but making minuscule edible food — rather than polymer clay copies — is the newest incarnation of that trend. (A quick search of YouTube reveals several similar tiny cooking shows that appear to be from Japan.)\u003c/p>\n\u003cp>One of Tastemade's food stylists, Hannah Aufman, now works on \u003cem>Tiny Kitchen\u003c/em> exclusively. The show\u003cstrong> \u003c/strong>has also commissioned a special kitchen from a dollhouse maker in Germany. Once the crew finds a tiny working oven and a tiny barbecue, the\u003cem> Tiny Kitchen\u003c/em> folks plan to continue expanding their tiny culinary repertoire.\u003c/p>\n\u003cfigure id=\"attachment_109013\" class=\"wp-caption aligncenter\" style=\"max-width: 1996px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/05/tiny-kitchen_s2e6_tiny-eggplant-parm_landscapethumbnail_en-us_edited_wide-f51c01d8df2c09d4777ef536c8a7d49f6c77b8c1.jpg\" alt=\"Tiny Eggplant Parmesan\" width=\"1996\" height=\"1123\" class=\"size-full wp-image-109013\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/05/tiny-kitchen_s2e6_tiny-eggplant-parm_landscapethumbnail_en-us_edited_wide-f51c01d8df2c09d4777ef536c8a7d49f6c77b8c1.jpg 1996w, https://ww2.kqed.org/app/uploads/sites/24/2016/05/tiny-kitchen_s2e6_tiny-eggplant-parm_landscapethumbnail_en-us_edited_wide-f51c01d8df2c09d4777ef536c8a7d49f6c77b8c1-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/05/tiny-kitchen_s2e6_tiny-eggplant-parm_landscapethumbnail_en-us_edited_wide-f51c01d8df2c09d4777ef536c8a7d49f6c77b8c1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/05/tiny-kitchen_s2e6_tiny-eggplant-parm_landscapethumbnail_en-us_edited_wide-f51c01d8df2c09d4777ef536c8a7d49f6c77b8c1-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/05/tiny-kitchen_s2e6_tiny-eggplant-parm_landscapethumbnail_en-us_edited_wide-f51c01d8df2c09d4777ef536c8a7d49f6c77b8c1-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/05/tiny-kitchen_s2e6_tiny-eggplant-parm_landscapethumbnail_en-us_edited_wide-f51c01d8df2c09d4777ef536c8a7d49f6c77b8c1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/05/tiny-kitchen_s2e6_tiny-eggplant-parm_landscapethumbnail_en-us_edited_wide-f51c01d8df2c09d4777ef536c8a7d49f6c77b8c1-960x540.jpg 960w\" sizes=\"(max-width: 1996px) 100vw, 1996px\">\u003cfigcaption class=\"wp-caption-text\">Tiny Eggplant Parmesan \u003ccite>( Courtesy of Tiny Kitchen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A lot more goes into creating a new recipe than math. In addition to rewriting existing recipes to fit the mini serving sizes, Aufman is responsible for jury-rigging ways to fry teensy taco shells (she bends a paper clip into something like a frying basket) or figuring out how to deal with eggs (use part of a quail egg, the smallest commercially available variety).\u003c/p>\n\u003cp>And forget gas or electricity — this mini stove is heated by a tealight. Since the volume of food being cooked is so small, the candle provides more than enough energy to melt butter or boil water. In fact, things often cook too quickly. Burgers take no more than a few seconds on each side.\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/SqU0rTRVotw'\n title='//www.youtube.com/embed/SqU0rTRVotw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"You can't regulate the heat,\" Holzer says. \"It's either 'hot as a tealight' or no heat at all.\" Luckily, the crew is quick with their tiny spatulas and ladles — utensils that are often not much bigger than a fingernail.\u003c/p>\n\u003cp>But size discrepancies are unavoidable when dealing with real food. That quail egg, for example, is the same size as the mixing bowl. An early episode, in which\u003cem> Tiny Kitchen\u003c/em> made bananas Foster, starts by showing a tiny knife chopping into an entire banana. Were this kitchen scaled back to full size, that banana would be at least as tall as a basketball player. To cut out doughnut holes, \u003cem>Tiny Kitchen\u003c/em> had to use part of a soda straw — but that still towered over the individual doughnuts. Even the dollhouse where the show is filmed sits in the midst of a gigantic soundstage.\u003c/p>\n\u003cfigure id=\"attachment_109019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/05/tiny-kitchen.jpg\" alt=\"Even the dollhouse where Tiny Kitchen is filmed sits in the midst of a gigantic soundstage.\" width=\"800\" height=\"664\" class=\"size-full wp-image-109019\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/05/tiny-kitchen.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/05/tiny-kitchen-400x332.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/05/tiny-kitchen-768x637.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Even the dollhouse where Tiny Kitchen is filmed sits in the midst of a gigantic soundstage. \u003ccite>(Courtesy of Tiny Kitchen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somehow, the incongruities make the show feel more relatable. It's not just a beautifully decorated miniature. This is a \"working\" kitchen with real cooks (or at least their hands) making real food that just happens to be less-than-bite-sized. After each episode is done filming, the food is left out for people to eat. And it all does get eaten — though there's not much of it to go around.\u003c/p>\n\u003cp>Holzer says the most popular tiny recipes are the ones people know how to make at home. Pancakes and tacos are two of the show's most shared videos. \"It's something you or I know how to make a human-sized version of, so it's fun to watch it happen as a tiny thing.\"\u003c/p>\n\u003cp>Unfortunately, it's just not very filling.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2016 \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Five to Watch: May Films With a Deep Focus",
"headTitle": "Five to Watch: May Films With a Deep Focus | KQED",
"content": "\u003cp>Don’t go to sleep on the \u003ca href=\"http://www.sffs.org/sfiff59\" target=\"_blank\" rel=\"noopener\">San Francisco International Film Festival\u003c/a>, which continues to light up the Mission and Berkeley through May 5. And don’t pull a Rip Van Winkle when the SFIFF wraps either, or you’ll miss all sorts of one-of-a-kind events. The Bay Area’s outstanding corps of programmers and curators digs deep this month, and we are the fortunate beneficiaries.\u003c/p>\n\u003cfigure id=\"attachment_11545088\" class=\"wp-caption alignright\" style=\"max-width: 527px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Gavaldon_Night-Falls_001.jpg\" alt=\"Still from director Roberto Gavaldon's 'Night Falls.'\" width=\"527\" height=\"420\" class=\"size-full wp-image-11545088\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Gavaldon_Night-Falls_001.jpg 527w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Gavaldon_Night-Falls_001-400x319.jpg 400w\" sizes=\"(max-width: 527px) 100vw, 527px\">\u003cfigcaption class=\"wp-caption-text\">Still from director Roberto Gavaldon’s ‘Night Falls.’ \u003ccite>(Courtesy Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.bampfa.berkeley.edu/program/mexican-film-noir\" target=\"_blank\" rel=\"noopener\">Mexican Film Noir\u003c/a>\u003c/h3>\n\u003ch5>Pacific Film Archive, Berkeley\u003cbr>\nMay 7 – June 11\u003c/h5>\n\u003cp>Mexican cinema’s golden age was the 1940s and ’50s, when a deep bench of talented directors and actors produced polished, incisive dramas that traveled the Spanish-speaking world and beyond. The toughest-minded of those sagas explored the vices and vicissitudes of human nature with a style and attitude that we now call film noir. (You thought the Americans, French and British had the market cornered?) The Pacific Film Archive revives eight doozies, beginning with \u003cem>Another Dawn\u003c/em> (1943), director Julio Braco and cinematographer Gabriel Figueroa’s piercing tale of an unhappily married cabaret singer who runs into a politically active ex-boyfriend in trouble. The series continues with all manner of greed, lust and betrayal rendered in lustrous black and white.\u003c/p>\n\u003ch3>\u003ca href=\"http://www.exploratorium.edu/visit/calendar/brent-green-sam-green-live-cinema\" target=\"_blank\" rel=\"noopener\">Brent Green and Sam Green: Live Cinema\u003c/a>\u003c/h3>\n\u003ch5>Exploratorium, San Francisco\u003cbr>\nMay 12 and 13\u003c/h5>\n\u003cp>Sam (\u003cem>The Weather Underground\u003c/em>) and Brent aren’t related, except as brothers in arms performing their individual and unique blends of personal cinema and music. The Green party commandeers the Exploratorium for four shows over one weekend that push the bounds of documentary, storytelling and film projection while provoking the kind of response from viewers that rarely happens in a routine movie screening. Of special note, Sam Green presents a couple pieces, \u003cem>The Last Person in the San Francisco Phone Book\u003c/em> and \u003cem>Love Letter to the Fog\u003c/em>, inspired by the many years he lived here.\u003c/p>\n\u003cfigure id=\"attachment_11545089\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/ForgettingVietnam640.jpg\" alt=\"Still from Trinh T. Minh-ha's 'Forgetting Vietnam.'\" width=\"640\" height=\"360\" class=\"size-full wp-image-11545089\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ForgettingVietnam640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ForgettingVietnam640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from Trinh T. Minh-ha’s ‘Forgetting Vietnam.’ \u003ccite>(Courtesy of SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.ybca.org/forgetting-vietnam\" target=\"_blank\" rel=\"noopener\">Forgetting Vietnam\u003c/a>\u003c/h3>\n\u003ch5>May 12 and 13\u003cbr>\nYerba Buena Center for the Arts, San Francisco\u003c/h5>\n\u003cp>The uncompromising independent filmmaker, cultural philosopher and professor Trinh T. Minh-Ha doesn’t just interrogate the past in her nonfiction essay films, but the grammar, assumptions and arrogance with which history is often presented in films. Her latest work, \u003cem>Forgetting Vietnam\u003c/em>, revisits the country 40 years after the end of the U.S. war and ambitiously embraces such thorny subjects as colonialism, memory, power, identity, gender relations and the innate subjectivity of documentary filmmaking. Trinh will be at Yerba Buena Center for the Arts to field questions after screenings co-presented by San Francisco Cinematheque.\u003c/p>\n\u003cfigure id=\"attachment_11545086\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/PassionateTheif640.jpg\" alt=\"Still from Mario Monicelli's 'The Passionate Thief.'\" width=\"640\" height=\"494\" class=\"size-full wp-image-11545086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/PassionateTheif640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/PassionateTheif640-400x309.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from Mario Monicelli’s ‘The Passionate Thief.’\u003cbr> \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.roxie.com/ai1ec_event/midcentury-eclectic/?instance_id=12513\" target=\"_blank\" rel=\"noopener\">Midcentury Eclectic!\u003c/a>\u003c/h3>\n\u003ch5>May 13 – 16\u003cbr>\nRoxie, San Francisco\u003c/h5>\n\u003cp>If you want to provoke a heated dialogue with a film lover, ask why a certain beloved movie (\u003cem>Mr. Smith Goes to Washington\u003c/em>, say, or \u003cem>To Kill a Mockingbird\u003c/em>) is part of the canon when another, stronger film (Frank Borzage’s \u003cem>The Mortal Storm\u003c/em>, for example) is utterly forgotten. Ever-restless programmer Don Malcolm would have quite a bit to say on the subject, I think, based on his passion for unearthing great films that many people have heard of but few have seen. He packs a dozen powerhouse titles into \u003cem>Midcentury Eclectic!\u003c/em>, an immersive dive into the most visceral and soul-churning works of postwar international cinema. From Luis Buñuel’s \u003cem>Los Olvidados\u003c/em> and Rene Clement’s \u003cem>Forbidden Games to The Bad Seed\u003c/em> (with Patty McCormack in the house), the Roxie will be heaving and rocking.\u003c/p>\n\u003cfigure id=\"attachment_11545084\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Agents640.jpg\" alt=\"Press conference at SF State.\" width=\"640\" height=\"439\" class=\"size-full wp-image-11545084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Agents640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Agents640-400x274.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Press conference at SF State. \u003ccite>(Photo: Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.eventbrite.com/e/agents-of-change-bay-area-film-premiere-tickets-23117066769\" target=\"_blank\" rel=\"noopener\">Agents of Change\u003c/a>\u003c/h3>\n\u003ch5>Opens May 15\u003cbr>\nCastro, San Francisco\u003c/h5>\n\u003cp>Abby Ginzberg gave up practicing law for making documentaries, figuring she’d influence more hearts and minds through film. (Did we say that judges and attorneys don’t have hearts? No, we did not.) The East Bay filmmaker’s revelatory new feature, \u003cem>Agents of Change\u003c/em>, made with Los Angeles media veteran Frank Dawson, revisits the late-1960s black student protests at San Francisco State and Cornell (where the filmmakers were undergraduates) that were part of a nationwide call for black-studies curricula, departments and faculty. The doc explicitly evokes today’s Black Lives Matter movement, and implicitly reminds us that every advance in our society must be fought for — and continually defended lest it be rescinded. \u003cem>Agents of Change\u003c/em> premieres in the Bay Area on May 15 with the filmmakers and many of the film’s activists appearing in person. For various reasons, perhaps it’s time to update the chant: Power to the people with the cameras.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Don’t go to sleep on the \u003ca href=\"http://www.sffs.org/sfiff59\" target=\"_blank\" rel=\"noopener\">San Francisco International Film Festival\u003c/a>, which continues to light up the Mission and Berkeley through May 5. And don’t pull a Rip Van Winkle when the SFIFF wraps either, or you’ll miss all sorts of one-of-a-kind events. The Bay Area’s outstanding corps of programmers and curators digs deep this month, and we are the fortunate beneficiaries.\u003c/p>\n\u003cfigure id=\"attachment_11545088\" class=\"wp-caption alignright\" style=\"max-width: 527px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Gavaldon_Night-Falls_001.jpg\" alt=\"Still from director Roberto Gavaldon's 'Night Falls.'\" width=\"527\" height=\"420\" class=\"size-full wp-image-11545088\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Gavaldon_Night-Falls_001.jpg 527w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Gavaldon_Night-Falls_001-400x319.jpg 400w\" sizes=\"(max-width: 527px) 100vw, 527px\">\u003cfigcaption class=\"wp-caption-text\">Still from director Roberto Gavaldon’s ‘Night Falls.’ \u003ccite>(Courtesy Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.bampfa.berkeley.edu/program/mexican-film-noir\" target=\"_blank\" rel=\"noopener\">Mexican Film Noir\u003c/a>\u003c/h3>\n\u003ch5>Pacific Film Archive, Berkeley\u003cbr>\nMay 7 – June 11\u003c/h5>\n\u003cp>Mexican cinema’s golden age was the 1940s and ’50s, when a deep bench of talented directors and actors produced polished, incisive dramas that traveled the Spanish-speaking world and beyond. The toughest-minded of those sagas explored the vices and vicissitudes of human nature with a style and attitude that we now call film noir. (You thought the Americans, French and British had the market cornered?) The Pacific Film Archive revives eight doozies, beginning with \u003cem>Another Dawn\u003c/em> (1943), director Julio Braco and cinematographer Gabriel Figueroa’s piercing tale of an unhappily married cabaret singer who runs into a politically active ex-boyfriend in trouble. The series continues with all manner of greed, lust and betrayal rendered in lustrous black and white.\u003c/p>\n\u003ch3>\u003ca href=\"http://www.exploratorium.edu/visit/calendar/brent-green-sam-green-live-cinema\" target=\"_blank\" rel=\"noopener\">Brent Green and Sam Green: Live Cinema\u003c/a>\u003c/h3>\n\u003ch5>Exploratorium, San Francisco\u003cbr>\nMay 12 and 13\u003c/h5>\n\u003cp>Sam (\u003cem>The Weather Underground\u003c/em>) and Brent aren’t related, except as brothers in arms performing their individual and unique blends of personal cinema and music. The Green party commandeers the Exploratorium for four shows over one weekend that push the bounds of documentary, storytelling and film projection while provoking the kind of response from viewers that rarely happens in a routine movie screening. Of special note, Sam Green presents a couple pieces, \u003cem>The Last Person in the San Francisco Phone Book\u003c/em> and \u003cem>Love Letter to the Fog\u003c/em>, inspired by the many years he lived here.\u003c/p>\n\u003cfigure id=\"attachment_11545089\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/ForgettingVietnam640.jpg\" alt=\"Still from Trinh T. Minh-ha's 'Forgetting Vietnam.'\" width=\"640\" height=\"360\" class=\"size-full wp-image-11545089\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ForgettingVietnam640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ForgettingVietnam640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from Trinh T. Minh-ha’s ‘Forgetting Vietnam.’ \u003ccite>(Courtesy of SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.ybca.org/forgetting-vietnam\" target=\"_blank\" rel=\"noopener\">Forgetting Vietnam\u003c/a>\u003c/h3>\n\u003ch5>May 12 and 13\u003cbr>\nYerba Buena Center for the Arts, San Francisco\u003c/h5>\n\u003cp>The uncompromising independent filmmaker, cultural philosopher and professor Trinh T. Minh-Ha doesn’t just interrogate the past in her nonfiction essay films, but the grammar, assumptions and arrogance with which history is often presented in films. Her latest work, \u003cem>Forgetting Vietnam\u003c/em>, revisits the country 40 years after the end of the U.S. war and ambitiously embraces such thorny subjects as colonialism, memory, power, identity, gender relations and the innate subjectivity of documentary filmmaking. Trinh will be at Yerba Buena Center for the Arts to field questions after screenings co-presented by San Francisco Cinematheque.\u003c/p>\n\u003cfigure id=\"attachment_11545086\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/PassionateTheif640.jpg\" alt=\"Still from Mario Monicelli's 'The Passionate Thief.'\" width=\"640\" height=\"494\" class=\"size-full wp-image-11545086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/PassionateTheif640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/PassionateTheif640-400x309.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from Mario Monicelli’s ‘The Passionate Thief.’\u003cbr> \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.roxie.com/ai1ec_event/midcentury-eclectic/?instance_id=12513\" target=\"_blank\" rel=\"noopener\">Midcentury Eclectic!\u003c/a>\u003c/h3>\n\u003ch5>May 13 – 16\u003cbr>\nRoxie, San Francisco\u003c/h5>\n\u003cp>If you want to provoke a heated dialogue with a film lover, ask why a certain beloved movie (\u003cem>Mr. Smith Goes to Washington\u003c/em>, say, or \u003cem>To Kill a Mockingbird\u003c/em>) is part of the canon when another, stronger film (Frank Borzage’s \u003cem>The Mortal Storm\u003c/em>, for example) is utterly forgotten. Ever-restless programmer Don Malcolm would have quite a bit to say on the subject, I think, based on his passion for unearthing great films that many people have heard of but few have seen. He packs a dozen powerhouse titles into \u003cem>Midcentury Eclectic!\u003c/em>, an immersive dive into the most visceral and soul-churning works of postwar international cinema. From Luis Buñuel’s \u003cem>Los Olvidados\u003c/em> and Rene Clement’s \u003cem>Forbidden Games to The Bad Seed\u003c/em> (with Patty McCormack in the house), the Roxie will be heaving and rocking.\u003c/p>\n\u003cfigure id=\"attachment_11545084\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Agents640.jpg\" alt=\"Press conference at SF State.\" width=\"640\" height=\"439\" class=\"size-full wp-image-11545084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Agents640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Agents640-400x274.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Press conference at SF State. \u003ccite>(Photo: Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.eventbrite.com/e/agents-of-change-bay-area-film-premiere-tickets-23117066769\" target=\"_blank\" rel=\"noopener\">Agents of Change\u003c/a>\u003c/h3>\n\u003ch5>Opens May 15\u003cbr>\nCastro, San Francisco\u003c/h5>\n\u003cp>Abby Ginzberg gave up practicing law for making documentaries, figuring she’d influence more hearts and minds through film. (Did we say that judges and attorneys don’t have hearts? No, we did not.) The East Bay filmmaker’s revelatory new feature, \u003cem>Agents of Change\u003c/em>, made with Los Angeles media veteran Frank Dawson, revisits the late-1960s black student protests at San Francisco State and Cornell (where the filmmakers were undergraduates) that were part of a nationwide call for black-studies curricula, departments and faculty. The doc explicitly evokes today’s Black Lives Matter movement, and implicitly reminds us that every advance in our society must be fought for — and continually defended lest it be rescinded. \u003cem>Agents of Change\u003c/em> premieres in the Bay Area on May 15 with the filmmakers and many of the film’s activists appearing in person. For various reasons, perhaps it’s time to update the chant: Power to the people with the cameras.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp style=\"color: #000000\">\u003ca href=\"https://ww2.kqed.org/arts/2016/04/28/american-masters-janis-joplin/\">\u003cstrong>\u003cem>American Masters – Janis: Little Girl Blue\u003c/em> \u003c/strong>\u003c/a>premieres nationwide Tuesday, May 3, at 8pm on KQED as part of the 30th anniversary season of THIRTEEN’s American Masters series. The broadcast features a never-before-seen extended film cut with additional archival performance footage and new interviews with Joplin’s sister Laura Joplin and musicians influenced by Janis: Alecia Moore (a.k.a. Pink), Juliette Lewis, Melissa Etheridge and the film’s narrator, Chan Marshall, who is best known as indie rock star Cat Power. Sound like music to your ears? Then there's more good news. \u003cstrong>Ten lucky winners will win a copy of the film's soundtrack\u003c/strong> featuring 17 essential live performances, vintage photos, reproductions of letters written by Janis and liner notes by Director Amy J. Berg.\u003c/p>\n\u003cp>\u003cstrong>To be in with a chance of winning, just send an email to \u003ca style=\"color: #114999\" href=\"mailto:giveaway@kqed.org\">giveaway@kqed.org\u003c/a> with the subject \"Janis\" that contains your full name.\u003c/strong>\u003c/p>\n\u003cp style=\"color: #000000\">From all entries we'll randomly select ten winners for a copy of the original motion picture soundtrack for \u003cem>Janis: Little Girl Blue \u003c/em>(worth $9.59 each) \u003cstrong>Deadline to enter is Tuesday, May at 3 11:59 pm.\u003c/strong> Winners will be notified by e-mail on Tuesday, and CDs will be mailed to the address provided by winners. You must be a California resident and 18 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Finally, Some Justice For Busybody Moms In 'The Meddler'",
"headTitle": "Finally, Some Justice For Busybody Moms In ‘The Meddler’ | KQED",
"content": "\u003cp>In Lorene Scafaria’s \u003cem>The Meddler\u003c/em>, Susan Sarandon plays Marnie Minervini, a recent widow who moves from the East Coast to Los Angeles to “be near” (read, boss around) her daughter Lori (a very good, if underused Rose Byrne), a depressed screenwriter who’s just broken up with her boyfriend. We meet Marnie lying in bed gazing up at the ceiling, and that’s more or less the last wordless time we spend with her.\u003c/p>\n\u003cfigure id=\"attachment_11527718\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/3.jpg\" alt=\"Still from 'The Meddler.'\" width=\"1280\" height=\"854\" class=\"size-full wp-image-11527718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-960x641.jpg 960w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Meddler.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amiable and chatty (her voiceover, a one-way running memo to Lori, typically begins with “Anyway…”), Marnie has little to do in her new home, and Lori is less than receptive to input. When her daughter escapes to New York for a few weeks’ work, Marnie busies herself finding substitutes to whom she can offer unsolicited aid and advice. She gloms onto Lori’s friends bearing disproportionate gifts; packs her bemused Apple guy (Jerrod Carmichael) off to college; plans a lesbian wedding for a motherless bride (Cecily Strong); visits a hospitalized older woman she doesn’t know. She also throws money around for all the world as if she were not a modestly comfortable widow from suburban New Jersey. Marnie doesn’t want to know how lonely she is. So she follows Lori to New York, there to place her stamp on a TV-movie set where a tale suspiciously like her own family’s progresses as best it can under her superfluous wing.\u003c/p>\n\u003cfigure id=\"attachment_11527716\" class=\"wp-caption aligncenter\" style=\"max-width: 1162px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1.jpg\" alt=\"Still from 'The Meddler.'\" width=\"1162\" height=\"856\" class=\"size-full wp-image-11527716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.jpg 1162w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-400x295.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-960x707.jpg 960w\" sizes=\"(max-width: 1162px) 100vw, 1162px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Meddler.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Movie mothers get a raw deal: They’re too cold or too hot, too remote or too engaged, too young or too old, monsters or, at best, figures of fun. The busybody mom in particular has, with wearying frequency, become a sitting target for cheap cracks at the expense of the lonely empty-nester. Perhaps because \u003cem>The Meddler\u003c/em> was made by a woman director and based on a testing encounter with a mother she clearly loves, Scafaria’s comedy of maternal manners dances affectionately, if not altogether nimbly, around this cliff edge without falling over.\u003c/p>\n\u003cp>\u003cem>The Meddler\u003c/em> isn’t great filmmaking. It’s baggy and repetitive, and sometimes it just drifts along on a repeat cycle of Marnie’s desperate efforts to minister to everyone but herself. The dialogue is relentlessly chipper, and the supporting players — arm-waving Italian in-laws, a pregnant girlfriend in ditsy top gear (though I do love Lucy Punch), an obligatory love interest played with more diligence than energy by J.K. Simmons in an improbable handlebar mustache — often feel like situation comedy types. The takeaway won’t shock you either: Marnie and Lori will wake up to the source of their shared grief and their mutual need and all the redemptive stuff that comes with this territory.\u003c/p>\n\u003cfigure id=\"attachment_11527717\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/2.jpg\" alt=\"Still from 'The Meddler.'\" width=\"1280\" height=\"854\" class=\"size-full wp-image-11527717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-960x641.jpg 960w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Meddler.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet, \u003cem>The Meddler\u003c/em> is warm and funny and astutely observant of the way so many mothers and daughters push and pull at each other and drive each other crazy, and never let go. And though Sarandon, a sixtysomething glamour puss at once raffish and maternal in a wavy red shag and Bette Davis eyes, might easily have sucked up all the air in the room, she goes a different route. She dials down the slapstick around her and brings a quiet grace to a woman who’s all at sea but hangs onto what she does best — figuring out what other people need and helping them get there.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The great thing about \u003cem>The Meddler\u003c/em> is that it doesn’t force Marnie to change all that much. She comes to see that she needs to take care of herself as well as others. Likewise, Lori comes to accept the gift that’s been in front of her nose all along, and to accept that what’s most annoying (to her, if not to her friends) about her mother is also what’s finest about her. The world could use a few more meddlers like Marnie, one of a vast army of maternal do-gooders who go unsung or reviled at the movies and in life. \u003cem>The Meddler\u003c/em>, for once, doffs its cap to busybody moms. Because they are the best kind, and as my own beloved, clucking mother used to say, better too much than too little. So off you go and wear a woolly, it’s cold outside.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Y2KtQz2bhLg\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Lorene Scafaria’s \u003cem>The Meddler\u003c/em>, Susan Sarandon plays Marnie Minervini, a recent widow who moves from the East Coast to Los Angeles to “be near” (read, boss around) her daughter Lori (a very good, if underused Rose Byrne), a depressed screenwriter who’s just broken up with her boyfriend. We meet Marnie lying in bed gazing up at the ceiling, and that’s more or less the last wordless time we spend with her.\u003c/p>\n\u003cfigure id=\"attachment_11527718\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/3.jpg\" alt=\"Still from 'The Meddler.'\" width=\"1280\" height=\"854\" class=\"size-full wp-image-11527718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-960x641.jpg 960w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Meddler.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amiable and chatty (her voiceover, a one-way running memo to Lori, typically begins with “Anyway…”), Marnie has little to do in her new home, and Lori is less than receptive to input. When her daughter escapes to New York for a few weeks’ work, Marnie busies herself finding substitutes to whom she can offer unsolicited aid and advice. She gloms onto Lori’s friends bearing disproportionate gifts; packs her bemused Apple guy (Jerrod Carmichael) off to college; plans a lesbian wedding for a motherless bride (Cecily Strong); visits a hospitalized older woman she doesn’t know. She also throws money around for all the world as if she were not a modestly comfortable widow from suburban New Jersey. Marnie doesn’t want to know how lonely she is. So she follows Lori to New York, there to place her stamp on a TV-movie set where a tale suspiciously like her own family’s progresses as best it can under her superfluous wing.\u003c/p>\n\u003cfigure id=\"attachment_11527716\" class=\"wp-caption aligncenter\" style=\"max-width: 1162px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1.jpg\" alt=\"Still from 'The Meddler.'\" width=\"1162\" height=\"856\" class=\"size-full wp-image-11527716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.jpg 1162w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-400x295.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-960x707.jpg 960w\" sizes=\"(max-width: 1162px) 100vw, 1162px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Meddler.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Movie mothers get a raw deal: They’re too cold or too hot, too remote or too engaged, too young or too old, monsters or, at best, figures of fun. The busybody mom in particular has, with wearying frequency, become a sitting target for cheap cracks at the expense of the lonely empty-nester. Perhaps because \u003cem>The Meddler\u003c/em> was made by a woman director and based on a testing encounter with a mother she clearly loves, Scafaria’s comedy of maternal manners dances affectionately, if not altogether nimbly, around this cliff edge without falling over.\u003c/p>\n\u003cp>\u003cem>The Meddler\u003c/em> isn’t great filmmaking. It’s baggy and repetitive, and sometimes it just drifts along on a repeat cycle of Marnie’s desperate efforts to minister to everyone but herself. The dialogue is relentlessly chipper, and the supporting players — arm-waving Italian in-laws, a pregnant girlfriend in ditsy top gear (though I do love Lucy Punch), an obligatory love interest played with more diligence than energy by J.K. Simmons in an improbable handlebar mustache — often feel like situation comedy types. The takeaway won’t shock you either: Marnie and Lori will wake up to the source of their shared grief and their mutual need and all the redemptive stuff that comes with this territory.\u003c/p>\n\u003cfigure id=\"attachment_11527717\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/2.jpg\" alt=\"Still from 'The Meddler.'\" width=\"1280\" height=\"854\" class=\"size-full wp-image-11527717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-960x641.jpg 960w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Meddler.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet, \u003cem>The Meddler\u003c/em> is warm and funny and astutely observant of the way so many mothers and daughters push and pull at each other and drive each other crazy, and never let go. And though Sarandon, a sixtysomething glamour puss at once raffish and maternal in a wavy red shag and Bette Davis eyes, might easily have sucked up all the air in the room, she goes a different route. She dials down the slapstick around her and brings a quiet grace to a woman who’s all at sea but hangs onto what she does best — figuring out what other people need and helping them get there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The great thing about \u003cem>The Meddler\u003c/em> is that it doesn’t force Marnie to change all that much. She comes to see that she needs to take care of herself as well as others. Likewise, Lori comes to accept the gift that’s been in front of her nose all along, and to accept that what’s most annoying (to her, if not to her friends) about her mother is also what’s finest about her. The world could use a few more meddlers like Marnie, one of a vast army of maternal do-gooders who go unsung or reviled at the movies and in life. \u003cem>The Meddler\u003c/em>, for once, doffs its cap to busybody moms. Because they are the best kind, and as my own beloved, clucking mother used to say, better too much than too little. So off you go and wear a woolly, it’s cold outside.\u003c/p>\n\u003cp>\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/Y2KtQz2bhLg'\n title='//www.youtube.com/embed/Y2KtQz2bhLg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "\"A Tremendous Ride\": Sam Andrew on Playing with Janis Joplin [Q&A 1998]",
"headTitle": "“A Tremendous Ride”: Sam Andrew on Playing with Janis Joplin [Q&A 1998] | KQED",
"content": "\u003cp>In retrospect, Sam Andrews is the perfect example of a musician who made a name for himself in the heyday of the San Francisco psychedelic music scene. As one of the guitarists and main songwriters in Big Brother and the Holding Company and later, Janis Joplin’s Kozmic Blues Band, Andrews went from being a passionate amateur to playing with one of the most popular singers in the nation to being fired and addicted to drugs. But for all his ups and downs, Andrews never gave up playing music, playing with reincarnations of Big Brother until his death in 2015.\u003c/p>\n\u003cp>In this interview transcript conducted by Ben Manilla Productions in 1998, Andrews opens up about how inexperienced the group was when it started, the changes in the San Francisco scene and his troubles with drugs.\u003c/p>\n\u003cp>\u003cstrong>What was life like for Big Brother and the Holding Company in 1968?\u003c/strong>\u003c/p>\n\u003cp>It was a tremendous ride, it was a lot of fun, it was very beautiful, exciting time full of a lot of possibility actually if you zero in right on ’68. If you would have said ’65 to ’67 it would have been a little different that’s when everything was unknown and there was a feeling of tremendous possibility by 1968 the entire scene had become a little professional and a little specialized. Some of the holiness and innocence was lost but we all knew what we were about.\u003c/p>\n\u003cp>We learned how to tune our guitars, Janis had learned what it was to sing with a band and to really step out. The entire thing become more professional but lost a little innocence a little sense of possibility by 1968.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Say more about that sense of possibility, what does that mean to you? What did it feel like? What was the energy behind that?\u003c/strong>\u003c/p>\n\u003cp>It was incredibly exciting, it was one of those times that come along, there was one in the 1920s and there was one in San Francisco when Mark Twain and Bret Harte were here. At that time when you really feel like there is a real chance that your generation and your time is going to make the world a better place, just for a spit second, it seems like if we were going to continue that way that things were really going to change for the better and all of the problems were going to be magically solved, it looked like there was going to be tolerance of gays, it looked like the whole racial civil rights movements that had begun earlier later in the ’50s and earlier in ’60s was going to take off.\u003c/p>\n\u003cp>These problems were going to be solved in two three years. The women’s movement begun in the ’60s just as a lot of the environmental movement started, andthere was just a real sense of, “This is it, we’ve got it made.” We thought that probably by 1975 it would be all over with, everything solved, and then hard drugs hit the scene.\u003c/p>\n\u003cp>\u003cstrong>Where did that possibility come from, that it could well up in the whole community and whole scene? There’s a mystery to it do you have a sense of what that is?\u003c/strong>\u003c/p>\n\u003cp>As I say it came up in Christianity, it came up in Buddhism, it probably comes up every several generations and there is probably one due any minute now that I would like to see. More specifically than that the Beatnik era had just happened in the late ’50s and the early ’60s and everyone wore solid black and there were poems of eve of destruction and hell. It was a very down … It felt like the entire world was in black and white and the Hippies who were too young to know any better … Hippies was diminutive term that the Beats called us because we were hanging around with them but we were too young to be contributing to their scene.\u003c/p>\n\u003cp>It was derogatory terms for which begun as hipsters and hippies as a diminutive of that. We were hanging around watching that cynicism and desperate and it seemed to go nowhere, there was a lot of use of alcohol, a lot of drugs. Just to have that lifted of that generation passed and it was our turn. There was this riot of color, they were all many colors even on television, it’s a trivial thing but the peacock for CBS or whatever.\u003c/p>\n\u003cp>All over sudden there were all these colors and it’s tails weren’t there before. It seemed like the whole world all over sudden this color knob had been pushed and it started. Why that happened, I don’t maybe it was reaction to the Beats or the whole Eisenhower ’50s thing was over with. Who knows? I don’t know. Even going to the moon was part of that, there was just a sense of hope and to really pinpoint why it begun though it’s hard to say.\u003c/p>\n\u003cp>\u003cstrong>You talked about what happened in the ’65 to ’67 and then, then the professionalism of the music industry came up, and you’ve mentioned drugs what about that? What’s your sense of how that changed the scene and what did you see, what was your personal experience of what went on around you?\u003c/strong>\u003c/p>\n\u003cp>When that scene begun here in San Francisco and New York, Los Angeles probably to put it on a drug level for a second, probably most people were doing things like taking Peyote or LSD or smoking pot. They’re psychotropic drugs — they open the mind or they can make you spaced out. As a negative way of looking at it, they can distract you.\u003c/p>\n\u003cp>It really opens your mind and that had been happening for a while and people started using harder drugs, harder drugs came in to the community and like heroin and cocaine and those drugs close your mind. If there is something ugly you would … That’s a drug that would alleviate the pain of that, whereas something like Peyote or marijuana will open you up to that. You don’t want to be opening up if something like that’s around.\u003c/p>\n\u003cp>That was what happened to that scene, that started happening in 1968, it happened to me personally I was a junkie for years and took a long time to get from under that, I had a good time I enjoyed it, it was really a fun time. Janis and I did a lot of that together and it wasn’t a tragedy, we didn’t feel victimized by it, we enjoyed every second of it. It was certainly nice when it got over when we worked our way through that on a personal level and when the whole scene did to.\u003c/p>\n\u003cp>Which took probably until 1975 or something and she didn’t make it, it was a historical accident she didn’t commit suicide or anything. It’s just a none regulated thing, you don’t know what dosage you’re getting.\u003c/p>\n\u003cp>\u003cstrong>What else did you do with Janis when you guys hang out, when you’re on the road, when you’re touring and when you guys were just hanging out in San Francisco, what was it like? What was the day in the life like for you guys?\u003c/strong>\u003c/p>\n\u003cp>What everyone who comes in here is going to say about Janis is that they were best friends with her and I’m going to say that to because she was a wonderful person, she was really generous she had really quick reflexes, she was very intelligent, really bright and it’s hard to quantify but maybe an IQ of somewhere in the 160s. Very well read. \u003c/p>\n\u003cp>Janis was really colorful she had a great sense of humor she was really funny, she was funnier than Joan Rivers but sometimes in the same ways. A lot of her life was a party and a typical day with her would be walking up and down Haight street, dropping into every shop. We knew everybody. \u003c/p>\n\u003cp>She and I personally wrote a whole lot of music together. It was just fun. Many times it came effortlessly; for example, there is a song called “I Need a Man to Love” that she did that we just came out with. We had a tuning amp backstage and I plugged in to it and I started playing and that song just came out.\u003c/p>\n\u003cp>For most of it, it’s a very simple song — it’s only one chord. There is a bridge part that’s very complicated and even revolutionary for the time and it all just came out and she sang the words and there it was great. We did a lot of song writing together, on the night Otis Redding died we got together at her apartment on Lyon street and held a little wake for him, talked about how much we loved him, played his records and that kind of thing. There wasn’t a typical day, though a lot of days were just spent cruising Haight Street.\u003c/p>\n\u003cp>\u003cstrong>When you guys are on the road, did you drive each other crazy? Did you love each other? What did you eat when you’re on the road? Where did you party?\u003c/strong>\u003c/p>\n\u003cp>Big Brother and Holding Company and of course including Janis, is odd in that, a lot of bands when they are together a whole lot it makes them quarrel. But this band gets along the best when it’s on the road and together all the time. That was true with Janis. I don’t know why that would be and when it’s worse for this band when it’s apart from each other and people start entertaining these unreal notions about each other.\u003c/p>\n\u003cp>We got along the best when we were on the road which was good because very often we played two or three dates in one day and worked together a lot. Her entire career was maybe four, four and a half years and she was with us three and a half, it was a very concentrated and intense period.\u003c/p>\n\u003cp>\u003cstrong>You talked about how it was an experiential time, and the sense I get about the Janis experience is that the magic of her was her presence and how she brought all of her to a performance. Did you see that and what was it like? \u003c/strong>\u003c/p>\n\u003cp>She brought all of her to everything, anything that she did there was a whole lot and it was real quick and there was an expression an impression of velocity, even when she moved it was almost like a quiver she was vibrating, it was really fast. That what it felt, that was the feeling, that she was moving really quick. I was listening to an introduction she did to a tune the other night, “Catch me Daddy,” and she was singing it and moving through the changes so fast, it was like a bee wing.\u003c/p>\n\u003cp>\u003cstrong>Where did you guys live? Did you all live together?\u003c/strong>\u003c/p>\n\u003cp>We lived in various places around the Haight and she lived on Lyon Street, right on the Panhandle of Golden Gate Park. We did that for a while and we all moved to Marin and lived in Lagunitas, a town in West Marin, which is hard to get to — you go over some hills and it’s over there in the woods. I lived in a little cabin out back with my girlfriend and they lived in the main house and we rehearsed eight hours a day.\u003c/p>\n\u003cp>That was another time, we were all together and it was really good, and we moved back in the city, communal living wasn’t the way to go for us.\u003c/p>\n\u003cp>\u003cstrong>You talked about living in the Haight. What was the scene like? What was San Francisco like as compared to the cities that you toured on the east coast?\u003c/strong>\u003c/p>\n\u003cp>New York and Los Angeles were always more professional just as they are today, it was more of a professional take. Going to New York especially the lower east side where we were that’s where we played our first day at the Anderson Theater and the film more. Those were all on the lower east side and there were a lot of Russians and Jews. It was snowing and this feeling like it was … All those colored Easter eggs and the coats they wore, that were woven in the spoken art. There was this impression of color and exoticism. There was very beautiful in New York and we stayed in the Chelsea hotel where Mark Twain had lived.\u003c/p>\n\u003cp>Everybody, Jean, O’Neal, everyone had gone through there at one time or another and that was very exciting and there was this sense of maybe we are adding a layer on this thing that all these people have created and Los Angeles was sunnier, they were all more professional, to tell you the truth they looked down on San Francisco at first, like we weren’t serious.\u003c/p>\n\u003cp>\u003cstrong>In hindsight, the San Francisco music scene transformed to what we knew as music in a lot of ways.\u003c/strong>\u003c/p>\n\u003cp>They transformed it and they followed it later but I think they though here’s the raw material these untutored people are coming up with and we’ll transmit this in to the gold of hit singles and so on and they did. To be fair that’s what happened a lot, and what does happen even today.\u003c/p>\n\u003cp>\u003cstrong>When I read the liner notes for the recording \u003cem>Live at Winterland\u003c/em>, it said it was a homecoming?\u003c/strong>\u003c/p>\n\u003cp>Very much so it was every time we came back that time was … We’d played eight nights in a row without a break or something when that happened, it was always fun to come back and see these crazy friends that we had, some of them were really crazy and they would come out in a body, there was a group of people from Detroit and a group from Austin and a group from new York.\u003c/p>\n\u003cp>They would come out and little families and see us, that’s was always fun to get together with them. For Janis naturally seeing all Austin people was a treat.\u003c/p>\n\u003cp>\u003cstrong>At Winterland, what was it like when you walked in the door? What did it smell like, what did it look like?\u003c/strong>\u003c/p>\n\u003cp>It was like a cave. Bill Graham’s place was the Fillmore and that was hung with velvet hangings and you get the impression of being inside this jewel box. Winterland was modern. It was colder, the walls were flat and it was indeed like many of the places we’d play all over the world shortly after that.\u003c/p>\n\u003cp>You got this feeling of great spaces and it was the first big place that the San Francisco scene had moved in to, certainly.\u003c/p>\n\u003cp>\u003cstrong>How did that compare because you started out just like a jam band, just because of hanging out at Chet’s house?\u003c/strong>\u003c/p>\n\u003cp>Winterland was part of the thing where the whole scene became more professional. At first it was like the audience and the musicians were in it together. It seemed like anyone could come up and take the mic and sing or start playing the guitar and the band member would go sit in the audience they were the same people we all live next door to each other, we all knew each other and that was a very organic thing.\u003c/p>\n\u003cp>It became now it’s us and all the lights are on us and you guys are out there be quite, just watch this because we’re going to really lay it on you, here it is … This is the truth right now. That was lamentable in a way, there was a separation between a the performer in the audience.\u003c/p>\n\u003cp>\u003cstrong>There was a loss because it went from the communal experience to the …?\u003c/strong>\u003c/p>\n\u003cp>The stage is high, we are looking down on them and they’re down there looking up and it just changed it but it was okay everyone went a long with it was all right because it meant the bands got better, they had to better it was more interesting. It’s something you watch as opposed to something you’re participating in with this sort of electric current running through everyone in a big circle.\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nWhat was it like being in a band that was always tagged to Janis Joplin? Did it feel like you were in her shadow or was it a good thing for you?\u003c/strong>\u003c/p>\n\u003cp>We had a long time to adjust to that because at first she was in our shadow. She came from Austin, Texas and she was this Texas girl, she dressed the way mother dressed — very dowdy and not with it. That lasted for about six months and she grew and grew. It was a real incremental change we were used to it by the time that it happened and really her talent was so huge it was … You say shadow but it was more like being in the face of a title wave, it was just like blowing you over.\u003c/p>\n\u003cp>Her voice had tremendous range, she exhausted it and she distorted it but she had an incredible range the tragedy of her not living was that she could have gone on and made an album, with Jazz standards that would have totally amazing. What she did with “Little Girl Blue” was this really beautiful thing and “Summer Time” is where she started on that journey. She could have made a whole album of Jazz standards with us and a lot of people would have sat up and taken notice that, who to this day, probably didn’t realize how talented Janis was.\u003c/p>\n\u003cp>There was some resentment in the band but really not much from me because I was participating, we were writing songs together, I was just like, “I’m so privileged. This is really great I have this person to write songs for and she’s’ this great singer.” I was participating more and when we left big brother which I think was a mistake we both went together in to cosmic blues, I was right there with her it wasn’t so much over shadowed, you could look at it that way but I didn’t.\u003c/p>\n\u003cp>\u003cstrong>Did I hear regret for leaving the band?\u003c/strong>\u003c/p>\n\u003cp>Yeah it was a mistake just business-wise. She was insane to leave the band and I wish I had a little more power with her, I wish I could have talked the way feel … I know what it is today but even then I said, “Can you wait six month or a year? We’ve got a number one hit record and you’re going to have to start over again and train a band and come back up. Don’t you want to see how this is going to happen?”\u003c/p>\n\u003cp>There were parts of the band that didn’t want to add any horn and didn’t want any keyboards. It was a very conservative element in the band and that was hard to take at time. As I said we were playing two or three times a day but …\u003c/p>\n\u003cp>\u003cstrong>What do you think motivated her to leave? Wanting to grow musically?\u003c/strong>\u003c/p>\n\u003cp>Yeah that’s number one. She admired Tina Turner and Aretha Franklin and she wanted a band like they had. The second one is I don’t know how much of a child of the ’60s you were but she was a Capricorn and she kept her bank book balanced and money was important to her. Although I don’t think she could admit that to herself at the time — that was very uncool thing to admit.\u003c/p>\n\u003cp>If she went out on her own she would split the money one way and we were splitting it five in Big Brother. It just has to be faced as part of life. Those two things mainly. A lot of people come in here will tell you that it was Albert Grossman but I don’t think he had much to do with that. It came from Janis; it was a real thing.\u003c/p>\n\u003cp>\u003cstrong>She was pretty smart she could think for herself. It sounds like that you were witness to a transformation or to her coming in to her own in that brief period of time as you guys were developing this?\u003c/strong>\u003c/p>\n\u003cp>Yeah we saw here come in to her own very vividly we made a record with main streams records, that sound folk rock, it sounds like the Mamas and the Papas from the time, from then to the record we made called \u003cem>Cheap Thrills\u003c/em> that’s when she was transformed as a person she became larger than. She started out with little freely blouses and the little cotton things and blue jeans, and these things that hung down at her wait.\u003c/p>\n\u003cp>She grew in to this person who was dressing like no one else did by the time, really well and originally. She just became larger than life, that was quite a transformation she knew where she was going it was real clear.\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nWhat do you think it was like being a woman in 1968 and what impact do you think that she’s had for women since then?\u003c/strong>\u003c/p>\n\u003cp>What I think it was like being a woman in 1968 is hard to say because I wasn’t one but I watched her real close and many other women. Men said, “Baby.” To women a lot in 1968, it’s hard to believe now, when you see an older movie, someone who’s perfectly intelligent person says to a woman says, “Come on baby lets go do.” You wince, “Did I say that then?” Yeah probably.\u003c/p>\n\u003cp>With Janis — because her music was accepted by a lot of people and because she was so strong, she didn’t have any choice. She wasn’t trying to be like this spokesman for this courageous cadre of women who were going to change things in the ’70s but that’s who she was. It wasn’t a political thing; she didn’t set out with this agenda of making things better for women. Indeed maybe in some ways she made it worse temporarily because she succumbed to drugs.\u003c/p>\n\u003cp>\u003cstrong>Why do you think she succumbed to drugs and what impact did it have on you when you guys lost her?\u003c/strong>\u003c/p>\n\u003cp>I did it. It’s probably a predisposition also it was what was happening historically. If she would have lived in the 80s and came of age, she wouldn’t have use heroin, she would have been in the gym, working on fitness or something, it’s that tragedy of being in the wrong decade. It was terrible when she died of course, there was a combination of thinking that she would, not being surprised because of what she was doing, what we were doing indeed.\u003c/p>\n\u003cp>Not believing anyone that we knew was going to die from that, she used to tell me, “This isn’t going to kill me, I come from pioneer stock, my genes are good, I’m strong, I’m a survivor.” That was all true and stuff but it would always make a chill go up my back because it’s like being two … It’s like challenging God if you will, or challenging reality. I just want to say, “Don’t say that, that’s … Come on now take it easy.”\u003c/p>\n\u003cp>\u003cstrong>What do you think is the legacy of Janis and of Big Brother?\u003c/strong>\u003c/p>\n\u003cp>The legacy of Janis it is more present today. The generation that followed us retrenched; they were frightened by the excesses of that era and they became certified public accountants and Republicans. That took a while for that to get over with. Now this generation is back and I’m afraid for them, sometimes I see them in the street and I can see what they’re doing. I want to go up and shake them and say, “Listen, there are chapters that follow this, take it easy don’t get to carried away on this particular chapter because there are many more to live and they all beautiful. Take it easy.”\u003c/p>\n\u003cp>Her legacy was … It had a lot to do with making women feel strong and happy and victimized and not led around because that’s one things that Janis was not was a victim ever, she was a strong person. Whatever it was that … Bad that had happened to her came out of her own character it wasn’t something that was put on her from the outside.\u003c/p>\n\u003cp>\u003cstrong>What do you think is the legacy of the band, of you guys?\u003c/strong>\u003c/p>\n\u003cp>We broke a lot of rules musically and played a lot of cords that shouldn’t follow each other they tell you in harmony one don’t put that chord after that chord and don’t use parallel fists and all of that and we did that because we didn’t know any better. It codified in to a new set of rules that people have to break today, that’s what it was we set up a lot of rules for people to break today.\u003c/p>\n\u003cp>\u003cstrong>What did you guys say and what do you still say to the … There was a faction there was a wrath that the band wasn’t tight enough and wasn’t professional enough, what do you say to that?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I say that’s absolutely right but what we had was a sense of directness and spirit and soul that you can’t buy because young people will always have that. Also I’ll say in time we learned in tune and do of that thing and this album represents us learning how to play these tunes more in tune. Perhaps more professionally. That you can go and train, you can go and get that part in school, you can’t have the other part and that’s what we … We had that in spades.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In retrospect, Sam Andrews is the perfect example of a musician who made a name for himself in the heyday of the San Francisco psychedelic music scene. As one of the guitarists and main songwriters in Big Brother and the Holding Company and later, Janis Joplin’s Kozmic Blues Band, Andrews went from being a passionate amateur to playing with one of the most popular singers in the nation to being fired and addicted to drugs. But for all his ups and downs, Andrews never gave up playing music, playing with reincarnations of Big Brother until his death in 2015.\u003c/p>\n\u003cp>In this interview transcript conducted by Ben Manilla Productions in 1998, Andrews opens up about how inexperienced the group was when it started, the changes in the San Francisco scene and his troubles with drugs.\u003c/p>\n\u003cp>\u003cstrong>What was life like for Big Brother and the Holding Company in 1968?\u003c/strong>\u003c/p>\n\u003cp>It was a tremendous ride, it was a lot of fun, it was very beautiful, exciting time full of a lot of possibility actually if you zero in right on ’68. If you would have said ’65 to ’67 it would have been a little different that’s when everything was unknown and there was a feeling of tremendous possibility by 1968 the entire scene had become a little professional and a little specialized. Some of the holiness and innocence was lost but we all knew what we were about.\u003c/p>\n\u003cp>We learned how to tune our guitars, Janis had learned what it was to sing with a band and to really step out. The entire thing become more professional but lost a little innocence a little sense of possibility by 1968.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Say more about that sense of possibility, what does that mean to you? What did it feel like? What was the energy behind that?\u003c/strong>\u003c/p>\n\u003cp>It was incredibly exciting, it was one of those times that come along, there was one in the 1920s and there was one in San Francisco when Mark Twain and Bret Harte were here. At that time when you really feel like there is a real chance that your generation and your time is going to make the world a better place, just for a spit second, it seems like if we were going to continue that way that things were really going to change for the better and all of the problems were going to be magically solved, it looked like there was going to be tolerance of gays, it looked like the whole racial civil rights movements that had begun earlier later in the ’50s and earlier in ’60s was going to take off.\u003c/p>\n\u003cp>These problems were going to be solved in two three years. The women’s movement begun in the ’60s just as a lot of the environmental movement started, andthere was just a real sense of, “This is it, we’ve got it made.” We thought that probably by 1975 it would be all over with, everything solved, and then hard drugs hit the scene.\u003c/p>\n\u003cp>\u003cstrong>Where did that possibility come from, that it could well up in the whole community and whole scene? There’s a mystery to it do you have a sense of what that is?\u003c/strong>\u003c/p>\n\u003cp>As I say it came up in Christianity, it came up in Buddhism, it probably comes up every several generations and there is probably one due any minute now that I would like to see. More specifically than that the Beatnik era had just happened in the late ’50s and the early ’60s and everyone wore solid black and there were poems of eve of destruction and hell. It was a very down … It felt like the entire world was in black and white and the Hippies who were too young to know any better … Hippies was diminutive term that the Beats called us because we were hanging around with them but we were too young to be contributing to their scene.\u003c/p>\n\u003cp>It was derogatory terms for which begun as hipsters and hippies as a diminutive of that. We were hanging around watching that cynicism and desperate and it seemed to go nowhere, there was a lot of use of alcohol, a lot of drugs. Just to have that lifted of that generation passed and it was our turn. There was this riot of color, they were all many colors even on television, it’s a trivial thing but the peacock for CBS or whatever.\u003c/p>\n\u003cp>All over sudden there were all these colors and it’s tails weren’t there before. It seemed like the whole world all over sudden this color knob had been pushed and it started. Why that happened, I don’t maybe it was reaction to the Beats or the whole Eisenhower ’50s thing was over with. Who knows? I don’t know. Even going to the moon was part of that, there was just a sense of hope and to really pinpoint why it begun though it’s hard to say.\u003c/p>\n\u003cp>\u003cstrong>You talked about what happened in the ’65 to ’67 and then, then the professionalism of the music industry came up, and you’ve mentioned drugs what about that? What’s your sense of how that changed the scene and what did you see, what was your personal experience of what went on around you?\u003c/strong>\u003c/p>\n\u003cp>When that scene begun here in San Francisco and New York, Los Angeles probably to put it on a drug level for a second, probably most people were doing things like taking Peyote or LSD or smoking pot. They’re psychotropic drugs — they open the mind or they can make you spaced out. As a negative way of looking at it, they can distract you.\u003c/p>\n\u003cp>It really opens your mind and that had been happening for a while and people started using harder drugs, harder drugs came in to the community and like heroin and cocaine and those drugs close your mind. If there is something ugly you would … That’s a drug that would alleviate the pain of that, whereas something like Peyote or marijuana will open you up to that. You don’t want to be opening up if something like that’s around.\u003c/p>\n\u003cp>That was what happened to that scene, that started happening in 1968, it happened to me personally I was a junkie for years and took a long time to get from under that, I had a good time I enjoyed it, it was really a fun time. Janis and I did a lot of that together and it wasn’t a tragedy, we didn’t feel victimized by it, we enjoyed every second of it. It was certainly nice when it got over when we worked our way through that on a personal level and when the whole scene did to.\u003c/p>\n\u003cp>Which took probably until 1975 or something and she didn’t make it, it was a historical accident she didn’t commit suicide or anything. It’s just a none regulated thing, you don’t know what dosage you’re getting.\u003c/p>\n\u003cp>\u003cstrong>What else did you do with Janis when you guys hang out, when you’re on the road, when you’re touring and when you guys were just hanging out in San Francisco, what was it like? What was the day in the life like for you guys?\u003c/strong>\u003c/p>\n\u003cp>What everyone who comes in here is going to say about Janis is that they were best friends with her and I’m going to say that to because she was a wonderful person, she was really generous she had really quick reflexes, she was very intelligent, really bright and it’s hard to quantify but maybe an IQ of somewhere in the 160s. Very well read. \u003c/p>\n\u003cp>Janis was really colorful she had a great sense of humor she was really funny, she was funnier than Joan Rivers but sometimes in the same ways. A lot of her life was a party and a typical day with her would be walking up and down Haight street, dropping into every shop. We knew everybody. \u003c/p>\n\u003cp>She and I personally wrote a whole lot of music together. It was just fun. Many times it came effortlessly; for example, there is a song called “I Need a Man to Love” that she did that we just came out with. We had a tuning amp backstage and I plugged in to it and I started playing and that song just came out.\u003c/p>\n\u003cp>For most of it, it’s a very simple song — it’s only one chord. There is a bridge part that’s very complicated and even revolutionary for the time and it all just came out and she sang the words and there it was great. We did a lot of song writing together, on the night Otis Redding died we got together at her apartment on Lyon street and held a little wake for him, talked about how much we loved him, played his records and that kind of thing. There wasn’t a typical day, though a lot of days were just spent cruising Haight Street.\u003c/p>\n\u003cp>\u003cstrong>When you guys are on the road, did you drive each other crazy? Did you love each other? What did you eat when you’re on the road? Where did you party?\u003c/strong>\u003c/p>\n\u003cp>Big Brother and Holding Company and of course including Janis, is odd in that, a lot of bands when they are together a whole lot it makes them quarrel. But this band gets along the best when it’s on the road and together all the time. That was true with Janis. I don’t know why that would be and when it’s worse for this band when it’s apart from each other and people start entertaining these unreal notions about each other.\u003c/p>\n\u003cp>We got along the best when we were on the road which was good because very often we played two or three dates in one day and worked together a lot. Her entire career was maybe four, four and a half years and she was with us three and a half, it was a very concentrated and intense period.\u003c/p>\n\u003cp>\u003cstrong>You talked about how it was an experiential time, and the sense I get about the Janis experience is that the magic of her was her presence and how she brought all of her to a performance. Did you see that and what was it like? \u003c/strong>\u003c/p>\n\u003cp>She brought all of her to everything, anything that she did there was a whole lot and it was real quick and there was an expression an impression of velocity, even when she moved it was almost like a quiver she was vibrating, it was really fast. That what it felt, that was the feeling, that she was moving really quick. I was listening to an introduction she did to a tune the other night, “Catch me Daddy,” and she was singing it and moving through the changes so fast, it was like a bee wing.\u003c/p>\n\u003cp>\u003cstrong>Where did you guys live? Did you all live together?\u003c/strong>\u003c/p>\n\u003cp>We lived in various places around the Haight and she lived on Lyon Street, right on the Panhandle of Golden Gate Park. We did that for a while and we all moved to Marin and lived in Lagunitas, a town in West Marin, which is hard to get to — you go over some hills and it’s over there in the woods. I lived in a little cabin out back with my girlfriend and they lived in the main house and we rehearsed eight hours a day.\u003c/p>\n\u003cp>That was another time, we were all together and it was really good, and we moved back in the city, communal living wasn’t the way to go for us.\u003c/p>\n\u003cp>\u003cstrong>You talked about living in the Haight. What was the scene like? What was San Francisco like as compared to the cities that you toured on the east coast?\u003c/strong>\u003c/p>\n\u003cp>New York and Los Angeles were always more professional just as they are today, it was more of a professional take. Going to New York especially the lower east side where we were that’s where we played our first day at the Anderson Theater and the film more. Those were all on the lower east side and there were a lot of Russians and Jews. It was snowing and this feeling like it was … All those colored Easter eggs and the coats they wore, that were woven in the spoken art. There was this impression of color and exoticism. There was very beautiful in New York and we stayed in the Chelsea hotel where Mark Twain had lived.\u003c/p>\n\u003cp>Everybody, Jean, O’Neal, everyone had gone through there at one time or another and that was very exciting and there was this sense of maybe we are adding a layer on this thing that all these people have created and Los Angeles was sunnier, they were all more professional, to tell you the truth they looked down on San Francisco at first, like we weren’t serious.\u003c/p>\n\u003cp>\u003cstrong>In hindsight, the San Francisco music scene transformed to what we knew as music in a lot of ways.\u003c/strong>\u003c/p>\n\u003cp>They transformed it and they followed it later but I think they though here’s the raw material these untutored people are coming up with and we’ll transmit this in to the gold of hit singles and so on and they did. To be fair that’s what happened a lot, and what does happen even today.\u003c/p>\n\u003cp>\u003cstrong>When I read the liner notes for the recording \u003cem>Live at Winterland\u003c/em>, it said it was a homecoming?\u003c/strong>\u003c/p>\n\u003cp>Very much so it was every time we came back that time was … We’d played eight nights in a row without a break or something when that happened, it was always fun to come back and see these crazy friends that we had, some of them were really crazy and they would come out in a body, there was a group of people from Detroit and a group from Austin and a group from new York.\u003c/p>\n\u003cp>They would come out and little families and see us, that’s was always fun to get together with them. For Janis naturally seeing all Austin people was a treat.\u003c/p>\n\u003cp>\u003cstrong>At Winterland, what was it like when you walked in the door? What did it smell like, what did it look like?\u003c/strong>\u003c/p>\n\u003cp>It was like a cave. Bill Graham’s place was the Fillmore and that was hung with velvet hangings and you get the impression of being inside this jewel box. Winterland was modern. It was colder, the walls were flat and it was indeed like many of the places we’d play all over the world shortly after that.\u003c/p>\n\u003cp>You got this feeling of great spaces and it was the first big place that the San Francisco scene had moved in to, certainly.\u003c/p>\n\u003cp>\u003cstrong>How did that compare because you started out just like a jam band, just because of hanging out at Chet’s house?\u003c/strong>\u003c/p>\n\u003cp>Winterland was part of the thing where the whole scene became more professional. At first it was like the audience and the musicians were in it together. It seemed like anyone could come up and take the mic and sing or start playing the guitar and the band member would go sit in the audience they were the same people we all live next door to each other, we all knew each other and that was a very organic thing.\u003c/p>\n\u003cp>It became now it’s us and all the lights are on us and you guys are out there be quite, just watch this because we’re going to really lay it on you, here it is … This is the truth right now. That was lamentable in a way, there was a separation between a the performer in the audience.\u003c/p>\n\u003cp>\u003cstrong>There was a loss because it went from the communal experience to the …?\u003c/strong>\u003c/p>\n\u003cp>The stage is high, we are looking down on them and they’re down there looking up and it just changed it but it was okay everyone went a long with it was all right because it meant the bands got better, they had to better it was more interesting. It’s something you watch as opposed to something you’re participating in with this sort of electric current running through everyone in a big circle.\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nWhat was it like being in a band that was always tagged to Janis Joplin? Did it feel like you were in her shadow or was it a good thing for you?\u003c/strong>\u003c/p>\n\u003cp>We had a long time to adjust to that because at first she was in our shadow. She came from Austin, Texas and she was this Texas girl, she dressed the way mother dressed — very dowdy and not with it. That lasted for about six months and she grew and grew. It was a real incremental change we were used to it by the time that it happened and really her talent was so huge it was … You say shadow but it was more like being in the face of a title wave, it was just like blowing you over.\u003c/p>\n\u003cp>Her voice had tremendous range, she exhausted it and she distorted it but she had an incredible range the tragedy of her not living was that she could have gone on and made an album, with Jazz standards that would have totally amazing. What she did with “Little Girl Blue” was this really beautiful thing and “Summer Time” is where she started on that journey. She could have made a whole album of Jazz standards with us and a lot of people would have sat up and taken notice that, who to this day, probably didn’t realize how talented Janis was.\u003c/p>\n\u003cp>There was some resentment in the band but really not much from me because I was participating, we were writing songs together, I was just like, “I’m so privileged. This is really great I have this person to write songs for and she’s’ this great singer.” I was participating more and when we left big brother which I think was a mistake we both went together in to cosmic blues, I was right there with her it wasn’t so much over shadowed, you could look at it that way but I didn’t.\u003c/p>\n\u003cp>\u003cstrong>Did I hear regret for leaving the band?\u003c/strong>\u003c/p>\n\u003cp>Yeah it was a mistake just business-wise. She was insane to leave the band and I wish I had a little more power with her, I wish I could have talked the way feel … I know what it is today but even then I said, “Can you wait six month or a year? We’ve got a number one hit record and you’re going to have to start over again and train a band and come back up. Don’t you want to see how this is going to happen?”\u003c/p>\n\u003cp>There were parts of the band that didn’t want to add any horn and didn’t want any keyboards. It was a very conservative element in the band and that was hard to take at time. As I said we were playing two or three times a day but …\u003c/p>\n\u003cp>\u003cstrong>What do you think motivated her to leave? Wanting to grow musically?\u003c/strong>\u003c/p>\n\u003cp>Yeah that’s number one. She admired Tina Turner and Aretha Franklin and she wanted a band like they had. The second one is I don’t know how much of a child of the ’60s you were but she was a Capricorn and she kept her bank book balanced and money was important to her. Although I don’t think she could admit that to herself at the time — that was very uncool thing to admit.\u003c/p>\n\u003cp>If she went out on her own she would split the money one way and we were splitting it five in Big Brother. It just has to be faced as part of life. Those two things mainly. A lot of people come in here will tell you that it was Albert Grossman but I don’t think he had much to do with that. It came from Janis; it was a real thing.\u003c/p>\n\u003cp>\u003cstrong>She was pretty smart she could think for herself. It sounds like that you were witness to a transformation or to her coming in to her own in that brief period of time as you guys were developing this?\u003c/strong>\u003c/p>\n\u003cp>Yeah we saw here come in to her own very vividly we made a record with main streams records, that sound folk rock, it sounds like the Mamas and the Papas from the time, from then to the record we made called \u003cem>Cheap Thrills\u003c/em> that’s when she was transformed as a person she became larger than. She started out with little freely blouses and the little cotton things and blue jeans, and these things that hung down at her wait.\u003c/p>\n\u003cp>She grew in to this person who was dressing like no one else did by the time, really well and originally. She just became larger than life, that was quite a transformation she knew where she was going it was real clear.\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nWhat do you think it was like being a woman in 1968 and what impact do you think that she’s had for women since then?\u003c/strong>\u003c/p>\n\u003cp>What I think it was like being a woman in 1968 is hard to say because I wasn’t one but I watched her real close and many other women. Men said, “Baby.” To women a lot in 1968, it’s hard to believe now, when you see an older movie, someone who’s perfectly intelligent person says to a woman says, “Come on baby lets go do.” You wince, “Did I say that then?” Yeah probably.\u003c/p>\n\u003cp>With Janis — because her music was accepted by a lot of people and because she was so strong, she didn’t have any choice. She wasn’t trying to be like this spokesman for this courageous cadre of women who were going to change things in the ’70s but that’s who she was. It wasn’t a political thing; she didn’t set out with this agenda of making things better for women. Indeed maybe in some ways she made it worse temporarily because she succumbed to drugs.\u003c/p>\n\u003cp>\u003cstrong>Why do you think she succumbed to drugs and what impact did it have on you when you guys lost her?\u003c/strong>\u003c/p>\n\u003cp>I did it. It’s probably a predisposition also it was what was happening historically. If she would have lived in the 80s and came of age, she wouldn’t have use heroin, she would have been in the gym, working on fitness or something, it’s that tragedy of being in the wrong decade. It was terrible when she died of course, there was a combination of thinking that she would, not being surprised because of what she was doing, what we were doing indeed.\u003c/p>\n\u003cp>Not believing anyone that we knew was going to die from that, she used to tell me, “This isn’t going to kill me, I come from pioneer stock, my genes are good, I’m strong, I’m a survivor.” That was all true and stuff but it would always make a chill go up my back because it’s like being two … It’s like challenging God if you will, or challenging reality. I just want to say, “Don’t say that, that’s … Come on now take it easy.”\u003c/p>\n\u003cp>\u003cstrong>What do you think is the legacy of Janis and of Big Brother?\u003c/strong>\u003c/p>\n\u003cp>The legacy of Janis it is more present today. The generation that followed us retrenched; they were frightened by the excesses of that era and they became certified public accountants and Republicans. That took a while for that to get over with. Now this generation is back and I’m afraid for them, sometimes I see them in the street and I can see what they’re doing. I want to go up and shake them and say, “Listen, there are chapters that follow this, take it easy don’t get to carried away on this particular chapter because there are many more to live and they all beautiful. Take it easy.”\u003c/p>\n\u003cp>Her legacy was … It had a lot to do with making women feel strong and happy and victimized and not led around because that’s one things that Janis was not was a victim ever, she was a strong person. Whatever it was that … Bad that had happened to her came out of her own character it wasn’t something that was put on her from the outside.\u003c/p>\n\u003cp>\u003cstrong>What do you think is the legacy of the band, of you guys?\u003c/strong>\u003c/p>\n\u003cp>We broke a lot of rules musically and played a lot of cords that shouldn’t follow each other they tell you in harmony one don’t put that chord after that chord and don’t use parallel fists and all of that and we did that because we didn’t know any better. It codified in to a new set of rules that people have to break today, that’s what it was we set up a lot of rules for people to break today.\u003c/p>\n\u003cp>\u003cstrong>What did you guys say and what do you still say to the … There was a faction there was a wrath that the band wasn’t tight enough and wasn’t professional enough, what do you say to that?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I say that’s absolutely right but what we had was a sense of directness and spirit and soul that you can’t buy because young people will always have that. Also I’ll say in time we learned in tune and do of that thing and this album represents us learning how to play these tunes more in tune. Perhaps more professionally. That you can go and train, you can go and get that part in school, you can’t have the other part and that’s what we … We had that in spades.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Growing Up with Sister Janis: 1998 Q&A with Laura Joplin",
"headTitle": "Growing Up with Sister Janis: 1998 Q&A with Laura Joplin | KQED",
"content": "\u003cp>While Janis Joplin was in San Francisco becoming one of the greatest singers of the ’60s, she was always writing to her family — especially her sister Laura, who was six years younger and completely idolized Janis.\u003c/p>\n\u003cp>Laura kept all those letters, which became not only the basis of her 2005 book \u003ci>\u003ca href=\"http://www.pbs.org/wnet/americanmasters/love-janis-read-excerpts-janis-joplins-biography-written-younger-sister/7172/\" target=\"_blank\" rel=\"noopener\">Dear Janis\u003c/a>\u003c/i>, but the backbone of the documentary \u003ci>Janis: Little Girl Blue\u003c/i>, as voiced onscreen by indie rock maven \u003ca href=\"http://www.pbs.org/wnet/americanmasters/janis-joplin-chan-marshall-talks-voicing-janis-joplins-letters/7216/\" target=\"_blank\" rel=\"noopener\">Chan Marshall\u003c/a>, a.k.a. Cat Power. \u003c/p>\n\u003cp>This interview with Laura Joplin, from 1998, was conducted by Ben Manilla Productions.\u003c/p>\n\u003cp>\u003cem>Note: Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Growing up with Janis, were you two close from an early age?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Janis was six years older than I was, and she was really into having a younger sister — and later, when Micheal was born, having a younger brother. Our neighborhood was full of kids running around, playing chase and hide-and-seek and stuff. Janis was a wonderful big sister; she brought us in, made us feel included even when we were really young, showed us how to participate and took care of us. She was a very nurturing, caring, fun older sister, really involved with us.\u003c/p>\n\u003cp>\u003cstrong>The three of you — you, Micheal, and Janis — were palling around pretty much around town?\u003c/strong>\u003c/p>\n\u003cp>Well, you have to understand that Janis was 10 years older than Micheal. That’s a huge age difference when you’re young. She was six years older than I, so when I was entering junior high school she was entering college. There’s only a certain amount of palling around you can do with that kind of an age difference but we certainly played around in the neighborhood when it comes to playing ball or things like that when we were kids and before she got too sophisticated as a teenager to play those kinds of things.\u003c/p>\n\u003cp>\u003cstrong>With you being six years younger than her, was she someone you looked up to?\u003c/strong>\u003c/p>\n\u003cp>Oh, I idolized Janis when I was young. I thought that she was perfect. I copied her in everything. She taught me how to draw, she taught me how to play guitar, she chose books. In that sense she really brought me up in a certain part of life, you know, how to be a kid and groovy and into things. She was always there until she left home after high school when she was going to college.\u003c/p>\n\u003cp>\u003cstrong>When Janis moved away, what did that do to you?\u003c/strong> \u003c/p>\n\u003cp>I think Janis’ leaving home and going off to college was something that really was both devastating and infuriating. I mean, who was she to think she could go off to college and check the world out while I was still stuck at home? But, you know, we grew and did different things. Here I was getting into the marching band and here she was going off to play blues music in Los Angeles, so there was a significant difference of life experience at that point in time. It’s just about the changes of life.\u003c/p>\n\u003cp>It was really nice when Janis came home in 1965 and was much more settled. She was much less the adolescent rebel that she had been, and was into studying and attending college and majoring in social work and living in the “middle road,” as she called it, because she had been strung out, had problems with speed and was coming home to kind of get her life together. She knew that she’d pushed it too far and wanted to see if she could find satisfaction in the kinds of activities that she saw most people living. Music at that point was something that she kind of played quietly here and there — sang a little bit, not much. It was something that she equated with drugs and that scared her.\u003c/p>\n\u003cp>\u003cstrong>Before she left for California she was singing a bit in Texas, right?\u003c/strong>\u003c/p>\n\u003cp>When Janis was in high school she ran around with a bunch of people who listened to anything and everything. One of the guys played jazz trombone so they’d go to his gigs and hang out. They listened to folk music, everything, a lot of the black music. We lived in a very segregated, racially segregated town, and the whole world of African Americans was a question. What is it? Was it different? All those kinds of things. Yet integration was being hotly debated, it was the era of Brown vs. the Board of Education, the 1954 school segregation case. [Janis and her friends] were clearly the intellectual liberals of the town and were interested in everything, trying to understand the African-American experience, so they would read beatnik literature and they’d listen to jazz music and they’d listen to folk blues. Janis really got interested in Leadbelly, she loved Billie Holiday, she loved Bessie Smith, Odetta was someone that she really adored. She was a painter at the time, and she was into Modigliani, which has wonderful African-inspired figures.\u003c/p>\n\u003cp>There was clearly a great deal of interest in trying to do integration internally, socially, emotionally — what is life about? In her own music she began singing blues music, partly out of chance. She discovered one night with some friends that she had the ability to sing Odetta and sound like Odetta. Finding that power within her was just a tremendous excitement. It’s awesome. You have to also remember that when someone plays a piano the music is created in the instrument, but as a singer the instrument is your body and so the vibration that a singer gets when they’re using that kind of power and the depth of tones, is just such an awesome personal experience. She was overwhelmed and taken with it. She sang locally, frittered around doing stuff, not really sure what she was doing. She accompanied herself on autoharp, sometimes on guitar, sometimes with other people here and there. Sang at a few clubs, and then when she went out to LA right after her first year of college, she sang some in coffeehouses. That was the ear of the hootenanny in the coffeehouse.\u003c/p>\n\u003cp>She ended up going to Austin, Texas where she sang at the hootenannies at the University of Texas student union. Kenneth Threadgill had a bar where there were a lot of local people that came out and sang, and she sang there. When she was back at home in ’65, again, she sang some. A good friend of hers, Jim Langdon, who actually had been the trombone player of her high school group, was at that time a music critic for the \u003cem>Austin Statesman\u003c/em>. He was well connected in the Texas music scene and got her a couple of gigs up in Austin and some in Beaumont. She played here and there but it wasn’t her primary focus, it was something that satisfied an inner yearning of hers but she hadn’t quite figured out how to put it into her life. She was figuring that perhaps it was a little dangerous.\u003c/p>\n\u003cp>She talked with Jim about the fact that drugs were a problem, in music and the lifestyle and stuff, and his comment was, “Well you know the two aren’t wedded, you don’t have to do drugs and do music.” I think that when she finally decided to go back to San Francisco in ’66 and check out the music scene and meet this new group she’d heard about and wanted a singer, Big Brother & the Holding Company, I think that was her decision. She had been free from drug use for a year, she felt really stable, her life was centered, and she felt she could handle the music world. So she headed out to California.\u003c/p>\n\u003cp>\u003cstrong>What were the feelings in the house about her leaving to become a musician?\u003c/strong>\u003c/p>\n\u003cp>Well, when Janis went out in 1966 to see if she wanted to stay, see if she wanted to be a singer, she was still thinking about coming back to college. This was just summer break, you know? She cleverly left from Austin while she was up there visiting and didn’t tell our parents until she wrote them a letter. I’m sure that was because they had a lot of discussions about the difficulties that she had had in California before. She was worried about it, they were worried about it. It’s hard to explain their feelings. They didn’t agree with Janis’ lifestyle, but that didn’t mean that they didn’t approve of their daughter. They essentially agreed to disagree. They worried for her safety, which, in hindsight, was accurate.\u003c/p>\n\u003cp>\u003cstrong>Sure. Well hindsight’s always 20/20. So, she’s off in San Francisco and you’re receiving letters home. How are you feeling when those letters are arriving at the house?\u003c/strong>\u003c/p>\n\u003cp>Janis was such a wonderful writer of letters. She was really gifted at presenting things with humor and intellect and great descriptions so it made you curious, you want to see stuff. She did invite us out, so as a family we went out the following summer, the “Summer of Love,” and checked it out. Toured Golden Gate Park and went to the Avalon and heard the band and walked around Haight Street with all kinds of people running up and saying, “Give me your autograph Janis.” It was real thrilling for her and it was real exciting for us. My brother and I liked to joke that we were part of the Summer of Love, but we’re probably the only two people who came out here with our parents. Everyone else left, so it was a little different.\u003c/p>\n\u003cp>\u003cstrong>You did get to see the band?\u003c/strong>\u003c/p>\n\u003cp>Yeah, we saw them perform. They did a guest set so that we could hear them play and it was pretty awesome. It certainly wasn’t like anything that was part of my experience in the university parties that I went to, just not yet.\u003c/p>\n\u003cp>\u003cstrong>Can you describe the show and the feeling you got from seeing your sister up there?\u003c/strong> \u003c/p>\n\u003cp>What I remember about the show is a dark room with a bunch of people that, rather than dancing, were just kind of standing and swaying, sitting and listening, to this overwhelmingly loud, tremendously powerful music that was shaking the building. But the people were more in a trance than they were, say, jumping up and down and doing the jitterbug.\u003c/p>\n\u003cp>\u003cstrong>So much has been said about what she did for women, then and now. What did she stand for, for women back then? What did she enable ladies to do back then?\u003c/strong>\u003c/p>\n\u003cp>I think that Janis in the 1960s was more a challenge to females, the female identity, the roles that were held up to women that you’re supposed to aspire to, and for her it was defiant. It was a sense of obligation to be true to yourself. She said that a lot, that it’s important to be true to yourself because yourself is all you’ve got. But I think that what Janis has become, because she was prior to the feminist movement, is a symbol of someone breaking down doors. She said, “Look, you can do what you want to do, you don’t have to do what people expect or think you should do.” People see her as giving them opportunities to find their own place.\u003c/p>\n\u003cp>\u003cstrong>A lot of people were for it, but there must have been some people that weren’t all that happy with the way she was.\u003c/strong>\u003c/p>\n\u003cp>You have to remember that the 1960s was considered a social revolution, and Janis was a member of that, a leading exponent of it, someone who represented the challenge to traditional society. She did that by flaunting the way she lived, being outspoken about her sexual activity, her drug use. Even though she challenged people’s sense of morals at the time, she was exceedingly ethical in terms of her business relationships and how she dealt with people. It wasn’t a time of doing what you want selfishly against other people — it was the definition of a new ethic, a new way of living.\u003c/p>\n\u003cp>\u003cstrong>Okay, she’s away in San Francisco, you’re there in Texas. Did you lose any closeness with her? Did you guys still remain… Was she still Janis to you? You know, your big sister, still idolizing her a bit?\u003c/strong>\u003c/p>\n\u003cp>Some of that’s funny, in that here’s Janis on the cover of magazines, on the Ed Sullivan Show. We’re watching her on TV running around doing these incredible things and she’s still our sister, we talk to her on the telephone, get letters, Christmas presents, all that kind of stuff, she comes through town. What’s funny, I remember the last time she came in, walking up to the airplane and giving her a hug, you don’t realize it but you somehow think that, you know, she’s my older sister, she’s this famous person, she must be taller and bigger than me, you know? She wasn’t. She’s just an average person so there is some of that adjustment, you know, who is she? But anytime we were together it was just straight back into being able to talk about anything and everything and just really relive and know the closeness that was part of the family.\u003c/p>\n\u003cp>\u003cstrong>You’re in Texas while she’s here, what happened to you personally? Were friends showing up everywhere?\u003c/strong>\u003c/p>\n\u003cp>You know, Janis died when I was 21, and it was just the beginning of the ’60s in terms of its effect on Texas. Even though I was in college and we played \u003cem>Cheap Thrills\u003c/em> on the turntable in my dorm room and that kind of stuff, we were just beginning to wear blue jeans and take our bras off and stuff like that. It wasn’t as big an effect as you might have. I know that Janis did come with me once, I was going from the house to the dorm and when she walked in the dorm all the girls in the dorm were going, “Janis Joplin’s here! Ah!” Running down the hall and she’s going, “Uh, I think I’ll wait for you in the car.” \u003c/p>\n\u003cp>\u003cstrong>What did it mean to you when you found out that she died?\u003c/strong>\u003c/p>\n\u003cp>I was in graduate school in Dallas at the time, and my initial reaction was the sense of this incredible, personal experience of grief and having it be so public. It was very bizarre to walk around the campus and hear people talking about it, you know, something that for them was a tidbit. It was really awkward. On a bigger level, I think it was just overwhelming. There was no way to put it in perspective. I had no experience of it. Our parents went out to take care of the details around Janis’ death. My brother was at home in Port Arthur, I was up in Dallas and as a family I think it probably pointed out the weaknesses in our family’s structure. We just didn’t process it. We didn’t go through it together, we didn’t have a burial or a wake or a large get-together and discuss it. I think for each of us it was really stuffed in a closet, locked away in our hearts, in the recesses because we didn’t know how to deal with it and it took me years and years to open the door and let the grief out. When I did, it was a real liberation, and enabled me to appreciate Janis’ music and love her as she was — whereas before, whenever I thought about her, it was just grief and discomfort.\u003c/p>\n\u003cp>\u003cstrong>You talk about appreciating her music — is there anything that she recorded that’s a favorite?\u003c/strong>\u003c/p>\n\u003cp>I like a lot of Janis’ music. I think that the song “Mercedes Benz” is probably my favorite, because it shows her sense of humor and to be around Janis was really to be having fun. She was an upbeat person with an incredible sense of humor, so even though there were moments of despair and depression and she did sing the blues, actually being around her was a lot of fun. She was a funny person. I listen to a lot of her tapes and I find it kind of funny that I’ll be sitting down to listen as, “Is this a good thing to release?” Or “How’s the background?” Or “How’s her voice?” I start out that way, and after a couple of songs I totally forget I’m supposed to be analyzing it. Her music still really speaks to me, and it’s fun to just kick up your heels and jump in and belt out with your best voice whatever the lyrics are.\u003c/p>\n\u003cp>\u003cstrong>What is it about her music that speaks to you? What is it about just her that spoke to everybody and will continue to speak for generations to come?\u003c/strong>\u003c/p>\n\u003cp>You know, I’ve wondered what it is about Janis that still communicates to people. What is it they’re fascinated with about her? I read the fan letters, and I talk to people, and there’s one thing that keeps coming up. People say, “You know, I didn’t know Janis” or “I didn’t get to see Janis” or something, then they say, “But she knew me” and that’s what she had. It’s the ability to express how other people are feeling. She was really emphatic that music was about honest emotion, and I think that she continues to be able to express the depth and honesty that people feel and maybe don’t know how to express themselves.\u003c/p>\n\u003cp>\u003cstrong>What would be the ripple effects, 50 years from now, of Janis being put here? What’s her legacy?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>When she was alive, Janis was asked the question about how she wanted to be remembered, and her comment was that she wanted to be remembered by the music. And that the music wasn’t about black music or white music, it was about just good music; that she wanted to be all good things of all cultures. I think that the fact that her music communicates is testament to what she was saying. I think Janis is also remembered for her lifestyle and the way she brazenly stepped out on stage and broke rules. In that regard, I think she is someone who says, “Don’t accept the limits other people try to be put on you. Go for it. But,” and this is the favorite quote, “be true to yourself because yourself is all you got.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While Janis Joplin was in San Francisco becoming one of the greatest singers of the ’60s, she was always writing to her family — especially her sister Laura, who was six years younger and completely idolized Janis.\u003c/p>\n\u003cp>Laura kept all those letters, which became not only the basis of her 2005 book \u003ci>\u003ca href=\"http://www.pbs.org/wnet/americanmasters/love-janis-read-excerpts-janis-joplins-biography-written-younger-sister/7172/\" target=\"_blank\" rel=\"noopener\">Dear Janis\u003c/a>\u003c/i>, but the backbone of the documentary \u003ci>Janis: Little Girl Blue\u003c/i>, as voiced onscreen by indie rock maven \u003ca href=\"http://www.pbs.org/wnet/americanmasters/janis-joplin-chan-marshall-talks-voicing-janis-joplins-letters/7216/\" target=\"_blank\" rel=\"noopener\">Chan Marshall\u003c/a>, a.k.a. Cat Power. \u003c/p>\n\u003cp>This interview with Laura Joplin, from 1998, was conducted by Ben Manilla Productions.\u003c/p>\n\u003cp>\u003cem>Note: Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Growing up with Janis, were you two close from an early age?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Janis was six years older than I was, and she was really into having a younger sister — and later, when Micheal was born, having a younger brother. Our neighborhood was full of kids running around, playing chase and hide-and-seek and stuff. Janis was a wonderful big sister; she brought us in, made us feel included even when we were really young, showed us how to participate and took care of us. She was a very nurturing, caring, fun older sister, really involved with us.\u003c/p>\n\u003cp>\u003cstrong>The three of you — you, Micheal, and Janis — were palling around pretty much around town?\u003c/strong>\u003c/p>\n\u003cp>Well, you have to understand that Janis was 10 years older than Micheal. That’s a huge age difference when you’re young. She was six years older than I, so when I was entering junior high school she was entering college. There’s only a certain amount of palling around you can do with that kind of an age difference but we certainly played around in the neighborhood when it comes to playing ball or things like that when we were kids and before she got too sophisticated as a teenager to play those kinds of things.\u003c/p>\n\u003cp>\u003cstrong>With you being six years younger than her, was she someone you looked up to?\u003c/strong>\u003c/p>\n\u003cp>Oh, I idolized Janis when I was young. I thought that she was perfect. I copied her in everything. She taught me how to draw, she taught me how to play guitar, she chose books. In that sense she really brought me up in a certain part of life, you know, how to be a kid and groovy and into things. She was always there until she left home after high school when she was going to college.\u003c/p>\n\u003cp>\u003cstrong>When Janis moved away, what did that do to you?\u003c/strong> \u003c/p>\n\u003cp>I think Janis’ leaving home and going off to college was something that really was both devastating and infuriating. I mean, who was she to think she could go off to college and check the world out while I was still stuck at home? But, you know, we grew and did different things. Here I was getting into the marching band and here she was going off to play blues music in Los Angeles, so there was a significant difference of life experience at that point in time. It’s just about the changes of life.\u003c/p>\n\u003cp>It was really nice when Janis came home in 1965 and was much more settled. She was much less the adolescent rebel that she had been, and was into studying and attending college and majoring in social work and living in the “middle road,” as she called it, because she had been strung out, had problems with speed and was coming home to kind of get her life together. She knew that she’d pushed it too far and wanted to see if she could find satisfaction in the kinds of activities that she saw most people living. Music at that point was something that she kind of played quietly here and there — sang a little bit, not much. It was something that she equated with drugs and that scared her.\u003c/p>\n\u003cp>\u003cstrong>Before she left for California she was singing a bit in Texas, right?\u003c/strong>\u003c/p>\n\u003cp>When Janis was in high school she ran around with a bunch of people who listened to anything and everything. One of the guys played jazz trombone so they’d go to his gigs and hang out. They listened to folk music, everything, a lot of the black music. We lived in a very segregated, racially segregated town, and the whole world of African Americans was a question. What is it? Was it different? All those kinds of things. Yet integration was being hotly debated, it was the era of Brown vs. the Board of Education, the 1954 school segregation case. [Janis and her friends] were clearly the intellectual liberals of the town and were interested in everything, trying to understand the African-American experience, so they would read beatnik literature and they’d listen to jazz music and they’d listen to folk blues. Janis really got interested in Leadbelly, she loved Billie Holiday, she loved Bessie Smith, Odetta was someone that she really adored. She was a painter at the time, and she was into Modigliani, which has wonderful African-inspired figures.\u003c/p>\n\u003cp>There was clearly a great deal of interest in trying to do integration internally, socially, emotionally — what is life about? In her own music she began singing blues music, partly out of chance. She discovered one night with some friends that she had the ability to sing Odetta and sound like Odetta. Finding that power within her was just a tremendous excitement. It’s awesome. You have to also remember that when someone plays a piano the music is created in the instrument, but as a singer the instrument is your body and so the vibration that a singer gets when they’re using that kind of power and the depth of tones, is just such an awesome personal experience. She was overwhelmed and taken with it. She sang locally, frittered around doing stuff, not really sure what she was doing. She accompanied herself on autoharp, sometimes on guitar, sometimes with other people here and there. Sang at a few clubs, and then when she went out to LA right after her first year of college, she sang some in coffeehouses. That was the ear of the hootenanny in the coffeehouse.\u003c/p>\n\u003cp>She ended up going to Austin, Texas where she sang at the hootenannies at the University of Texas student union. Kenneth Threadgill had a bar where there were a lot of local people that came out and sang, and she sang there. When she was back at home in ’65, again, she sang some. A good friend of hers, Jim Langdon, who actually had been the trombone player of her high school group, was at that time a music critic for the \u003cem>Austin Statesman\u003c/em>. He was well connected in the Texas music scene and got her a couple of gigs up in Austin and some in Beaumont. She played here and there but it wasn’t her primary focus, it was something that satisfied an inner yearning of hers but she hadn’t quite figured out how to put it into her life. She was figuring that perhaps it was a little dangerous.\u003c/p>\n\u003cp>She talked with Jim about the fact that drugs were a problem, in music and the lifestyle and stuff, and his comment was, “Well you know the two aren’t wedded, you don’t have to do drugs and do music.” I think that when she finally decided to go back to San Francisco in ’66 and check out the music scene and meet this new group she’d heard about and wanted a singer, Big Brother & the Holding Company, I think that was her decision. She had been free from drug use for a year, she felt really stable, her life was centered, and she felt she could handle the music world. So she headed out to California.\u003c/p>\n\u003cp>\u003cstrong>What were the feelings in the house about her leaving to become a musician?\u003c/strong>\u003c/p>\n\u003cp>Well, when Janis went out in 1966 to see if she wanted to stay, see if she wanted to be a singer, she was still thinking about coming back to college. This was just summer break, you know? She cleverly left from Austin while she was up there visiting and didn’t tell our parents until she wrote them a letter. I’m sure that was because they had a lot of discussions about the difficulties that she had had in California before. She was worried about it, they were worried about it. It’s hard to explain their feelings. They didn’t agree with Janis’ lifestyle, but that didn’t mean that they didn’t approve of their daughter. They essentially agreed to disagree. They worried for her safety, which, in hindsight, was accurate.\u003c/p>\n\u003cp>\u003cstrong>Sure. Well hindsight’s always 20/20. So, she’s off in San Francisco and you’re receiving letters home. How are you feeling when those letters are arriving at the house?\u003c/strong>\u003c/p>\n\u003cp>Janis was such a wonderful writer of letters. She was really gifted at presenting things with humor and intellect and great descriptions so it made you curious, you want to see stuff. She did invite us out, so as a family we went out the following summer, the “Summer of Love,” and checked it out. Toured Golden Gate Park and went to the Avalon and heard the band and walked around Haight Street with all kinds of people running up and saying, “Give me your autograph Janis.” It was real thrilling for her and it was real exciting for us. My brother and I liked to joke that we were part of the Summer of Love, but we’re probably the only two people who came out here with our parents. Everyone else left, so it was a little different.\u003c/p>\n\u003cp>\u003cstrong>You did get to see the band?\u003c/strong>\u003c/p>\n\u003cp>Yeah, we saw them perform. They did a guest set so that we could hear them play and it was pretty awesome. It certainly wasn’t like anything that was part of my experience in the university parties that I went to, just not yet.\u003c/p>\n\u003cp>\u003cstrong>Can you describe the show and the feeling you got from seeing your sister up there?\u003c/strong> \u003c/p>\n\u003cp>What I remember about the show is a dark room with a bunch of people that, rather than dancing, were just kind of standing and swaying, sitting and listening, to this overwhelmingly loud, tremendously powerful music that was shaking the building. But the people were more in a trance than they were, say, jumping up and down and doing the jitterbug.\u003c/p>\n\u003cp>\u003cstrong>So much has been said about what she did for women, then and now. What did she stand for, for women back then? What did she enable ladies to do back then?\u003c/strong>\u003c/p>\n\u003cp>I think that Janis in the 1960s was more a challenge to females, the female identity, the roles that were held up to women that you’re supposed to aspire to, and for her it was defiant. It was a sense of obligation to be true to yourself. She said that a lot, that it’s important to be true to yourself because yourself is all you’ve got. But I think that what Janis has become, because she was prior to the feminist movement, is a symbol of someone breaking down doors. She said, “Look, you can do what you want to do, you don’t have to do what people expect or think you should do.” People see her as giving them opportunities to find their own place.\u003c/p>\n\u003cp>\u003cstrong>A lot of people were for it, but there must have been some people that weren’t all that happy with the way she was.\u003c/strong>\u003c/p>\n\u003cp>You have to remember that the 1960s was considered a social revolution, and Janis was a member of that, a leading exponent of it, someone who represented the challenge to traditional society. She did that by flaunting the way she lived, being outspoken about her sexual activity, her drug use. Even though she challenged people’s sense of morals at the time, she was exceedingly ethical in terms of her business relationships and how she dealt with people. It wasn’t a time of doing what you want selfishly against other people — it was the definition of a new ethic, a new way of living.\u003c/p>\n\u003cp>\u003cstrong>Okay, she’s away in San Francisco, you’re there in Texas. Did you lose any closeness with her? Did you guys still remain… Was she still Janis to you? You know, your big sister, still idolizing her a bit?\u003c/strong>\u003c/p>\n\u003cp>Some of that’s funny, in that here’s Janis on the cover of magazines, on the Ed Sullivan Show. We’re watching her on TV running around doing these incredible things and she’s still our sister, we talk to her on the telephone, get letters, Christmas presents, all that kind of stuff, she comes through town. What’s funny, I remember the last time she came in, walking up to the airplane and giving her a hug, you don’t realize it but you somehow think that, you know, she’s my older sister, she’s this famous person, she must be taller and bigger than me, you know? She wasn’t. She’s just an average person so there is some of that adjustment, you know, who is she? But anytime we were together it was just straight back into being able to talk about anything and everything and just really relive and know the closeness that was part of the family.\u003c/p>\n\u003cp>\u003cstrong>You’re in Texas while she’s here, what happened to you personally? Were friends showing up everywhere?\u003c/strong>\u003c/p>\n\u003cp>You know, Janis died when I was 21, and it was just the beginning of the ’60s in terms of its effect on Texas. Even though I was in college and we played \u003cem>Cheap Thrills\u003c/em> on the turntable in my dorm room and that kind of stuff, we were just beginning to wear blue jeans and take our bras off and stuff like that. It wasn’t as big an effect as you might have. I know that Janis did come with me once, I was going from the house to the dorm and when she walked in the dorm all the girls in the dorm were going, “Janis Joplin’s here! Ah!” Running down the hall and she’s going, “Uh, I think I’ll wait for you in the car.” \u003c/p>\n\u003cp>\u003cstrong>What did it mean to you when you found out that she died?\u003c/strong>\u003c/p>\n\u003cp>I was in graduate school in Dallas at the time, and my initial reaction was the sense of this incredible, personal experience of grief and having it be so public. It was very bizarre to walk around the campus and hear people talking about it, you know, something that for them was a tidbit. It was really awkward. On a bigger level, I think it was just overwhelming. There was no way to put it in perspective. I had no experience of it. Our parents went out to take care of the details around Janis’ death. My brother was at home in Port Arthur, I was up in Dallas and as a family I think it probably pointed out the weaknesses in our family’s structure. We just didn’t process it. We didn’t go through it together, we didn’t have a burial or a wake or a large get-together and discuss it. I think for each of us it was really stuffed in a closet, locked away in our hearts, in the recesses because we didn’t know how to deal with it and it took me years and years to open the door and let the grief out. When I did, it was a real liberation, and enabled me to appreciate Janis’ music and love her as she was — whereas before, whenever I thought about her, it was just grief and discomfort.\u003c/p>\n\u003cp>\u003cstrong>You talk about appreciating her music — is there anything that she recorded that’s a favorite?\u003c/strong>\u003c/p>\n\u003cp>I like a lot of Janis’ music. I think that the song “Mercedes Benz” is probably my favorite, because it shows her sense of humor and to be around Janis was really to be having fun. She was an upbeat person with an incredible sense of humor, so even though there were moments of despair and depression and she did sing the blues, actually being around her was a lot of fun. She was a funny person. I listen to a lot of her tapes and I find it kind of funny that I’ll be sitting down to listen as, “Is this a good thing to release?” Or “How’s the background?” Or “How’s her voice?” I start out that way, and after a couple of songs I totally forget I’m supposed to be analyzing it. Her music still really speaks to me, and it’s fun to just kick up your heels and jump in and belt out with your best voice whatever the lyrics are.\u003c/p>\n\u003cp>\u003cstrong>What is it about her music that speaks to you? What is it about just her that spoke to everybody and will continue to speak for generations to come?\u003c/strong>\u003c/p>\n\u003cp>You know, I’ve wondered what it is about Janis that still communicates to people. What is it they’re fascinated with about her? I read the fan letters, and I talk to people, and there’s one thing that keeps coming up. People say, “You know, I didn’t know Janis” or “I didn’t get to see Janis” or something, then they say, “But she knew me” and that’s what she had. It’s the ability to express how other people are feeling. She was really emphatic that music was about honest emotion, and I think that she continues to be able to express the depth and honesty that people feel and maybe don’t know how to express themselves.\u003c/p>\n\u003cp>\u003cstrong>What would be the ripple effects, 50 years from now, of Janis being put here? What’s her legacy?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When she was alive, Janis was asked the question about how she wanted to be remembered, and her comment was that she wanted to be remembered by the music. And that the music wasn’t about black music or white music, it was about just good music; that she wanted to be all good things of all cultures. I think that the fact that her music communicates is testament to what she was saying. I think Janis is also remembered for her lifestyle and the way she brazenly stepped out on stage and broke rules. In that regard, I think she is someone who says, “Don’t accept the limits other people try to be put on you. Go for it. But,” and this is the favorite quote, “be true to yourself because yourself is all you got.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Chet Helms On Bringing Janis Joplin to S.F., Starting Music Scene [1998 Q&A]",
"headTitle": "Chet Helms On Bringing Janis Joplin to S.F., Starting Music Scene [1998 Q&A] | KQED",
"content": "\u003cp>Chet Helms, who died in 2005, has the honorable legacy of being the man who helped start Janis Joplin’s singing career. The first manager of Big Brother & the Holding Company, Helms was the one who not only suggested that Joplin join the group, he even drove to Texas to pick her up. \u003c/p>\n\u003cp>As you’ll see in this 1998 interview conducted by Ben Manilla Productions, Helms was an ideologue, and his strong beliefs explain why he became such a catalyst at the start of San Francisco’s psychedelic music scene — he would go on to co-found the concert production company the Family Dog, and later be described by the \u003cem>San Francisco Chronicle\u003c/em> as “a towering figure in the 1960s Bay Area music scene.” In this interview, Helms goes into great detail about his early days with Janis Joplin, about his first experiences seeing her sing, and about bringing her into Big Brother & the Holding Company, the band he managed.\u003c/p>\n\u003cp>\u003cem>Note: Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>What inspired you to bring Janis Joplin into the group? How did that come about?\u003c/strong>\u003c/p>\n\u003cp>I had dropped out of the University of Texas in 1962, and I hitchhiked back and forth between the east coast and San Francisco a couple of times in that year. We’d go through Austin. On one of these occasions, I met Janis there at a place called the Ghetto, where all the “beatniks” from the University of Texas were. It was a very low-rent, barracks-like building — no amenities, really. A lot of red wine parties, peyote parties, crash-on-the-floor parties, and a more sexually libertine group of people in the general populace at the University of Texas. I met Janis there. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I had heard her sing. At that time, I would note that her manner of delivery was totally a different one. She needed to be intoxicated to sing at all at that time. I mean, just nerves, shyness, introversion, or whatever. She just wouldn’t sing unless she had a few belts in her. Then, she would stand very rigidly. Either someone else would accompany her, or with no accompaniment, more commonly, she would just stand there, perfectly rigid, and just belt these country blues songs.\u003c/p>\n\u003cp>For a few moments when I heard Janis, it raised the hair on the back of my neck. It was some core feeling that this person could provoke in me, it almost felt out of control on my part: \u003cem>Here’s someone who can have this effect on me\u003c/em>.\u003c/p>\n\u003cp>I was very impressed with her. On that occasion, I hitchhiked on to the east coast. I came back several months later on my way back to the coast, hanging out a bit with her again. I was a very romantic figure to her. She had spent summer ’61 in Venice, California, hanging out in coffee shops, trying to be a beatnik poet person. At this time, she was in school. Here I was, on the road. I was free as a bird living my own life, a poet. I was a very romantic figure to her.\u003c/p>\n\u003cp>Also, I was part of the folk music scene here, as I had been in the University of Texas. Here, what you had at that time was the Kingston Trio, the New Christy Minstrels, etc. It was all very polished, very tight vocal harmony stuff. There was no funk, no roots to it, no discord in it. It was always very pure, very sleek, very orchestrated stuff. Yet, everyone was into the lingo of Alan Lomax’s books. “We’re fine in our roots. We’re fine in our musical roots. We’re getting that soul,” and all this.\u003c/p>\n\u003cp>When I first heard Janis, my first reaction was, “Jesus Christ, these people are yapping about roots all the time. If these people could hear this, \u003cem>this\u003c/em> is roots. This is what it’s about.” Anyway, I pretty much told her how I felt. That I thought that if she came to California, she would knock people in San Francisco on their ass, because this was something they had imagined but not experienced, except through the records of Huddie Ledbetter (Leadbelly) or somebody like that. Brownie McGhee and Sonny Terry. Maybe Barbara Dane.\u003c/p>\n\u003cp>She decided to drop out of school and hitchhiked to California with me. We hitchhiked a little over 50 hours from Boston to San Francisco. We arrived sometime in ’63 in North Beach. When I had left, there was a club there called the Fox and the Hound. When I came back, it was called Coffee and Confusion. We went there on a Monday night, open-mic night. They didn’t pay anybody and they wouldn’t allow you to pass the hat. It’s a totally free gig. I persuaded he owner Sylvia Fennel to give Janis a chance. Janis had her autoharp and she stood up there perfectly rigidly and just belted all these country blues songs. I put the emphasis on \u003cem>country\u003c/em> blues. She wasn’t doing Bessie Smith or Billie Holiday, stuff like that. She’s doing things like old country southern blues songs and stuff. More on the gospel side of blues and the urban blues from the north and stuff.\u003c/p>\n\u003cp>She got a standing ovation. Sylvia said, “Pass the hat.” She got about $50 or $60 — which, for two kids who’d been hitchhiking around and for whom meals were few and far between, 60 bucks was a lot of money. \u003c/p>\n\u003cp>People have always asked whether our… I think there was romance between us. It was never consummated sexually. We slept on the same bed often. We cuddled. We were very close friends but we were both cut from the same cloth a little too much, in that we both had these sexually repressive and fundamentalist family backgrounds, heavy religious backgrounds. I think that we were both in rebellion against it. When we tried to get together, we had too much baggage on either end.\u003c/p>\n\u003cp>Then over the next couple of years or so, she and I drifted apart. She became more involved in speed and various things. A couple of times her career almost took off, where she had record companies who’d heard her and wanted to sign her. In one instance, she walked out of the Anxious Asp, a lesbian and gay bar in North Beach, and a bunch of bikers were hanging around the street. They were drunk, she was drunk, they gave her a bad time, she mouthed off to them and they beat the crap out of her and put her in the hospital. She lost that big opportunity.\u003c/p>\n\u003cp>Then, on another occasion, when somebody was ready to sign her — and I was not representing her at this point, I was just her friend — she crashed a Vespa. She had a little Vespa motor scooter and she crashed and broke some bones and was rushed to the hospital. Again, a big opportunity missed.\u003c/p>\n\u003cp>Progressively, she got out strung on speed to the point where everyone was very concerned about her. Even people and friends who were doing speed with her were concerned about her. We had a big party on Minna Alley. I forgot what we put her on — a bus or a train or a plane or whatever — but we basically had a big party to raise money and gave her transportation back to her family.\u003c/p>\n\u003cp>\u003cstrong>It got to be the worse plan, actually.\u003c/strong>\u003c/p>\n\u003cp>She went back to Texas at that point. Meantime, in 1964… Let’s see. I’d been dabbling in speed, and I stopped doing it in late December of ’63. Also, right around that time, I took LSD for the first time. Someone handed me a sugar cube wrapped in aluminum foil. I said, “What’s this like?” They said, “It’s just like speed.” I said, “Okay.” Damn, I popped it in my mouth and had the trip of my life. I had this tremendous heaven-and-hell vision where I could see myself killing myself with speed going down this one path, and then I could see this positive, constructive, “I can recreate my life” path going this other way. It was clear what choice I had to make at that point. That was the last I did of speed. It was after I took LSD. It had no appeal for me after that.\u003c/p>\n\u003cp>When I put Big Brother & the Holding Company together and was first managing them, we were always weak on vocals. Peter Albin did all the lead vocals at that time. Not that he’s a bad singer, but he was fairly limited in range and the type of material he could do. We were constantly looking for a vocalist; over about seven or eight months of time, we mass-auditioned 50, 60, 80 vocalists. I don’t know how many but lots, lots. People would come and jam and sing and nothing just quite felt right.\u003c/p>\n\u003cp>I suggested to them that we try to contact Janis. Peter and James had both seen her in North Beach singing in the Coffee Gallery. They said, “Man, she’s great but she’s just too unique. She’s too weird. It just wouldn’t work out.” At the outset of starting Big Brother, there was a lot of resistance to Janis. Time went by, we auditioned all these people and nothing really worked out. My friend, Travis Rivers, another Austin person, came to me and said, “I’m going back to Austin. Any messages you wanna convey to anybody?” I said, “Yeah. Find Janis, tell Janis to call me collect.” He said, “Sure. I’ll do that.”\u003c/p>\n\u003cp>I talked to James and Peter and the band again about it. I said, “Listen. Travis is going back there. Janis is gonna call me and I’d like her to come out and try her out as a vocalist.” They said, “Well, okay. We’ll give her a shot.” She called me and had a couple of concerns. One of them was were all our friends still on speed, which I could truthfully tell her, at that moment in time, no, they were not. Most people I knew were on this real positive creation cycle. They were forming bands or they were writing plays or they were making live shows or they were designing costumes. It was beginning to be a very creative period.\u003c/p>\n\u003cp>Then, her other big concern was, “How will I live there? If it doesn’t work out, how will I get home?” I basically agreed to pay her and Travis’ rent for a few months and I agreed that I would give her a ticket home if she didn’t like it.\u003c/p>\n\u003cp>Anyway, she came out and rehearsed. The first time I heard her, it was on one of those little alleys over in the Duboce Triangle area — either Henry Street or Beaver Street. They had a big art studio over there, in an old carriage house. It was a space big enough for a band, and insulated and isolated from other buildings so that a band could rehearse.\u003c/p>\n\u003cp>It was, to my mind, just magic from the beginning. I have to say, I don’t think she ever played as well with any other band as Big Brother. Not to say that a lot of musicians she played with weren’t great as individuals or whatever, but nothing ever quite worked, I don’t think, as well as Janis and Big Brother together.\u003c/p>\n\u003cp>\u003cstrong>What made Janis special as a vocalist? You mentioned the hair standing up on the back of your neck.\u003c/strong>\u003c/p>\n\u003cp>She had the unique ability to really tap into her pain and to project it. That’s something that, in some sense, we all desire. We all have pain. We all know that the relief from that pain is in the expression of it, or in getting it out in some sense. Most of us don’t have the ability to do that, but Janis did. I don’t think that she was necessarily uniquely pained, but she was uniquely in touch with her pain and had the ability to project it.\u003c/p>\n\u003cp>Her stage mannerisms, in my opinion, the core of them were largely adapted from Roky Erickson of the 13th Floor Elevators. She played for about three months off and on with him during the period of time when she was back in Austin before she played with Big Brother. When she was here before, when she was standing very rigidly with her arms at her side, or holding her autoharp and stroking it on the beat. Her entire delivery suddenly changed; there was a fear that you’d get hit with a tonsil in the tenth row. A lot of her physical stage manner was different and much more animated. These were the things, in large part, that she picked up from Roky Erickson and the 13th Floor Elevators — and prior to that, that Roky picked up from Little Richard.\u003c/p>\n\u003cp>\u003cstrong>What was it like working with Janis?\u003c/strong>\u003c/p>\n\u003cp>It was a real roller coaster. It was emotionally difficult, sometimes. She had a very strong personality, very opinionated personality. For all her toughness, if rejected, she was a really easily wounded person, with very sensitive feelings. Generally speaking, I got along reasonably well with her as their manager. She was very ambitious.\u003c/p>\n\u003cp>I would say, one of her negative sides perhaps, is she pretty much didn’t care who got in the way. She was going to get to the goal, no matter who she saw as an obstacle. She was going to step over him or step on him. I don’t think that she was gratuitously mean or messed people with people for no purpose, but if she saw you or anyone in the way of her and her goals, she didn’t hesitate to plow on through.\u003c/p>\n\u003cp>From the beginning of Janis performing with Big Brother, she began to be courted by different record companies, almost constantly. [Bob Dylan’s manager] Albert Grossman actually courted her two or three different times… The first turned in to a super session, what eventually became the Electric Flag; she was courted for that but didn’t end up being part of it.\u003c/p>\n\u003cp>In Janis’ view, she began to see me as the obstacle to that band getting signed. Their one big opportunity as a band, they auditioned for Bobby Shad about two weeks after he got out of the federal penitentiary as one of the few guys who went to jail behind the payola thing. I don’t think he went to jail for payola \u003cem>per se\u003c/em>, but of some related matter. It was for payola basically. That’s what they were trying to get him for.\u003c/p>\n\u003cp>He’d been in federal penitentiary for five years. He got out. Two weeks later, he’s at Buena Vista Studios, auditioning bands. A friend called and said, “This guy’d like to hear Big Brother. I’ve been auditioning these various bands for him. He’s here in town. He’s interested in signing bands and so on.” I said, “Okay, sure.”\u003c/p>\n\u003cp>We went up there and they played a couple of tunes. I’m in the control room in the studio with Bobby Shad and the band is performing in the other room. He sat in there outlining for me in great detail how he and I were going to screw the band out of their publishing, this, that and the other. “We don’t have to tell them about this,” and so on and so forth.\u003c/p>\n\u003cp>Finally, I just got disgusted and said, “Look. It’s not the way I operate. We’re outta here. No deal.” I went in and literally pulled the plug on the band. I just said, “Hey. Guys, we’re outta here. This guy’s a thief. He’s just been sitting there discussing with me how we’re going to screw you. We don’t need that.”\u003c/p>\n\u003cp>Also, I had a philosophy, even though we were very hungry and we were almost literally starving, that in a negotiation, it was bad to be dealing from a point of hunger. Or at least the person on the other side of the deal knowing that you’re that hungry. I always tried to adopt the posture that we would wait until we got the right deal. I definitely knew the Mainstream deal was not the deal for Big Brother.\u003c/p>\n\u003cp>Anyway, I came to be perceived in Janis’ mind as the guy who wouldn’t let them sign. I began to be perceived in the band’s mind as the guy who was going to cause them to lose Janis because I wouldn’t get them signed. There were a number of other people interested in them at the time. It wasn’t that I wasn’t working on it. I just wasn’t dealing from a hungry place, though I was hungry. We all were.\u003c/p>\n\u003cp>\u003cstrong>What do you think Janis’ legacy is?\u003c/strong>\u003c/p>\n\u003cp>Tremendous on a whole lot of levels. One, her greatest value is as a role model for women. She said to women, “You can wear pants, it’s okay. You can talk any way you like, it’s okay. You can sing loud if you want. You don’t have to sing sweet. You can sing rough if you like. You can talk dirty if you like. You can throw away your bra if you like.”\u003c/p>\n\u003cp>I think every woman presently living owes Janis a lot. It’s just a whole lot freer for women because Janis did the things she did. \u003c/p>\n\u003cp>To me, about the most important writing that I see going on is being done by women right now. Songwriting, anyway. Alanis Morissette, Heather Nova, Tracy Chapman, Melissa Etheridge and Bonnie Raitt and on and on and on. It’s a woman’s game right now. I think that’s great. I think it’s about time.\u003c/p>\n\u003cp>\u003cstrong>That’s the big thing that Janis left behind.\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I think so. I met James Brown recently for the first time, when he played at the Maritime Hall. He kept hugging me and saying, “You’re a great man, Mr. Helms. You’re a great man but…” Then he kept saying, “You find us another Janis Joplin. You find us another Janis Joplin. I love that woman. I love Janis. You find us another Janis.” I said, “I will, James.”\u003c/p>\n\n",
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"excerpt": "In this interview from 1998, rock promoter Chet Helms describes the nascent San Francisco psychedelic music scene and how he first heard Janis Joplin singing.",
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"description": "In this interview from 1998, rock promoter Chet Helms describes the nascent San Francisco psychedelic music scene and how he first heard Janis Joplin singing.",
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"headline": "Chet Helms On Bringing Janis Joplin to S.F., Starting Music Scene [1998 Q&A]",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chet Helms, who died in 2005, has the honorable legacy of being the man who helped start Janis Joplin’s singing career. The first manager of Big Brother & the Holding Company, Helms was the one who not only suggested that Joplin join the group, he even drove to Texas to pick her up. \u003c/p>\n\u003cp>As you’ll see in this 1998 interview conducted by Ben Manilla Productions, Helms was an ideologue, and his strong beliefs explain why he became such a catalyst at the start of San Francisco’s psychedelic music scene — he would go on to co-found the concert production company the Family Dog, and later be described by the \u003cem>San Francisco Chronicle\u003c/em> as “a towering figure in the 1960s Bay Area music scene.” In this interview, Helms goes into great detail about his early days with Janis Joplin, about his first experiences seeing her sing, and about bringing her into Big Brother & the Holding Company, the band he managed.\u003c/p>\n\u003cp>\u003cem>Note: Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>What inspired you to bring Janis Joplin into the group? How did that come about?\u003c/strong>\u003c/p>\n\u003cp>I had dropped out of the University of Texas in 1962, and I hitchhiked back and forth between the east coast and San Francisco a couple of times in that year. We’d go through Austin. On one of these occasions, I met Janis there at a place called the Ghetto, where all the “beatniks” from the University of Texas were. It was a very low-rent, barracks-like building — no amenities, really. A lot of red wine parties, peyote parties, crash-on-the-floor parties, and a more sexually libertine group of people in the general populace at the University of Texas. I met Janis there. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I had heard her sing. At that time, I would note that her manner of delivery was totally a different one. She needed to be intoxicated to sing at all at that time. I mean, just nerves, shyness, introversion, or whatever. She just wouldn’t sing unless she had a few belts in her. Then, she would stand very rigidly. Either someone else would accompany her, or with no accompaniment, more commonly, she would just stand there, perfectly rigid, and just belt these country blues songs.\u003c/p>\n\u003cp>For a few moments when I heard Janis, it raised the hair on the back of my neck. It was some core feeling that this person could provoke in me, it almost felt out of control on my part: \u003cem>Here’s someone who can have this effect on me\u003c/em>.\u003c/p>\n\u003cp>I was very impressed with her. On that occasion, I hitchhiked on to the east coast. I came back several months later on my way back to the coast, hanging out a bit with her again. I was a very romantic figure to her. She had spent summer ’61 in Venice, California, hanging out in coffee shops, trying to be a beatnik poet person. At this time, she was in school. Here I was, on the road. I was free as a bird living my own life, a poet. I was a very romantic figure to her.\u003c/p>\n\u003cp>Also, I was part of the folk music scene here, as I had been in the University of Texas. Here, what you had at that time was the Kingston Trio, the New Christy Minstrels, etc. It was all very polished, very tight vocal harmony stuff. There was no funk, no roots to it, no discord in it. It was always very pure, very sleek, very orchestrated stuff. Yet, everyone was into the lingo of Alan Lomax’s books. “We’re fine in our roots. We’re fine in our musical roots. We’re getting that soul,” and all this.\u003c/p>\n\u003cp>When I first heard Janis, my first reaction was, “Jesus Christ, these people are yapping about roots all the time. If these people could hear this, \u003cem>this\u003c/em> is roots. This is what it’s about.” Anyway, I pretty much told her how I felt. That I thought that if she came to California, she would knock people in San Francisco on their ass, because this was something they had imagined but not experienced, except through the records of Huddie Ledbetter (Leadbelly) or somebody like that. Brownie McGhee and Sonny Terry. Maybe Barbara Dane.\u003c/p>\n\u003cp>She decided to drop out of school and hitchhiked to California with me. We hitchhiked a little over 50 hours from Boston to San Francisco. We arrived sometime in ’63 in North Beach. When I had left, there was a club there called the Fox and the Hound. When I came back, it was called Coffee and Confusion. We went there on a Monday night, open-mic night. They didn’t pay anybody and they wouldn’t allow you to pass the hat. It’s a totally free gig. I persuaded he owner Sylvia Fennel to give Janis a chance. Janis had her autoharp and she stood up there perfectly rigidly and just belted all these country blues songs. I put the emphasis on \u003cem>country\u003c/em> blues. She wasn’t doing Bessie Smith or Billie Holiday, stuff like that. She’s doing things like old country southern blues songs and stuff. More on the gospel side of blues and the urban blues from the north and stuff.\u003c/p>\n\u003cp>She got a standing ovation. Sylvia said, “Pass the hat.” She got about $50 or $60 — which, for two kids who’d been hitchhiking around and for whom meals were few and far between, 60 bucks was a lot of money. \u003c/p>\n\u003cp>People have always asked whether our… I think there was romance between us. It was never consummated sexually. We slept on the same bed often. We cuddled. We were very close friends but we were both cut from the same cloth a little too much, in that we both had these sexually repressive and fundamentalist family backgrounds, heavy religious backgrounds. I think that we were both in rebellion against it. When we tried to get together, we had too much baggage on either end.\u003c/p>\n\u003cp>Then over the next couple of years or so, she and I drifted apart. She became more involved in speed and various things. A couple of times her career almost took off, where she had record companies who’d heard her and wanted to sign her. In one instance, she walked out of the Anxious Asp, a lesbian and gay bar in North Beach, and a bunch of bikers were hanging around the street. They were drunk, she was drunk, they gave her a bad time, she mouthed off to them and they beat the crap out of her and put her in the hospital. She lost that big opportunity.\u003c/p>\n\u003cp>Then, on another occasion, when somebody was ready to sign her — and I was not representing her at this point, I was just her friend — she crashed a Vespa. She had a little Vespa motor scooter and she crashed and broke some bones and was rushed to the hospital. Again, a big opportunity missed.\u003c/p>\n\u003cp>Progressively, she got out strung on speed to the point where everyone was very concerned about her. Even people and friends who were doing speed with her were concerned about her. We had a big party on Minna Alley. I forgot what we put her on — a bus or a train or a plane or whatever — but we basically had a big party to raise money and gave her transportation back to her family.\u003c/p>\n\u003cp>\u003cstrong>It got to be the worse plan, actually.\u003c/strong>\u003c/p>\n\u003cp>She went back to Texas at that point. Meantime, in 1964… Let’s see. I’d been dabbling in speed, and I stopped doing it in late December of ’63. Also, right around that time, I took LSD for the first time. Someone handed me a sugar cube wrapped in aluminum foil. I said, “What’s this like?” They said, “It’s just like speed.” I said, “Okay.” Damn, I popped it in my mouth and had the trip of my life. I had this tremendous heaven-and-hell vision where I could see myself killing myself with speed going down this one path, and then I could see this positive, constructive, “I can recreate my life” path going this other way. It was clear what choice I had to make at that point. That was the last I did of speed. It was after I took LSD. It had no appeal for me after that.\u003c/p>\n\u003cp>When I put Big Brother & the Holding Company together and was first managing them, we were always weak on vocals. Peter Albin did all the lead vocals at that time. Not that he’s a bad singer, but he was fairly limited in range and the type of material he could do. We were constantly looking for a vocalist; over about seven or eight months of time, we mass-auditioned 50, 60, 80 vocalists. I don’t know how many but lots, lots. People would come and jam and sing and nothing just quite felt right.\u003c/p>\n\u003cp>I suggested to them that we try to contact Janis. Peter and James had both seen her in North Beach singing in the Coffee Gallery. They said, “Man, she’s great but she’s just too unique. She’s too weird. It just wouldn’t work out.” At the outset of starting Big Brother, there was a lot of resistance to Janis. Time went by, we auditioned all these people and nothing really worked out. My friend, Travis Rivers, another Austin person, came to me and said, “I’m going back to Austin. Any messages you wanna convey to anybody?” I said, “Yeah. Find Janis, tell Janis to call me collect.” He said, “Sure. I’ll do that.”\u003c/p>\n\u003cp>I talked to James and Peter and the band again about it. I said, “Listen. Travis is going back there. Janis is gonna call me and I’d like her to come out and try her out as a vocalist.” They said, “Well, okay. We’ll give her a shot.” She called me and had a couple of concerns. One of them was were all our friends still on speed, which I could truthfully tell her, at that moment in time, no, they were not. Most people I knew were on this real positive creation cycle. They were forming bands or they were writing plays or they were making live shows or they were designing costumes. It was beginning to be a very creative period.\u003c/p>\n\u003cp>Then, her other big concern was, “How will I live there? If it doesn’t work out, how will I get home?” I basically agreed to pay her and Travis’ rent for a few months and I agreed that I would give her a ticket home if she didn’t like it.\u003c/p>\n\u003cp>Anyway, she came out and rehearsed. The first time I heard her, it was on one of those little alleys over in the Duboce Triangle area — either Henry Street or Beaver Street. They had a big art studio over there, in an old carriage house. It was a space big enough for a band, and insulated and isolated from other buildings so that a band could rehearse.\u003c/p>\n\u003cp>It was, to my mind, just magic from the beginning. I have to say, I don’t think she ever played as well with any other band as Big Brother. Not to say that a lot of musicians she played with weren’t great as individuals or whatever, but nothing ever quite worked, I don’t think, as well as Janis and Big Brother together.\u003c/p>\n\u003cp>\u003cstrong>What made Janis special as a vocalist? You mentioned the hair standing up on the back of your neck.\u003c/strong>\u003c/p>\n\u003cp>She had the unique ability to really tap into her pain and to project it. That’s something that, in some sense, we all desire. We all have pain. We all know that the relief from that pain is in the expression of it, or in getting it out in some sense. Most of us don’t have the ability to do that, but Janis did. I don’t think that she was necessarily uniquely pained, but she was uniquely in touch with her pain and had the ability to project it.\u003c/p>\n\u003cp>Her stage mannerisms, in my opinion, the core of them were largely adapted from Roky Erickson of the 13th Floor Elevators. She played for about three months off and on with him during the period of time when she was back in Austin before she played with Big Brother. When she was here before, when she was standing very rigidly with her arms at her side, or holding her autoharp and stroking it on the beat. Her entire delivery suddenly changed; there was a fear that you’d get hit with a tonsil in the tenth row. A lot of her physical stage manner was different and much more animated. These were the things, in large part, that she picked up from Roky Erickson and the 13th Floor Elevators — and prior to that, that Roky picked up from Little Richard.\u003c/p>\n\u003cp>\u003cstrong>What was it like working with Janis?\u003c/strong>\u003c/p>\n\u003cp>It was a real roller coaster. It was emotionally difficult, sometimes. She had a very strong personality, very opinionated personality. For all her toughness, if rejected, she was a really easily wounded person, with very sensitive feelings. Generally speaking, I got along reasonably well with her as their manager. She was very ambitious.\u003c/p>\n\u003cp>I would say, one of her negative sides perhaps, is she pretty much didn’t care who got in the way. She was going to get to the goal, no matter who she saw as an obstacle. She was going to step over him or step on him. I don’t think that she was gratuitously mean or messed people with people for no purpose, but if she saw you or anyone in the way of her and her goals, she didn’t hesitate to plow on through.\u003c/p>\n\u003cp>From the beginning of Janis performing with Big Brother, she began to be courted by different record companies, almost constantly. [Bob Dylan’s manager] Albert Grossman actually courted her two or three different times… The first turned in to a super session, what eventually became the Electric Flag; she was courted for that but didn’t end up being part of it.\u003c/p>\n\u003cp>In Janis’ view, she began to see me as the obstacle to that band getting signed. Their one big opportunity as a band, they auditioned for Bobby Shad about two weeks after he got out of the federal penitentiary as one of the few guys who went to jail behind the payola thing. I don’t think he went to jail for payola \u003cem>per se\u003c/em>, but of some related matter. It was for payola basically. That’s what they were trying to get him for.\u003c/p>\n\u003cp>He’d been in federal penitentiary for five years. He got out. Two weeks later, he’s at Buena Vista Studios, auditioning bands. A friend called and said, “This guy’d like to hear Big Brother. I’ve been auditioning these various bands for him. He’s here in town. He’s interested in signing bands and so on.” I said, “Okay, sure.”\u003c/p>\n\u003cp>We went up there and they played a couple of tunes. I’m in the control room in the studio with Bobby Shad and the band is performing in the other room. He sat in there outlining for me in great detail how he and I were going to screw the band out of their publishing, this, that and the other. “We don’t have to tell them about this,” and so on and so forth.\u003c/p>\n\u003cp>Finally, I just got disgusted and said, “Look. It’s not the way I operate. We’re outta here. No deal.” I went in and literally pulled the plug on the band. I just said, “Hey. Guys, we’re outta here. This guy’s a thief. He’s just been sitting there discussing with me how we’re going to screw you. We don’t need that.”\u003c/p>\n\u003cp>Also, I had a philosophy, even though we were very hungry and we were almost literally starving, that in a negotiation, it was bad to be dealing from a point of hunger. Or at least the person on the other side of the deal knowing that you’re that hungry. I always tried to adopt the posture that we would wait until we got the right deal. I definitely knew the Mainstream deal was not the deal for Big Brother.\u003c/p>\n\u003cp>Anyway, I came to be perceived in Janis’ mind as the guy who wouldn’t let them sign. I began to be perceived in the band’s mind as the guy who was going to cause them to lose Janis because I wouldn’t get them signed. There were a number of other people interested in them at the time. It wasn’t that I wasn’t working on it. I just wasn’t dealing from a hungry place, though I was hungry. We all were.\u003c/p>\n\u003cp>\u003cstrong>What do you think Janis’ legacy is?\u003c/strong>\u003c/p>\n\u003cp>Tremendous on a whole lot of levels. One, her greatest value is as a role model for women. She said to women, “You can wear pants, it’s okay. You can talk any way you like, it’s okay. You can sing loud if you want. You don’t have to sing sweet. You can sing rough if you like. You can talk dirty if you like. You can throw away your bra if you like.”\u003c/p>\n\u003cp>I think every woman presently living owes Janis a lot. It’s just a whole lot freer for women because Janis did the things she did. \u003c/p>\n\u003cp>To me, about the most important writing that I see going on is being done by women right now. Songwriting, anyway. Alanis Morissette, Heather Nova, Tracy Chapman, Melissa Etheridge and Bonnie Raitt and on and on and on. It’s a woman’s game right now. I think that’s great. I think it’s about time.\u003c/p>\n\u003cp>\u003cstrong>That’s the big thing that Janis left behind.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I think so. I met James Brown recently for the first time, when he played at the Maritime Hall. He kept hugging me and saying, “You’re a great man, Mr. Helms. You’re a great man but…” Then he kept saying, “You find us another Janis Joplin. You find us another Janis Joplin. I love that woman. I love Janis. You find us another Janis.” I said, “I will, James.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Mourning Prince and celebrating Beyonce, as if we could talk about anything else.\u003c/p>\n\u003cp>[audio src=\"[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2016/05/LEMONADE03.mp3\" title=\"Let's Go Crazy Over Beyoncé's LEMONADE\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>This week, we mourn Prince and share some facts about his life you might not know:\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>https://giphy.com/gifs/originals-prince-parker-jackson-when-doves-cry-xT1XGB0FtCkxiFeiU8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then we make ourselves feel better by celebrating and analyzing Beyoncé's \u003cem>LEMONADE\u003c/em>:\u003c/p>\n\u003cp>http://ww2.kqed.org/pop/2016/04/23/beyonces-lemonade-isnt-the-first-time-shes-used-divorce-to-play-with-our-emotions/\u003c/p>\n\u003cp>http://ww2.kqed.org/pop/2016/04/24/beyonce-11-lemonade-lyrics-that-have-jay-z-researching-witness-protection-programs/\u003c/p>\n\u003cp>And we cap things off with a musical bridge between these two legends -- their joint Grammys performance from 2004:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YOs_XbVZUiA\u003c/p>\n\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>http://ww2.kqed.org/pop/2016/04/24/beyonce-11-lemonade-lyrics-that-have-jay-z-researching-witness-protection-programs/\u003c/p>\n\u003cp>And we cap things off with a musical bridge between these two legends -- their joint Grammys performance from 2004:\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/YOs_XbVZUiA'\n title='//www.youtube.com/embed/YOs_XbVZUiA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Amy Berg’s ‘Janis’ Documents a Musician Who Was All or Nothing",
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"content": "\u003cp>2015 proved to be a banner year for documentaries about women in music. \u003ci>What Happened, Miss Simone?\u003c/i>, about the troubled life of Nina Simone, opened the Sundance Film Festival. Summer brought the release of \u003ci>Amy\u003c/i>, about the equally troubled life of Amy Winehouse, who died at the age of 27. Both films were nominated for Academy Awards but \u003ci>Amy\u003c/i> took home the prize. It touched a nerve in audiences by equating the idolatry of 21st century star worship with the ravenous paparazzi whose flashing cameras hounded Winehouse all the way to her death. At the end of last year, Amy Berg’s documentary \u003ci>Janis: Little Girl Blue\u003c/i> played at the Venice Film Festival. \u003c/p>\n\u003cfigure id=\"attachment_11506974\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/janis-BW.jpg\" alt=\"Janis Joplin, Big Brother & the Holding Company, Forest Knolls, CA, 1967.\" width=\"720\" height=\"477\" class=\"size-full wp-image-11506974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/janis-BW.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/janis-BW-400x265.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Janis Joplin, Big Brother & the Holding Company, Forest Knolls, CA, 1967. \u003ccite>(Courtesy of Disarming Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reflecting on the lives of these three women and the trajectory of their paths from stardom to self-destruction (Joplin also died at 27), it’s tempting to find a through line for each musician’s rise and fall. Did being in the public eye awaken a dormant strain of fragility? After watching the smartly edited archival footage of \u003ci>Little Girl Blue\u003c/i>, the answer appears to be more nuanced. Simone, Winehouse and Joplin each had a unique set of problems — some internal, others external — that they couldn’t contend with or overcome. \u003c/p>\n\u003cp>Berg, whose first documentary \u003ci>Deliver Us from Evil\u003c/i> was nominated for an Oscar in 2006, worked for eight years with materials from the Joplin family estate to assemble \u003ci>Little Girl Blue\u003c/i>, which airs on the PBS series \u003ci>American Masters\u003c/i> on May 3. If anyone has insight into Joplin’s character, it might be Berg. I spoke with the director about the making of the film and why she was drawn to the musician in the first place.\u003c/p>\n\u003cp>https://youtu.be/BecO7FgQnEc\u003c/p>\n\u003cp>\u003cb>The Joplin family estate held director auditions. How did you get the job?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I heard that they wanted to share their archive with somebody and allow a documentary to be made. I was very excited because I was a huge fan of Janis and I really didn’t know much about her personal life or her personal story. I had a meeting with the producers and I made a trailer of how I wanted to tell the story and they really liked it.\u003c/p>\n\u003cp>\u003cb>What specifically did you respond to about Janis?\u003c/b>\u003c/p>\n\u003cp>I just went to her music at many different times in my life: break ups or high points, dancing, those kinds of moments. I responded to her voice, energy and her music. It was purely coming from that. I was a fan and she gave so much through her voice that I just felt this chemistry with her music and her songs.\u003c/p>\n\u003cfigure id=\"attachment_11506975\" class=\"wp-caption alignright\" style=\"max-width: 607px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11506975\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Janis_LGB_Still2-607x600.jpg\" alt=\"American rock and roll singer Janis Joplin (1943 - 1970) sings into a microphone on stage in a poorly lit venue, late 1960s. (Photo by Lambert/Getty Images)\" width=\"607\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Janis_LGB_Still2-607x600.jpg 607w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Janis_LGB_Still2-400x396.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Janis_LGB_Still2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Janis_LGB_Still2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Janis_LGB_Still2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Janis_LGB_Still2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Janis_LGB_Still2-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Janis_LGB_Still2.jpg 720w\" sizes=\"(max-width: 607px) 100vw, 607px\">\u003cfigcaption class=\"wp-caption-text\">American rock and roll singer Janis Joplin (1943 – 1970) sings into a microphone on stage in a poorly lit venue, late 1960s. (Photo by Lambert/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did you begin to shape years of archival footage?\u003c/b>\u003c/p>\n\u003cp>It was a challenge. This is my first historical archive documentary. It was just a lot of experimenting. I had a storyboard and picked the best performances and had those be the high points of the film. I wanted it to be a more ethereal concert experience more than just people recounting stories 45 years later. It was finding the right balance and trying to keep Janis’ face on the screen almost all the way through the film.\u003c/p>\n\u003cp>\u003cb>Throughout the film, you linger on her many facial expressions.\u003c/b>\u003c/p>\n\u003cp>She doesn’t really have a poker face. You can see that in the footage. She’s all or nothing. When she’s euphoric, you can really feel it. And when she’s down, you see that she really sits in it and is hard on herself.\u003c/p>\n\u003cp>\u003cb>Like Amy Winehouse, it didn’t seem like she had many supportive friendships with women.\u003c/b>\u003c/p>\n\u003cp>That’s a good point. It’s something that Country Joe McDonald said to me when I interviewed him. He was talking about how she didn’t really have any peers to talk with about things. She had a lot of hangers-on. She did have a couple of good girlfriends but unfortunately they were not around anymore. And she was doing something unlike any other women at the time. She didn’t really have a role model.\u003c/p>\n\u003cp>\u003cb>At the beginning of the film, you bring up the topic of female beauty and Joplin’s struggle with self-acceptance.\u003c/b>\u003c/p>\n\u003cp>She was struggling. I think she had body issues and beauty issues; she was scarred from her childhood. Still, she was only 27 [when she died] and so many women bloom in their 30s. I think she would have really gotten more comfortable with herself by the end of her life, which is what made it so tragic for me watching that progression.\u003c/p>\n\u003cp>\u003cb>In the end though, her art wasn’t enough to save her.\u003c/b>\u003c/p>\n\u003cp>We were just saying that she didn’t really find any balance in her life while she was alive. I think that she would have maybe negotiated that inequity of pain; she would have found some peace. I don’t think she got there.\u003c/p>\n\u003cp>\u003cb>How does it feel to have finished the film after devoting eight years to the project?\u003c/b>\u003c/p>\n\u003cp>It’s weird because I started working on something else in January. I’m a little removed from how I was feeling when [\u003ci>Little Girl Blue\u003c/i>] was first coming out. I did not want to let go of it because I felt it was within my heart for so long. It was very, very difficult for me after all those years to let it go. I wanted to keep working on it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Janis: Little Girl Blue\u003c/b> airs Tuesday, May 3, at 8pm on KQED 9.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>2015 proved to be a banner year for documentaries about women in music. \u003ci>What Happened, Miss Simone?\u003c/i>, about the troubled life of Nina Simone, opened the Sundance Film Festival. Summer brought the release of \u003ci>Amy\u003c/i>, about the equally troubled life of Amy Winehouse, who died at the age of 27. Both films were nominated for Academy Awards but \u003ci>Amy\u003c/i> took home the prize. It touched a nerve in audiences by equating the idolatry of 21st century star worship with the ravenous paparazzi whose flashing cameras hounded Winehouse all the way to her death. At the end of last year, Amy Berg’s documentary \u003ci>Janis: Little Girl Blue\u003c/i> played at the Venice Film Festival. \u003c/p>\n\u003cfigure id=\"attachment_11506974\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/janis-BW.jpg\" alt=\"Janis Joplin, Big Brother & the Holding Company, Forest Knolls, CA, 1967.\" width=\"720\" height=\"477\" class=\"size-full wp-image-11506974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/janis-BW.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/janis-BW-400x265.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Janis Joplin, Big Brother & the Holding Company, Forest Knolls, CA, 1967. \u003ccite>(Courtesy of Disarming Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reflecting on the lives of these three women and the trajectory of their paths from stardom to self-destruction (Joplin also died at 27), it’s tempting to find a through line for each musician’s rise and fall. Did being in the public eye awaken a dormant strain of fragility? After watching the smartly edited archival footage of \u003ci>Little Girl Blue\u003c/i>, the answer appears to be more nuanced. Simone, Winehouse and Joplin each had a unique set of problems — some internal, others external — that they couldn’t contend with or overcome. \u003c/p>\n\u003cp>Berg, whose first documentary \u003ci>Deliver Us from Evil\u003c/i> was nominated for an Oscar in 2006, worked for eight years with materials from the Joplin family estate to assemble \u003ci>Little Girl Blue\u003c/i>, which airs on the PBS series \u003ci>American Masters\u003c/i> on May 3. If anyone has insight into Joplin’s character, it might be Berg. I spoke with the director about the making of the film and why she was drawn to the musician in the first place.\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/BecO7FgQnEc'\n title='//www.youtube.com/embed/BecO7FgQnEc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>The Joplin family estate held director auditions. How did you get the job?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I heard that they wanted to share their archive with somebody and allow a documentary to be made. I was very excited because I was a huge fan of Janis and I really didn’t know much about her personal life or her personal story. I had a meeting with the producers and I made a trailer of how I wanted to tell the story and they really liked it.\u003c/p>\n\u003cp>\u003cb>What specifically did you respond to about Janis?\u003c/b>\u003c/p>\n\u003cp>I just went to her music at many different times in my life: break ups or high points, dancing, those kinds of moments. I responded to her voice, energy and her music. It was purely coming from that. I was a fan and she gave so much through her voice that I just felt this chemistry with her music and her songs.\u003c/p>\n\u003cfigure id=\"attachment_11506975\" class=\"wp-caption alignright\" style=\"max-width: 607px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11506975\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Janis_LGB_Still2-607x600.jpg\" alt=\"American rock and roll singer Janis Joplin (1943 - 1970) sings into a microphone on stage in a poorly lit venue, late 1960s. (Photo by Lambert/Getty Images)\" width=\"607\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Janis_LGB_Still2-607x600.jpg 607w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Janis_LGB_Still2-400x396.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Janis_LGB_Still2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Janis_LGB_Still2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Janis_LGB_Still2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Janis_LGB_Still2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Janis_LGB_Still2-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Janis_LGB_Still2.jpg 720w\" sizes=\"(max-width: 607px) 100vw, 607px\">\u003cfigcaption class=\"wp-caption-text\">American rock and roll singer Janis Joplin (1943 – 1970) sings into a microphone on stage in a poorly lit venue, late 1960s. (Photo by Lambert/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did you begin to shape years of archival footage?\u003c/b>\u003c/p>\n\u003cp>It was a challenge. This is my first historical archive documentary. It was just a lot of experimenting. I had a storyboard and picked the best performances and had those be the high points of the film. I wanted it to be a more ethereal concert experience more than just people recounting stories 45 years later. It was finding the right balance and trying to keep Janis’ face on the screen almost all the way through the film.\u003c/p>\n\u003cp>\u003cb>Throughout the film, you linger on her many facial expressions.\u003c/b>\u003c/p>\n\u003cp>She doesn’t really have a poker face. You can see that in the footage. She’s all or nothing. When she’s euphoric, you can really feel it. And when she’s down, you see that she really sits in it and is hard on herself.\u003c/p>\n\u003cp>\u003cb>Like Amy Winehouse, it didn’t seem like she had many supportive friendships with women.\u003c/b>\u003c/p>\n\u003cp>That’s a good point. It’s something that Country Joe McDonald said to me when I interviewed him. He was talking about how she didn’t really have any peers to talk with about things. She had a lot of hangers-on. She did have a couple of good girlfriends but unfortunately they were not around anymore. And she was doing something unlike any other women at the time. She didn’t really have a role model.\u003c/p>\n\u003cp>\u003cb>At the beginning of the film, you bring up the topic of female beauty and Joplin’s struggle with self-acceptance.\u003c/b>\u003c/p>\n\u003cp>She was struggling. I think she had body issues and beauty issues; she was scarred from her childhood. Still, she was only 27 [when she died] and so many women bloom in their 30s. I think she would have really gotten more comfortable with herself by the end of her life, which is what made it so tragic for me watching that progression.\u003c/p>\n\u003cp>\u003cb>In the end though, her art wasn’t enough to save her.\u003c/b>\u003c/p>\n\u003cp>We were just saying that she didn’t really find any balance in her life while she was alive. I think that she would have maybe negotiated that inequity of pain; she would have found some peace. I don’t think she got there.\u003c/p>\n\u003cp>\u003cb>How does it feel to have finished the film after devoting eight years to the project?\u003c/b>\u003c/p>\n\u003cp>It’s weird because I started working on something else in January. I’m a little removed from how I was feeling when [\u003ci>Little Girl Blue\u003c/i>] was first coming out. I did not want to let go of it because I felt it was within my heart for so long. It was very, very difficult for me after all those years to let it go. I wanted to keep working on it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Janis: Little Girl Blue\u003c/b> airs Tuesday, May 3, at 8pm on KQED 9.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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